BOOK I

Hymns for Worship and Praise

WORSHIP—PRAISE AND ADORATION

1. Holy, holy, holy _Reginald Heber_, 1783-1826

A metrical paraphrase of Revelation 4:8-11. The hymn was written for use on Trinity Sunday of the Church Year but has found a wide general use as a morning hymn. It ranks high in any list of “best hymns.” Some give it first place.

The author, Reginald Heber, was educated at Oxford, England, for the Anglican ministry. For sixteen years he served as rector at Hodnet, Shropshire, where most of his hymns were written. He became an eminent churchman, as well as hymn writer, and was made bishop of Calcutta in 1822. After four years, his life came to an end suddenly at the close of a day in which he had baptized forty-two native converts. He is the author of the popular missionary hymn, “From Greenland’s icy mountains” (333).

“Holy, holy, holy,” was one of Alfred Tennyson’s favorite hymns, and it was sung at his funeral service in Westminster Abbey, April 12, 1892.

_MUSIC._ The tune, NICAEA, was composed for this hymn and was so named because the text deals with the doctrine of the Trinity as expounded in the Council of Nicaea which met in the city of Nicaea in Asia Minor, 325 A.D., the first ecumenical council of the Christian Church. It convened at the call of the Emperor, Constantine, to settle the so-called “Arian controversy” concerning the nature of Christ. Arius, a presbyter of Alexandria, taught that Christ was neither divine nor human, but superangelic. After sitting from May 20 to August 25, to hear all sides of the heated debate, the council decided in favor of Athanasius, a deacon of Alexandria and chief opponent of Arius. The result was incorporated in the Nicene creed which declares that Christ is “the same substance with the Father.” Our hymn asserts the same doctrine: “God in Three Persons, blessed Trinity.”

J. B. Dykes, 1823-76, composer of the tune, was born in Hull, England, the son of a banker. He was educated at Cambridge for the ministry but had also received a thorough training in music and became one of England’s leading hymn-tune writers. For a score of years he was vicar of the Anglican church, St. Oswald’s, in the city of Durham. He published sermons and other writings but is best known for his 300 hymn tunes, many of which are still in wide use. One of his most popular tunes is “Lux Benigna” which is always associated with John Henry Newman’s hymn, “Lead kindly light” (162).

2. God is in His holy temple _Anonymous_

Based on Hab. 2:20: “The Lord is in his holy temple: let all the earth keep silence before him.” The hymn, whose authorship is anonymous, is a call to silence and reverence as the worshipper bows in the presence of God.

_MUSIC._ The origin of the popular and useful tune, AUTUMN, has been in dispute. Some books refer to it as a Spanish melody, and others have seen in the tune a reminiscence of a psalm-tune found in the _Genevan Psalter_ of 1551. It is ascribed here to one, Louis von Esch, but Dr. Robert McCutchan, editor of the _Methodist Hymnal_ and author of _Our Hymnody_, says: “There is no basis whatever for ascribing it to any other than Barthélémon.”

Francois H. Barthélémon was born in Bordeaux, July 27, 1741, and died in London, July 20, 1808. He gave up his position as an officer in the French army to make music his profession and became a composer and distinguished violinist and conductor in England. Most of his compositions were of a secular nature. His other church pieces are “Morning Hymn” (25) and “Ballerma” (146, 585). Late in life Barthélémon joined the Swedenborgian Church. He died of paralysis at the age of 67.

3, 4, 5. All hail the power of Jesus’ name _Edward Perronet_, 1726-92

The original version of this hymn contained eight stanzas and first appeared in the _Gospel Magazine_, Augustus Toplady’s journal, the first stanza together with the tune “Miles Lane,” in November, 1779, and the remaining stanzas in April, 1780. It is one of the popular, stirring hymns of the English language, sung in England almost invariably to the tune “Miles Lane” and in America more generally to “Coronation.”

Edward Perronet was born in 1726 and became a vicar in the Church of England in Shoreham. Later, under the influence of John Wesley, he left the established church to become an itinerant Methodist preacher. After some years he left the Methodists and ministered to a small dissenting congregation in Canterbury, where he died in 1792.

The fourth stanza is attributed by some authorities to the Rev. John Rippon, a Baptist minister.

A missionary in India, E. P. Scott, went to visit a mountain tribe when one day he found himself surrounded with a number of wild, ferocious tribesmen, pointing their spears at him. Expecting death, he closed his eyes and sang this hymn, “All hail the power of Jesus’ name,” playing the tune “Miles Lane” on his violin. The music and words produced such a profound effect upon these wild tribesmen that they spared Scott’s life and invited him to settle among them. For over two years, until his health failed, he worked with great success among them, and when he was compelled to return to America, they accompanied him thirty or forty miles and begged him to return. Upon regaining his health, he did return and labored with them until his death.

_MUSIC._ MILES LANE (No. 3) was composed by William Shrubsole, 1760-1806, especially for this hymn. He was an intimate friend of the author of the hymn. Most of his life was spent as music teacher and organist in various English churches. The tune is very effective, especially in its thrilling climax in the fourfold repetition of “Crown Him.” However, due to its wide melodic range, its sustained notes, and interrupted pace, it is more difficult to sing than “Coronation.”

CORONATION (No. 4) was composed by Oliver Holden. He had little formal training in music and was a carpenter by trade. He was born in Shirley, Mass., Sept. 18, 1765. After the English burned Charlestown, across the river from Boston, Holden helped in the task of rebuilding and made considerable money. Later he engaged in the real estate business, owned a music store, and all the while led choirs and singing schools. He was elected representative to the Congress. He was an influential citizen and a prominent member of the Baptist Church. However, he is remembered by posterity as the composer of this much-loved tune.

DIADEM (No. 5) is an effective tune widely used on anniversary occasions. The composer, James Ellor, an English Methodist, was born in Lancashire in 1819. He was not a professional musician, but a hatter by trade. For a time he worked as a railway employee. While still a young man, he came to America, where he worked at the hatmaking trade. For some years before his death in 1899, he was nearly blind. This tune was composed when Ellor was only 19 years old. It was written especially for this hymn and has had wide use as a choir number.

6. Ye servants of God, your Master proclaim _Charles Wesley_, 1707-88

This hymn by Charles Wesley, perhaps the greatest hymnist of all ages, was No. 1 in a collection published in 1774 and entitled, _Hymns for Times of Trouble and Persecution_. The original had six stanzas and was marked, “To be sung in a tumult.” The Wesleys knew the meaning of persecution and tumults. They were often attacked by godless men who used physical violence. Hoodlums were known to try to break up their meetings by blowing horns, ringing bells, or barking in front of the preacher. Sometimes cattle were driven into the congregation. The Wesleys were also opposed by the clergy and people of the established church who hated the upheavals and disturbances these men caused in the staid and stolid church life of the times. Nothing could stop the Wesleys or repress their enthusiasm. John, who once thanked God for getting together such a “congregation of drunkards, swearers, and Sabbath breakers,” continued his preaching; and Charles his hymn writing. With the early apostles, the Wesleys could say, “We cannot but speak the things which we have seen and heard.”

Charles Wesley, John’s youngest brother, graduated from Oxford in 1729 and became a devout priest in the Anglican Church. He came to Georgia in 1735 as secretary to General Oglethorpe but after one year, he returned to England on account of failing health. The years from 1738 to 1756 were devoted whole heartedly to assisting his brother John in the great revivalistic work among the masses of the common people in England, Scotland, and Ireland. He was a prolific writer, being the author of about 6,500 hymns. Of these only a few score survive, so difficult is it to write hymns that stand the test of time. Twenty-three of his hymns, more than of any other author, are included in the _Hymnary_. Wesley, being Arminian in his theology (as opposed to the predestinarian views of Calvinism) emphasizes in his hymns the power of Christ to save to the uttermost. Others of his hymns surpass this one from the standpoint of good literature, but very few equal its spirit of adoring praise and fervid enthusiasm.

_MUSIC._ HANOVER is a vigorous, singable, hymn-tune which has long been associated with these words, although the tune “Lyons” (7), too, is frequently set to this hymn. It is one of the earliest examples of the English psalm-tune, as distinguished from the Genevan. The triple measure was novel and met with objection when it first appeared.

The composer, William Croft, 1678-1727, had a doctor’s degree in music and was organist, for a time, in Westminster Abbey, London, where his remains lie buried. He labored hard, amidst many discouragements, to improve the music in the Church of England, and made for himself in the field of sacred music, one of the greatest names in English musical history. His tunes and anthems are widely used.

7. O worship the King, all glorious above _Robert Grant_, 1779-1838

A simple, yet majestic hymn, based on the magnificent 104th Psalm. A careful reading of the Psalm will result in a new appreciation of this free paraphrase by Grant.

Robert Grant was born in Bombay, India. When six years old, his parents moved to London. He received his education in Oxford, was admitted to the bar, elected to Parliament in 1808, and then held various responsible government positions, climaxed in 1834 by his appointment as Governor of Bombay. He died at Delpoonie, India, where a medical school, bearing his name, was erected in his memory. Though a prominent man and

## active in public affairs, Grant will be remembered principally as the

author of this, his most important hymn. He wrote a number of other hymns but only this one and “Savior, when, in dust, to Thee” (145) have survived.

_MUSIC._ The tune LYONS is by Haydn, not the famous “Papa” Haydn who wrote symphonies, string quartets, and _The Creation_, but J. Michael Haydn, 1737-1806, a younger brother. He was born in Austria. Though self-taught in music (like his famous brother Franz), he became the teacher of many eminent musicians of his time, including Carl von Weber. Haydn was a warm-hearted, devout, and gifted man, and might have become famous except for two things—his life was lived in the shadow of his more illustrious brother, and he was too modest to permit most of his works to be published.

LYONS is a singable tune with a fine melodic curve and is strikingly similar to “Hanover” (6) with which it may be interchanged with good effect.

8. Come Thou Almighty King _Charles Wesley_, 1707-88

This hymn of praise and prayer is widely used in all branches of the Christian church in the English speaking world and has been translated into many foreign languages. It has been generally attributed to Charles Wesley, the great “Bard of Methodism,” but the authorship is uncertain. The hymn appeared as the first of only two selections in a small booklet published by John Wesley about 1757. The second hymn was by Charles Wesley and was entitled, “The Backslider.” “Come, Thou Almighty King,” with the title, “An Hymn to the Trinity,” did not bear the name of Charles Wesley, and it appears nowhere in his collected works. No one can be certain, therefore, of the authorship or date of its writing. Like all good hymns, it rises above time or personal circumstance and expresses for all Christians their feeling of praise and adoration of God. It was originally sung to the tune, “God Save the King,” the hymn following the same metrical pattern as the British National Anthem and our own “America.”

_MUSIC._ ITALIAN HYMN, also called “Trinity,” and “Moscow,” is one of our most famous hymn tunes and deserves its renown. It was composed for this hymn by Felice de Giardini, 1716-1796, an Italian violinist, who spent many years in England and ranked among the top-notch artists and teachers of violin in Europe. Though a great artist, he was a capricious and peevish personality, had few friends and many enemies, was a poor business manager, and died in poverty and distress in the city of Moscow where he had gone to better his fortune and failed.

9. Christ is our Cornerstone _Latin, 8th century_ _Tr. John Chandler_, 1806-76

This is a translation of a mediaeval Latin hymn. At the beginning of the Christian era, the prevailing language was Greek. With the dominance of Rome over the empire of Alexander the Great, Greek gradually gave way to the Latin tongue, and from the fourth century to the dawn of the Reformation, a rich treasury of Latin hymns came into existence in the church. Many of these have now been translated for use in modern English speaking churches. They are stately, reverent, devout pieces of devotional literature which have been the joy and consolation of countless saintly souls down through the centuries. Other examples of hymns from Latin sources are found at Nos. 67, 80, 87, 114, 116, 171, 277, 382, and 415.

“Christ is our Cornerstone” is based on “_Angularis fundamentum_,” a dedication hymn of anonymous authorship, attributed here to the 8th century, but it may be of much earlier origin. Hymn 277, “Christ is made the sure foundation,” is another rendering of the same Latin poem, by a different translator and into a different meter, and is there dated “6th or 7th century.”

John Chandler, the translator, was one of a group of Anglican clergymen belonging to what was known in England as the Oxford Group (not to be confused with the recent Oxford group movement headed by John Buchman). They were interested in restoring to the church a dignified service of worship. These Latin hymns contributed to this purpose. Chandler was a scholar as well as preacher, author of several books and many printed sermons and tracts, and was one of the first and best translators of Latin hymns. This, of course, is not a literal translation, for consideration had to be given to poetic and doctrinal fitness for modern use.

_MUSIC._ The tune DARWALL was composed by John Darwall, 1731-89, an Anglican clergyman and also an enthusiastic amateur musician. He composed a tune for each of the 150 metrical Psalms, each written in two parts only, treble and bass. DARWALL was set to Psalm 148. His tunes, for the most part, have not been published and have passed into oblivion.

10. Joyful, joyful we adore Thee _Henry van Dyke_, 1852-1933

A nature hymn of the first order, written by one who himself had a profound appreciation and love of the out-of-doors. The words from beginning to end are an expression of the beauty in nature and the resulting joy and spirit of praise it brings to the worshipper. The hymn was written in 1907 while the author was on a preaching visit to Williams College; it was designated to be sung to the “Hymn to Joy” in the last movement of Beethoven’s _Ninth Symphony_. The words fit the music perfectly. It is one of the most joyful hymns in the English language.

Henry van Dyke was born in Germantown, Pa.; received his education in Princeton University and Theological Seminary; and began his work as pastor of the United Congregational Church in Newport, R. I. After four years he was called to the pulpit of the Brick Presbyterian Church in New York where he became a widely known figure. In 1900 he was called to the chair of English Literature in Princeton. He was a friend of President Woodrow Wilson who appointed van Dyke as minister to the Netherlands and Luxemburg, which post he held from 1913 to 1917. He is the author of many books, including the beautiful story entitled, _The Other Wise Man._

_MUSIC._ HYMN TO JOY is a hymn tune arrangement from the fourth movement of Beethoven’s _Ninth Symphony_, probably the greatest symphony ever penned, even though the composer was stone-deaf when he wrote it.

Ludwig von Beethoven was born at Bonn, Germany, in 1770 and died in Vienna in 1827. During his tempestuous life, he composed many compositions for piano, violin, orchestra, and string quartet. His nine symphonies are on the repertoire of all the great modern symphony orchestras.

11. Give to our God immortal praise _Isaac Watts_, 1674-1748

Recognized as the best of three versions which Watts made of Psalm 136. The hymn expresses with dignity and fervor the high praise of God.

Isaac Watts, scholar, poet, and pastor of the Independent Church in Mark Lane, London, ranks among the greatest of English hymn writers. He is the author of about 600 hymns and versions, many of which are still in common use. The _Hymnary_ contains 19 of his works. Watts is often referred to as the “father of English hymnody.” Though suffering from bodily ailments during the greater part of his adult life, he was robust in his thinking and became a bold and sturdy fighter for the cause of intellectual and religious freedom. Watts was one of the gentlest and kindest of men and a friend of the young. His wide intellectual interests enabled him to write textbooks on logic, geography, and astronomy, which were used in the universities of England as well as Harvard and Yale. Though he was never married and had no children of his own, Watts was a lover of children and wrote one of the world’s most beautiful cradle songs—“Hush, my dear, lie still and slumber.” In 1715, he issued a notable book of verse for children. One of the poems, entitled, “Against Quarrelling and Fighting,” runs as follows:

Let dogs delight to bark and bite For God hath made them so; Let bears and lions growl and fight For ’tis their nature to.

But children, you should never let Such angry passions rise; Your little hands were never made To tear each other’s eyes.

Let grown-ups in our day grasp the idea in this simple poem!

_MUSIC._ The tune, LASST UNS ERFREUEN, one of the most famous in any hymn book, was published in _Geistliche Kirchengesäng_, Cologne, 1623. It was set to an Easter hymn beginning, “_Lasst uns erfreuen herzlich sehr_,” from whence it derives its name. The tune is unusual for its simplicity of structure and its invariable repetition of phrases throughout. Usually the alleluias in lines 3 and 6 are sung in harmony, the rest of the song in unison. The tune lends itself well to antiphonal or echo singing on the rare occasions when such varied effects are desired. The composer is not known.

12. O for a thousand tongues to sing _Charles Wesley_, 1707-88

From a poem of 18 stanzas, written by Wesley to celebrate the first anniversary of his great spiritual change, a conversion experience in which he felt the clear light of the Gospel possessing his soul. The poem was entitled, “For the Anniversary Day of One’s Conversion.” Wesley was greatly influenced by the Moravian missionary Peter Bohler who once said to him: “Had I a thousand tongues, I would praise Him with them all.” The incident, lingering in Wesley’s mind, was turned into a song which expresses the joy and confidence of the redeemed. For 150 years, and until recently, this hymn appeared as No. 1 in Methodist hymnbooks on both sides of the Atlantic.

For further comments on Charles Wesley see Hymn 6.

_MUSIC._ AZMON was introduced into this country from Germany where it was a favorite school song. Carl G. Gläser, the composer, was born at Weissenfels, Germany, 1784, and died at Barmen, 1829. He was a teacher of piano, violin, and voice, and director of choruses. He also owned and managed a music store.

Lowell Mason, the arranger of the tune, was one of America’s earliest exponents and teachers of public school music and did much to bring worthy popular hymn tunes into the churches. He was born January 8, 1792, at Orange, N. J. At the age of 16, he was a choir leader and teacher of singing classes. At 23, he went to Savannah, Ga., as a bank clerk, returning to Boston in 1827 to become president and conductor of the Handel and Haydn Society. He wrote a large number of singable hymn tunes which have had wide use in the hymn books of all denominations. More of his compositions are found in the _Hymnary_ than of any other composer. He died at Orange, N. J., August 11, 1872.

13. Great God, the followers of Thy Son _Henry Ware, Jr._, 1794-1843

Written for an ordination service which took place in Baltimore in 1819, William E. Channing preaching the sermon.

The author, Henry Ware, Jr., was born at Hingham, Mass., April 21, 1794; died September 25, 1843, at Framingham, Mass. He was educated at Harvard, and served as minister of the Second Unitarian Church, Boston, 1817 to 1829, with Ralph Waldo Emerson as assistant for a time. From 1829 to 1842, he was Professor of Pulpit Eloquence and Pastoral Care in the Harvard Divinity School. He was editor of the _Christian Disciple_ and later of the _Christian Register_.

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

14. The God of Abraham praise _Daniel Ben Judah, 14th century_ _Revised version by Thomas Olivers_, 1725-99

This praise hymn, with its magnificent tune, had its origin in a Jewish synagogue in London. Thomas Olivers, a Welshman and follower of John Wesley, spent fifty years of his life as a Methodist minister, during which time he travelled more than 100,000 miles on horseback in his evangelistic work. His fame, however, rests upon this hymn. While visiting in London, he went to the Great Synagogue in Duke’s Place and heard the cantor sing the Hebrew _Yigdal_ or doxology, in which the articles of the Jewish faith are recited. Upon hearing this, Oliver wrote “The God of Abraham praise,” a Christian version of the _Yigdal_. The original is by Daniel Ben Judah of the 14th century. Oliver then called on the Cantor, Meyer Leoni, who gave him this melody to suit the hymn he had written.

_MUSIC._ LEONI, according to Winfield Douglas, is probably not older than the 17th century and is not related to ancient Jewish music. Although written in a minor key, it strikes the note of praise. Its rhythm and vigor of movement adapts it well for use as a processional or recessional hymn.

15. We praise Thee, O God, our Redeemer _Julia Bulkley Cady Cory_

A notable hymn of praise written by Mrs. Julia Cady Cory, who was born and reared in what was reputed to be one of the happiest Christian homes in New York City. Her father, J. Cleveland Cady, was a nationally known architect. A devout Christian, he had a genuine love for boys and girls and was superintendent of the same Sunday school for fifty-two years. Concerning the origin of this hymn, Mrs. Cory has written:

Years before I was married (in 1902), the organist of the Brick Presbyterian Church of New York City, knowing of my interest in hymnology, came to me and told me that he had a very fine Netherlands melody associated with most militaristic and unchristian words. He lamented the fact, and requested me to write more suitable words, which could be used for the Thanksgiving service at the Brick Church. The hymn as you see it today, was the result.

_MUSIC._ KREMSER is named after Edward Kremser, 1838-1914, a Viennese musician who arranged the tune from a Netherlands melody dating to 1625. The composer is not known. It is a stirring piece of music, simple in style, and easy to sing. It is equally impressive, whether sung in measured, stately tones like a chorale, or in the gayer festive mood in which young people like to sing. Children and young people usually respond to this hymn with enthusiasm.

16. Praise the Lord: ye heavens adore Him _Foundling Hospital Collection_ _Stanza 3 by Edward Osler_, 1798-1863

A free rendering of some lines of Psalm 148 in which all the hosts of heaven and earth join in a magnificent chorus of praise to God.

The first two stanzas are anonymous. They were first published in the _Foundling Hospital Collection_, a book of hymns and anthems compiled by Thomas Coram, an English seaman, merchant captain and philanthropist. In later life, Mr. Coram devoted his time and fortune to the support of a children’s hospital in which a chapel was also maintained and the children trained in singing.

Edward Osler, author of the third stanza, was an English surgeon and author of books on scientific as well as religious subjects. He was also a distinguished hymnologist and wrote a number of versions of the Psalms and hymns for use in the Church of England.

_MUSIC._ FABEN was composed by John Henry Wilcox, 1827-75, Boston organist and expert in organ construction. The tune should not be taken too fast; otherwise the short notes become choppy and the effect is spoiled. Singers should avoid slurring the intervals of the melody, especially the descending fourth at the end of the first, third and seventh lines.

17. Come, let us join our cheerful songs _Isaac Watts,_ 1674-1748

A paraphrase of Revelation 5:11-13. It is one of the most widely esteemed of Watts’ poems and one of the classics of English hymnody.

The basses and tenors would be less likely to sing the wrong words at the beginning of the third score if the lines of all four stanzas had been printed. Let the song leader remind them to look ahead for the proper lines of each stanza before singing their solo part, and so avoid some incongruities of thought!

For comments on Isaac Watts see Hymn 11.

_MUSIC._ CAMBRIDGE is an effective tune but with most congregations it needs some rehearsal before it is usable in a worship service. The composer, John Randall, 1715-99, was an organist and Professor of Music in Cambridge University. He was a friend of the poet Thomas Gray.

18. O come, loud anthems let us sing _Tate and Brady_

A metrical version of Psalm 95, by Tate and Brady, two Irishmen who collaborated in producing, in 1696, the _New Version_ of the Psalms. Their work partly supplanted the older version by Sternhold and Hopkins, then in use.

Nahum Tate, 1652-1715, was the son of an Irish clergyman, and, like Brady, received his education at Trinity College, Dublin. He was only a second-rate poet but managed to receive appointment as Poet Laureate of England in 1690.

Nicholas Brady, 1659-1726, was granted the honorary degree of Doctor of Divinity from Dublin University for services rendered to the Protestant cause. Among his many appointments were the chaplaincy to the king of England and incumbency of Stratford-on-Avon. Tate and Brady recast all of the Psalms into metrical verse in an attempt to improve on the old version then in use in the churches. Their work was done in a day when only the psalms were permitted to be sung in worship services in England. The writing of hymns was still in the future. Only a few of their renderings still find a place among our modern English hymns. The _Hymnary_ includes two besides this one, Nos. 583 and 586.

_MUSIC._ The tune was found in _St. Basil’s Hymn Book_ where it is credited to Haydn, but we are not told which Haydn. No further information concerning its origin has been traced. It is especially effective when sung by a large congregation.

MORNING

19. When morning gilds the skies _19th century_ _Tr. E. Caswall_, 1814-78

A radiant morning hymn of adoration. It comes from the German song, “Bei frühem Morgenlicht,” of unknown authorship, which first appeared in print in the _Katholisches Gesangbuch_, 1828, bearing the title, “A Christian Greeting.”

Bei frühem Morgenlicht Erwacht mein Herz und spricht. Gelobt sei Jesus Christus! So sing ich früh and spät, Bei Arbeit und Gebet, Gelobt sei Jesus Christus!

The translator, Edward Caswall, was an English scholar and clergyman, educated at Oxford. He left the Church of England to become a Roman Catholic priest. Caswall did much for the sick poor and the poor children in Birmingham, England, where he lived. He wrote excellent original hymns and made many translations from German and Latin sources. (See Nos. 88 and 155.)

_MUSIC._ O SEIGNEUR was composed or arranged by the Frenchman L. Bourgeois, _c._ 1500- _c._ 1561, who was an adherent of Calvin and followed him to Geneva in 1541. He was assigned by Calvin the task of providing music for the metrical psalter, but his work was attended with troubles and difficulties. Once he was thrown in prison for making unauthorized alterations in certain well-known tunes. He tried hard to introduce part-singing in a day when only unison singing was permitted by Calvin. Not succeeding in this, he left Geneva and returned to Paris, his birthplace. O SEIGNEUR is a superb tune. It gathers interest and force throughout its considerable length. The tune, which also may be used as a choir anthem, should be sung in fairly lively tempo to bring out its extraordinary power.

20. Lord, in the morning _Isaac Watts_, 1674-1748

Based on Psalm 5:3: “My voice shalt thou hear in the morning, O Lord; in the morning will I direct my prayer to thee, and will look up.” Watts did not hesitate to change the wording of the Psalms, when necessary, to “Christianize” them. In the preface to his book of _Psalms_, he states his method and purpose in these words:

It is necessary that I should inform my readers that they are not to expect in this book an exact translation of the Psalms of David. My design is to accommodate the Book of Psalms to Christian Worship.

For further comments on Watts see Hymn 11.

_MUSIC._ WARWICK, a psalm-tune of somewhat ornamental style, was composed by Samuel Stanley, 1767-1822, who for thirty-three years was the leader of singing in Carr’s Lane Meeting House, Birmingham, England, where he made its music famous. He was a noted violincellist and an authority on the music of Handel. His position in the church was not then considered inconsistent with his being, for a time, keeper of the town tavern.

21. When morning gilds the skies _19th century, Tr. E. Caswall_, 1814-78

For comments on the words see Hymn 19.

_MUSIC._ LAUDES DOMINI was composed by Joseph Barnby, 1838-96, an English organist and one of the most prolific hymn-tune writers of his time. He was conductor of the Royal Choral Society in London, which presented many splendid performances of the great oratorios. It is a reverent and vigorous tune, written especially for this hymn, and makes a good processional.

22. New every morning is the love _John Keble_, 1792-1866

Taken from John Keble’s _Christian Year_, a book of devotional poetry, one of the great religious classics in the English language. The original poem of sixteen stanzas is based on Lamentations 3:22b, 23a: “His compassions fail not. They are new every morning.” The hymn shows a deep appreciation of the beauties of the natural world, linking them with the worship of God.

John Keble was educated at Oxford where he was an outstandingly brilliant student. Later he taught at Oxford for nine years and then spent thirteen years as curate in his father’s church in Gloucestershire. Following that he became vicar of Hursley where he rebuilt the parish church with profits from his book, _The Christian Year_, which passed through 90 editions during the author’s lifetime. Keble was one of the influential leaders in the so-called Oxford or Tractarian Movement in England, an effort to emphasize worthier ideas of the church and a greater dignity and beauty in worship.

_MUSIC._ MELCOMBE, a melody of fine balance and great dignity, was composed by Samuel Webbe, 1740-1816, son of an English government official in Minorca. He spent his early life as a cabinetmaker but later turned to music, becoming a noted organist and composer of a large quantity of secular and sacred music.

23. Still, still with Thee _Harriet Beecher Stowe_, 1811-96

Based on Psalm 139:18: “When I awake I am still with Thee.” It is a beautiful, personal, morning hymn, expressing the soul’s adoration upon waking to find itself in the glad consciousness of the divine presence.

Harriet Beecher Stowe belonged to a famous American family. Her father, Lyman Beecher, and her brother, Henry Ward Beecher, were eloquent and influential preachers in the Presbyterian and Congregational churches, respectively. Harriet’s girlhood was spent in Cincinnati, Ohio, where her father was president of Lane Theological Seminary. She married Calvin Ellis Stowe, of the Lane faculty. In 1852, she published _Uncle Tom’s Cabin_, a story which became immensely popular and made a notable contribution to the cause of freedom for the slaves.

_MUSIC._ CONSOLATION is No. 9 of the 48 pieces, all of distinctive lyric quality, composed by Felix Mendelssohn-Bartholdy, and known as _Songs without Words._ The tune appears here in slightly modified form. It is well adapted for the hymn but suffers frequently from dragging. It should be sung with a steady pace and clearly defined rhythm.

Felix Mendelssohn-Bartholdy was born in Hamburg, Germany, 1809, the son of a Jewish banker. His father, Abraham Mendelssohn, wished the children to be brought up as Protestant Christians and added the name “Bartholdy” to distinguish them from the Jewish members of the family. “Bartholdy” was the name of the proprietor of the garden belonging to the family. Mendelssohn composed extensively for the piano and wrote symphonies for the orchestra. Among his choral works are the great oratorios, _Elijah_ and _St. Paul_. A man of culture and wealth, he travelled extensively and was popular wherever he went, especially in England. He died in Leipzig in 1847.

24. Father, we praise Thee _Gregory the Great_, 540-604 _Tr. Percy Dearmer_, 1867-1936

The original of this morning hymn is attributed to Gregory the Great, Pope Gregory I, a sincere man, devoted to missions and reforms within the church, and one of the greatest of the line of Popes. The date of his election to the papacy, A.D. 590, is usually given by church historians as the end of the period of the Ancient Church and the beginning of the period of the Middle Ages—a witness to the importance of Gregory. A man of unblemished character and statesmanlike wisdom, he had a noble vision and ambition for Christianity and took a keen interest in the ritual and music of the church. Though not original or scholarly, he was a voluminous writer and had much influence in his time. He sent out missionaries, such as Augustine to England, and labored incessantly to purify and strengthen the church, care for its poor, and bring Christianity to the heathen. Gregory was particularly interested in the music of the church; and the “Gregorian Chants,” many of them composed by him, became the basis of cathedral music for a thousand years. He did away with certain embellishments which had crept in through the influence of Ambrose, and inaugurated the use of the solemn, stately chants which bear his name.

The translation of this hymn is by Percy Dearmer, an English hymnologist and clergyman who became Canon of Westminster, London, in 1931. He edited _Songs of Praise_, adopted widely in England for use in churches and public schools.

_MUSIC._ CHRISTI SANCTORUM is a tune of uncertain origin taken from a book by Francois de la Feillée, entitled _Methode du Plain Chant_, published in 1782. The melody, easily within range of all voices, is well adapted for unison singing. It is most effective when sung somewhat slowly. Though the tune appears in a book of plainsong, the melody has rhythm and is measured, and has none of the characteristics of a plainsong.

25. Awake, my soul, and with the sun _Thomas Ken_, 1637-1711

Taken from a _Manual of Prayers_, which Bishop Ken wrote for Winchester College students in 1674. It appeared as the “Morning Hymn.” The preface of the book admonished the boys “to be sure to sing the Morning and Evening Hymn in your chamber devoutly.” Both the Morning and Evening Hymn (33) had for the closing stanza the famous doxology, “Praise God from whom all blessings flow,” now sung by the whole Christian church. The original poem had fourteen stanzas. According to Julian, this hymn is one of four at the head of all hymns in the English language.

Thomas Ken was an English poet and clergyman and had considerable musical talent. He was a man unafraid to declare his convictions. He once refused to read, at the king’s command, a certain document to his parishioners, and was imprisoned for his defiance. He finally lost his bishopric because he refused to swear allegiance to Mary and William of Orange when they became rulers of England. Ken was known for his saintly character, his great ability and eloquence as a preacher, and his pioneering in the art of hymn writing.

That all hymns must be written in the third person, as is sometimes asserted, is disproved by this great hymn in its use of “I” and “my.”

_MUSIC._ For comments on Francois H. Barthélémon, composer of the tune, MORNING HYMN, see Hymn 2.

26. Christ, whose glory fills the skies _Charles Wesley_, 1707-88

One of the greatest morning hymns in the English language, based on Mal. 4:2: “But unto you that fear my name shall the sun of righteousness arise with healing in his wings.” James Montgomery called it “one of Charles Wesley’s loveliest progeny.” It pictures Christ as the true Light and the Sun of Righteousness triumphing over the darkness of sin and grief.

Charles Wesley was the second youngest in a family of nineteen children and became the “sweet singer of Methodism.” He and Isaac Watts were the most important hymnists of the 18th century in England.

For further comments on Wesley see Hymn 6.

_MUSIC._ LUX PRIMA is by the French composer, Charles F. Gounod, 1818-93, a musician of a deeply religious nature. Gounod had taken two years of theology with the expectation of becoming ordained, but later decided that his greatest contribution to religion would be through music. His outstanding religious work is the oratorio, _The Redemption_. While composing it, he used to spend hours in Notre Dame Cathedral in prayer and meditation. LUX PRIMA is a stirring tune, building up to a climax at “Day-star,” and is widely used as a processional.

27. Come, my soul, thou must be waking _F. R. von Canitz_, 1654-99 _Tr. H. J. Buckoll_, 1803-71

From a book of German lyrics, translated by H. J. Buckoll. The original poem of 13 stanzas begins with the words, “_Seele, du muszt munter werden_.” The hymn, expressing the glories of a new day, is especially suitable for use in schools and colleges. It is a translation of stanzas 1, 6, 8, 10, and 11 of the original:

Seele, du musst munter werden! Denn der Erden Blickt hervor ein neuer Tag. Komm, dem Schöpfer dieser Strahlen Zu bezahlen, Was dein schwacher Trieb vermag.

Bitte, dass er dir Gedeihen Mag verleihen, Wenn du auf was Gutes zielst; Aber dass er dich mag stören Und bekehren Wenn du böse Regung fühlst.

Denk, dass er auf deinen Wegen Ist zugegen, Und erkennet, was du tust; Dass er auch verborgne Flecken Kann entdecken, Und die tiefste Sündenlust.

Drum so seufze, dass dein Scheiden Nicht ein Leiden, Sondern sanftes Schlafen sei— Dass ich seh’ mit ew’ger Wonne Jene Sonne, Wann des Todes Nacht vorbei.

Treib’ nur Gottes Gnadenblicke Nicht zurücke Fasse treulich ihren Schein; Dann wird deiner Seele Frieden Schon hienieden Süsser als die Sonne sein.

Friedrich Rudolph Ludwig, Freiherr von Canitz, was born in Berlin in 1654. He was a distinguished diplomat, a philanthropist, and a devout Christian. In the early morning of his last day on earth, August 11, 1699, ill with dropsy, he gazed at the rising sun and exclaimed, “Oh, if the sight of this created sun is so charming and beautiful, what will be the sight of the unspeakable glory of the Creator himself!” He was _Staatrath_ (State Counsellor) at the time of his death.

The translator, Rev. Henry J. Buckoll, was educated at Oxford and spent most of his life teaching. He edited several collections of songs for schools and in 1842 published _Hymns Translated from the German_.

_MUSIC._ HAYDN comes from a tune in one of the movements of a string quartet by Franz Joseph Haydn, 1732-1809, the great Austrian composer, and important figure in the history of music. He was affectionately named “Papa Haydn” by Mozart. He wrote church music, song, opera, and oratorio, over 100 symphonies and 83 string quartets. His _Creation_, a sacred oratorio, is widely known. He was devoutly religious and did not hesitate to ascribe his musical scores to God’s glory. He gave as one of his reasons for writing music: “that the weary and worn or the man burdened with affairs might enjoy something of solace and refreshment.” There is a cheerfulness and optimism about his music which appeals to amateur and professional alike. Haydn was a teacher as well as composer and numbered among his pupils Mozart and Beethoven.

EVENING

28. Now on land and sea descending _Samuel Longfellow_, 1819-92

Written for use in a series of vesper services the author was conducting in his church. It was published, with other hymns, in a small book called _Vespers_. This hymn and “Again as evening’s shadow falls” (No. 280), also by Longfellow, have become two of the most-loved evening hymns in the English language.

Samuel Longfellow, younger brother of the poet, Henry Wadsworth Longfellow, was born and died in Portland, Maine. He was educated at Harvard for the ministry and served congregations in Fall River, Mass.; Brooklyn; and Germantown, Pa., resigning the last charge to write his brother’s _Life_, 1886. Though a Unitarian, he speaks of Christ as Lord and Saviour and accepted the miracles of the New Testament. He edited several important hymn books and wrote a number of hymns of excellent quality. Thirteen of his compositions are included in the _Hymnary_.

_MUSIC._ VESPERS is by the Russian composer Dimitri Stephanovitch Bortniansky who was born at Gloukoff, in the Ukraine, 1752, and died at St. Petersburg, 1825. He studied music at Moscow, St. Petersburg, and Venice, Italy, the Empress Catherine of Russia supplying the necessary funds. (It was this Empress Catherine who extended an invitation in 1786 to Prussian Mennonites to settle in South Russia, promising religious toleration, military exemption, and other special privileges.) Bortniansky became Director of the Imperial Kapelle, the Empress’ Church Choir. He was a distinguished composer of sacred music and has had a great and lasting influence on Russian church music. From his pen came the well-known chorale tune, “_Ich bete an die Macht der Liebe_” (No. 517).

The word “Jubilate” means “to shout for joy.” It comes from the same Latin root as “jubilee” and “jubilant.” Its English pronunciation in singing is Jōo-bĭ-lä-tĭ. If you prefer the Latin, sing it Yōo-bā-lä-tĭ.

29. Now the day is over _Sabine Baring-Gould_, 1834-1924

Based on Proverbs 3:24:

“When thou liest down, thou shalt not be afraid; Yea, thou shalt lie down, and thy sleep shall be sweet.”

The hymn was written for children, but is suitable for worshippers of all ages.

Sabine Baring-Gould was educated at Cambridge and became a clergyman of the Church of England. He was a man of great industry and versatility, and possessed a wide range of interests. He wrote books on travel, biography, history, and is the author of several novels. He also edited several collections of folk songs. Baring-Gould is the author of “Onward Christian soldiers,” another hymn written for children, which has received a much wider use than originally intended.

_MUSIC._ MERRIAL is a favorite tune for choir use in evening services. The average congregation can learn to sing it without difficulty, and when sung slowly and thoughtfully, it constitutes a deeply moving evening prayer.

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

30. Sun of my soul, Thou Savior dear _John Keble_, 1792-1866

Another evening hymn, widely used, and destined to live as long as English hymns are sung. It is taken from the author’s _Christian Year_, a book of devotional poetry which sold 305,500 copies in forty-six years. The original poem of fourteen stanzas, composed November 25, 1820, appeared with the title, “’Tis Gone, that Bright and Orbèd Blaze,” and was headed with the text, “Abide with us” (Luke 24:29). The hymn represents a lone traveller pressing on his way after the sun has set, but trusting in Christ, the “Sun of the soul,” for guidance and protection, and lifting a prayer for the sick and poor and the helpless. Tennyson, too, likened Christ to the sun. Asked what Christ meant to him he paused beside a flower in the garden and answered: “What the sun is to that flower, Jesus Christ is to my soul. He is the Sun of my soul.”

For further comments on John Keble see Hymn 22.

_MUSIC._ HURSLEY is a good tune but not as good as the original, “_Grosser Gott, wir loben Dich_” (No. 519), from which some unknown person adapted it. The melody and harmonization have been changed, not for the better, to suit the English words. “Hursley” was the name of the parish of which Keble was vicar, and the tune was doubtless given this name when it came to be associated with Keble’s hymn.

31. Day is dying in the west _Mary Lathbury_, 1841-1913

An evening hymn of high rank which has been used widely in American churches during the past half century.

Mary A. Lathbury, daughter of a Methodist minister, was a successful art teacher but is remembered chiefly for her work with the Methodist Sunday School Union and her literary contributions to periodicals for young people. The “Look Up” Legion which she founded had for its motto, Edward Everett Hale’s four rules of good conduct:

Look up, not down; Look forward, not back; Look out, not in, And lend a hand.

Miss Lathbury wrote this hymn for use at the vesper services at Lake Chautauqua, in western New York, where hundreds of young people, eager to deepen their spiritual life, have met every year since 1873 for Bible study and prayer. This hymn and “Break Thou the Bread of Life” give the author a permanent place in American hymnody.

_MUSIC._ CHAUTAUQUA was written especially for Miss Lathbury’s hymn. William F. Sherwin, 1826-88, studied music under Lowell Mason and later became a teacher of vocal music. He was unusually successful in leading choral groups and was appointed music director at Lake Chautauqua. The tune is dignified and stately, yet simple. The refrain should be sung softly at the beginning and rise gradually to a climax.

32. Darkening night the land doth cover _Anon. Greek_ _Tr. Robert Bridges_, 1844-1930

From an anonymous 8th-century or earlier Greek hymn. Some authorities believe it to be an expansion of the Greek candle lighting hymn (No. 34), also translated by Robert Bridges. The editors of the _Hymnary_, in search of a poem to fit the well-known UNTER LILIEN JENER FREUDEN tune in the _Gesangbuch mit Noten_, found for it this beautiful evening hymn published in the _American Oxford Hymnal_.

The translator, Robert Bridges, was one of England’s great literary scholars who gave serious attention to hymnology. After graduating from Eton and Oxford, he turned his attention to medicine and became a distinguished surgeon. At the early age of 38, however, he retired from medicine to give himself to literature and music. In 1913, he was made Poet Laureate of England. His most significant work in hymnology was the famous _Yattendon Hymnal_, which he published in 1899 while living in the village of Yattendon. It consisted of 100 hymns, 44 of which were from his own pen, either as author or translator. The hymns were set to music derived largely from the _Genevan Psalter_. The hymnal represented an extraordinarily high standard, both as to words and music, but it never became popular, and copies of it are nearly impossible to find.

_MUSIC._ The tune, UNTER LILIEN JENER FREUDEN, is found at No. 546 of the _Gesangbuch mit Noten_ where it is set to a poem by J. Allendorf. No information has been traced concerning the composer, J. Voigtländer.

33. All praise to Thee, my God this night _Thomas Ken_, 1637-1711

Based on Psalm 91:4: “He shall cover thee with his feathers; and under his wings shalt thou trust.”

This is the “Evening Hymn,” whereas No. 25 is the “Morning Hymn” which Bishop Ken wrote for the devotional use of students at Winchester College. His endeavor was to express in simple, fitting words the thoughts that ought to be in the minds of the boys of the school “and all other devout Christians” in the evening. The two hymns were published in 1695 and have been growing in fame and power these two and one-half centuries. Both concluded with the doxology, “Praise God from whom all blessings flow,” now known and sung throughout Christendom.

_MUSIC._ The tune, EVENING HYMN, was originally in canon form, i.e., a form in which one voice begins the melody which is then imitated note for note by some other voice, as in a “round.” Tallis, as was customary at the time, started the melody in the tenor, imitated by the soprano. The tune used here is a later and altered form which, in the judgment of this writer, is less interesting than the canonic form used in many hymnbooks. Its choice was an editorial inadvertence.

Thomas Tallis, composer of the tune, died in 1585. The exact date of his birth, probably before 1520, remains uncertain. Styled the “Father of English Cathedral Music,” he was chorister at St. Paul’s Cathedral, London, and later held important posts as organist. He was indisputably the greatest English musician of his age, and EVENING HYMN is his most famous tune.

34. O Gladsome Light, O Grace _Greek 1st or 2d Century_ _Tr. Robert Bridges,_ 1844-1930

This is the oldest Christian hymn in common use, belonging to the first or second century. It was sung by the early Christians as a hymn of thanksgiving at the lighting of the candles at the vesper services in the church and probably also in the home. It is still so used in the Eastern churches. St. Basil wrote c. 370 regarding this hymn: “We cannot say who is the father of this expression at the Thanksgiving of the Lighting of the Lamps; but it is an _ancient_ formula which the people repeat.” So in A.D. 370 the hymn was already ancient!

For comments on the translator, Robert Bridges, see Hymn 32.

_MUSIC._ The tune NUNC DIMITTIS is by the French musician, Louis Bourgeois, c. 1510-61, the best melodist of his day, and composer of most of the music for the _Genevan Psalter_, a French metrical version of the Psalms published in 1549. Many of his melodies have been altered, as for example, “Old Hundredth,” but this one has come to us unchanged. It is a glorious melody which needs to be listened to repeatedly to be appreciated. The harmonization is by Claude Goudimel, c. 1505/10-72, another eminent Protestant musician, who provided harmonies for many of the Genevan psalm tunes. Goudimel’s life came to an end in the massacre of St. Bartholomew in 1572, one of those tragedies during the counter-reformation in which the Protestants suffered at the hands of the Jesuits.

35. God that madest earth and heaven _Stanza 1, Reginald Heber_, 1783-1826 _Stanza 2, William Mercer_, 1811-73 _Stanza 3, Richard Whateley_, 1787-1863

The original hymn consisted of the first stanza only which was written by Reginald Heber after hearing the tune used here played by a Welch harpist in a home where Heber was visiting. Retiring to a quiet place, he promptly wrote the stanza to suit the melody.

For comments on Reginald Heber see Hymn 1.

William Mercer, author of the second stanza, was a clergyman in the Church of England in Sheffield. In 1857, he issued _The Church Psalter and Hymn Book_, the most important Church of England book of its time. His aim was to promote greater participation by the congregation in the hymn singing.

Richard Whately was archbishop of Dublin. He was a man of great brilliance of mind, though, it is said, he had no ear for music and no eye for natural beauty.

_MUSIC._ The tune AR HYD Y NOS is a Welsh traditional melody commonly associated with the words “All through the night.” It appears in many modern hymnals. A growing number of folk tunes are being used for hymn tunes.

36. Softly now the light of day _George Washington Doane_, 1799-1859

An American hymn characterized by simplicity and grace, and sung the world over wherever the English language is spoken. It appeared in 1824 in a collection of poems, _Songs by the Way_, with the heading “Evening.” It is based on Psalm 141:2, “Let my prayer be set forth before Thee as incense; and the lifting up of my hands as the evening sacrifice.”

George Washington Doane was born in Trenton, New Jersey, in 1799, the year that the “Father of our Country” died; hence his name. He was educated at Union College, Schenectady, New York, and ordained, at the age of 22, in the Episcopal Church. At the early age of 33 he was made bishop of New Jersey. A pioneer in education, and ahead of his time in many things, his life was full of trials. But his exceptional talents, learning and force of character made him one of the great church leaders of his time.

_MUSIC._ SEYMOUR is by the eminent German composer of opera, Carl M. von Weber, 1786-1826. This tune, a great favorite, is from the opening chorus of his opera, _Oberon_, which is sung while fairies “trip it lightly” on the stage. When contributions towards the musical edition of the famous English book, _Hymns Ancient and Modern_, London, 1861, were invited by advertisement, the editor, W. H. Monk, received more requests for the insertion of this tune than any other, despite its secular origin.

37. At even, when the sun was set _Henry Twells_, 1823-1900

This evening hymn, a prayer for the healing of our bodily as well as spiritual ills, has been translated into many foreign tongues, and is found in nearly all standard hymn books both in America and abroad. The original has eight stanzas. It is based on the touching evening scene described in Mark 1:32, “At even, when the sun was set, they brought unto him all that were sick.”

Henry Twells was ordained in 1849 in the Church of England. Among the parishes he served was Stratford-on-Avon, the birthplace of Shakespeare. At the time he wrote this hymn, he was headmaster of a large grammar school and penned the verses one afternoon while the boys were writing an examination.

_MUSIC._ The tune, ANGELUS, appeared in somewhat different form in _Heilige Seelenlust_, one of a series of Catholic collections of hymns in Germany, written in the vernacular, and edited by Johann Scheffler. The tune is credited to Georg Josephi, a German musician of whom little is known except that he was the musical editor of _Heilige Seelenlust_. It is a tune of rare beauty though its modulations into several different keys makes it more difficult to sing than some and gives it a sense of restlessness not found in other popular tunes.

38. Savior, breathe an evening blessing _James Edmeston_, 1791-1867

This hymn ranks with the best of the evening hymns of the English language though it is practically all that survives of the more than two thousand hymns that came from the too prolific pen of the author.

James Edmeston, a member of the Church of England, was an eminent London architect and surveyor who had a great love for and interest in children and possessed a gift for writing sacred poetry. He had the habit of writing a hymn every Sunday and reading it at family worship.

During the Boxer uprising in China in 1900, in which many Americans lost their lives, a group of missionaries, beleaguered outside of Shanghai, found in this hymn the expression of their feelings, as well as a great source of comfort. One of them wrote:

Separated from home and friends, facing death in a far-off land, and full of tenderest feelings, we lifted our hearts in song:

“Though destruction walk around us, Though the arrows past us fly: Angel guards from Thee surround us; We are safe if Thou art nigh.”

Out of the storm each soul, renewing its strength, mounted up with wings as eagles and found peace in the secret of His presence. Our Saviour breathed, in very deed, “an evening blessing,” the fragrance of which remains even unto this day. The last verse of the hymn, “Should swift death this night o’ertake us,” was omitted. It seemed too probable that it might. We wanted only to think of the safe-keeping, and such, thank God, it proved to be.

_MUSIC._ The tune EVENING PRAYER was written by Stebbins while music director at Tremont Temple, Boston, as a response to be sung after the morning prayer. Two years later it was set to this evening hymn by the composer himself, for use in an evangelistic campaign in Providence, R. I. Stebbins writes, “I arranged to have a male choir of 20 voices sing the music as set to the beautiful hymn, and to my gratification found they were admirably suited to each other. Since then the hymn has been used in many gospel hymn books and church hymnals, both here and abroad. It has been used also in St. Paul’s Cathedral, in London.”

George C. Stebbins, 1846-1945, was born and reared on a farm in New York. He became interested in music through the country singing school. After serving as music director at the First Baptist Church, Chicago, and Tremont Temple, Boston, he became associated with D. L. Moody and helped organize choruses for many of Moody’s evangelistic campaigns both here and abroad. He was co-editor with Ira Sankey and James McGranahan of various editions of _Gospel Hymns_ and was himself one of the best composers of gospel hymn tunes. He lived to be nearly 100 years old.

The hymn is also set to the tune “Ringe Recht” (147) in some hymnals.

39. Unheard the dews around me fall _Anonymous_

This hymn, emphasizing the silences of God as manifested in the world without and within, is of anonymous authorship. It is found in _Hymns of the Spirit_ but most of the other modern hymnals have overlooked it.

_MUSIC._ WINDSOR is an English tune of unknown origin. It was set to Psalm 116 in a book of Psalm tunes by M. William Damon, published in 1591. It is one of a number of tunes written in the minor mode which appear in the _Hymnary_. Note that the “Amen” closes with the chord in F major, in keeping with the general practice of following a minor tune with an “Amen” in which the last chord is in the major mode.

In _Songs of Praise_, London, 1931, this tune is set to the hymn “Jesus, the very thought of Thee” (155).

40. Abide with me; fast falls the eventide _Henry F. Lyte,_ 1793-1847

One of the great consolation songs of Christianity. It is really not an evening hymn, but for a person in his last illness, when the thought of passing through the gateway of death, and the glory of the great beyond are the soul’s vital concern. It has long been sung at evening services because, presumably, the end of the natural day suggests the evening of life, and the mood of the tune is so well suited to the pensive quietness of the close of day.

Henry F. Lyte, a Scotsman, was a young clergyman in the Church of England when he wrote this hymn. There is a popular tradition that he wrote it near the end of his life when ill health compelled him to resign his parish and after he held his last communion on September 4, 1847. But James Moffatt, the distinguished historian and translator of the Bible, gives a different account of its origin. He says the hymn was inspired during the fatal illness of an intimate friend of the author, Rev. William A. Le Hunte. Dr. Lyte was constantly at the side of his dying friend who, in his closing hours, repeatedly said these words, “Abide with me,” which moved Dr. Lyte to write the hymn. Twenty-seven years later, 1847, when he felt his own end approaching, he recalled the hymn.

_MUSIC._ EVENTIDE is Monk’s best known tune. In a letter to J. C. Hadden, Mrs. Monk wrote: “This tune was written at a time of great sorrow—when together we watched, as we did daily, the glories of the setting sun. As the golden rays faded, he took up some paper and pencilled that tune which has gone over all the world.” The composition is said to have been completed in ten minutes. It was the last hymn sung by the Canadian nurse Edith Cavell before she suffered martyrdom in Belgium, October 12, 1915.

Wm. H. Monk, 1823-89, English organist and composer, devoted his life to the service of church music. For forty years he held the post of organist at King’s College, London, and St. Matthias, Stoke Newington, devoting himself to the advancement of good congregational singing. “He taught many to praise God who had never praised Him before; he taught others to praise Him more worthily than hitherto.” He was the music editor of the famous _Hymns Ancient and Modern_, published in England, 1861.

CLOSE OF WORSHIP

41. Blest be the tie that binds _John Fawcett_, 1740-1817

This hymn is often sung at the close of church meetings. Sometimes the custom of the people joining hands while singing is observed.

John Fawcett, an English Baptist minister, was serving a small country church in Yorkshire when he received and accepted a call to a large city church in London, which paid a salary more suited to the needs of his big family. His farewell sermon had been preached, six or seven wagons stood loaded with his furniture and books, and all was ready for his departure. But when the members of his humble flock turned out to bid farewell, many of them in tears, and imploring him to stay, it was more than he or Mrs. Fawcett could stand. He ordered the wagons unloaded and the furniture put back in its place, and sent a message to the London church that he was not coming. Afterwards he wrote this hymn which was to become one of the most famous in the English language.

_MUSIC._ DENNIS is simple and easy of performance, yet pleasing and effective. The tune was composed by Hans Georg Nägeli, 1768-1836, a Swiss, who was born near Zurich where he spent most of his life as music publisher, composer, and teacher. He was a prominent figure in public school music and was greatly interested in church music.

Lowell Mason found this melody in manuscript form and arranged it for use as a church tune.

For comments on Lowell Mason see Hymn 12. The tune “Boylston” (214) is also used with this hymn.

42. The Lord be with us as we bend _John Ellerton_, 1826-93

The hymn is particularly appropriate for the close of an evening service.

John Ellerton was a minister of the Church of England, a teacher, author, and one of England’s most distinguished hymnists. He assisted in editing the famous _Hymns Ancient and Modern_, London, 1861. He was early surrounded with religious influences and had a happy childhood life. Of his parents he wrote, “I used to feel how happy my father and mother were, even more than how good they were.” He composed about fifty hymns and made about ten translations, a large proportion of which have found their way into church hymnals. He refused to take out a copyright for any of his hymns, saying that “if any are counted worthy to contribute to Christ’s praise in the congregation, one ought to feel very thankful and humble.” His hymns, of which there are eight in the _Hymnary_, are elevated in tone and devotional spirit.

_MUSIC._ BEATITUDO was written for the Revised Edition of _Hymns Ancient and Modern_, 1875, and was set to the words, “How bright these glorious spirits shine.”

For comments on the composer, J. B. Dykes, see Hymn 1.

43. Savior, again to Thy dear Name we raise _John Ellerton_, 1826-93

This, the most popular of Ellerton’s hymns, was originally written in 1866 for a choir festival. It was revised and condensed to these four verses, rich in poetic beauty and spiritual power, to take a high place among our evening hymns. The first stanza may be used with good effect as a choral benediction. The last stanza was sung at Ellerton’s funeral on June 20, 1893.

For comments on John Ellerton see Hymn 42.

_MUSIC._ ELLERS was composed for this hymn in 1869.

Edward John Hopkins, 1818-1901, was a distinguished English church musician who served as organist in several important London churches, including Westminster Abbey. He was a prolific composer of church music of fine quality—services, hymn-tunes, anthems, organ pieces—and enjoyed a great reputation as editor of hymn books.

44. O Savior, bless us ere we go _Frederick W. Faber_, 1814-63

A hymn for the close of evening worship.

Frederick W. Faber was educated at Oxford and became a minister in the Church of England. He began his parish work at Elton where he became a forceful preacher and was known for his fine Christian character and lovely spirit. Church attendance increased, the parish grew, and the people who had been known for their intemperance and immorality were now reputed for their thrift and good behavior.

Under the influence of John Henry Newman, Faber changed his views and joined the Roman Catholic Church. After a trip to Rome, he lived at Birmingham where he formed, with eight others, a community called “Brothers of the Will of God.” Later he moved to London where he continued his service in the Catholic Church until his death at the age of forty-nine. He wrote many theological and devotional books but is best known for his hymns of which he wrote 150, among which are such favorites as “There’s a wideness in God’s mercy” (58) and “Faith of our fathers” (154). His hymns are numbered among the treasures of English hymnody. They are devotional in spirit and with slight alterations appropriate for use in all Christian churches.

_MUSIC._ SURREY is a beautiful tune which became immediately popular and has remained so, especially in England. The composer, Henry Carey, 1692-1743, was a teacher in boarding schools and private families in England. He composed a large number of secular songs and was only incidentally a writer of church music.

45. Lord, dismiss us with Thy blessing _John Fawcett_, 1740-1817

This popular dismission hymn is ascribed to the English Baptist minister, John Fawcett, who is best known as the author of “Blest be the tie that binds.” The hymn has undergone some alteration with the passing of the years. The third stanza originally read:

“So whene’er the signal’s given “Us from earth to call away, “Borne on angels’ wings to heaven “Glad the summons to obey, “May we ever “Reign with Christ in endless day.”

For comments on John Fawcett see Hymn 41.

_MUSIC._ SICILIAN MARINERS is a familiar tune of unknown origin which has been set to various hymns, including the Latin “_O Sanctissima, O Purissima_,” and the German “_O du fröliche, o du selige_.” The tune, sometimes called “Sicily,” is not known in Sicily today.

GOD THE FATHER—HIS MAJESTY AND POWER

46. Mighty God, while angels bless Thee _Robert Robinson_, 1735-90

The author of this hymn had a unique career. Robert Robinson, born in Norfolk, England, of lowly parentage, was left fatherless at eight to be the sole support of his widowed mother. At fourteen he was apprenticed to a barber in London who frequently reprimanded him for giving too much time to the reading of books and too little to business. At seventeen he heard the great evangelist Whitefield preach a sermon on Matthew 3:7 and decided to dedicate his life to God. His complete conversion he dates a few years later, 1755. He began preaching under the Methodists but soon developed independent views and in 1759 he received adult baptism and united with the Baptists. Shortly afterwards he became the pastor of a small Baptist church in the university town of Cambridge. He was a gifted scholar, and though he had little formal education, he held the respect of Cambridge students, notwithstanding the taunts of university professors. Serving a small and poor congregation and being without finances to support his large family, he helped himself by engaging in farming and carrying on business as a coal and corn merchant while preaching twice a Sunday and holding evangelistic meetings during the week. In this he succeeded in a very remarkable measure, aided by the fact that he knew the soil and the tillers of the soil and was gifted with the sense of humor and a Spurgeon-like wit. Besides this hymn, he also wrote the well-known hymn, “Come, Thou fount of every blessing” (189).

_MUSIC._ CRUCIFER, originally known as “Bethany,” was composed by Henry Smart for “Jesus, I my cross have taken.” The composer favored unison singing of this melody, at moderate tempo. Most congregations will find the pitch range in the melody too wide for best results in unison singing.

Henry Smart, 1813-1879, turned from the legal profession to devote his life to music. Though largely self-taught, he became one of England’s distinguished organists and builder of organs. He suffered from poor eyesight and the last fourteen years of his life he was totally blind, but he kept on playing and composing for he had a very retentive memory and possessed a rare skill in extempore playing. Smart was a strong advocate of congregational singing, but favored the unison singing of melodies, and had a decided prejudice against what he considered unduly fast congregational singing.

47. I sing the mighty power of God _Isaac Watts_, 1674-1748

A hymn of praise, magnifying the power, wisdom, goodness, and omnipresence of God as revealed in creation. It appeared first in Watt’s _Divine and Moral Songs for the Use of Children_ where it was entitled, “Praise for Creation and Providence.” The original has eight stanzas.

For comments on Watts see No. 11.

_MUSIC._ ELLACOMBE is a cheerful, unpretentious tune that deserves to be better known. The source designated is _Gesangbuch der Herzogl_ published in 1784, but some of our best authorities are content to leave its exact origin in doubt. It found its way into English hymnals soon after it was published in _Vollständige Sammlung der gewöhnlichen Melodien zum Mainzer Gesangbuche_, by X. L. Hartig, in 1833.

MAKER OF HEAVEN AND EARTH

48. This is my Father’s world _Maltbie D. Babcock_, 1858-1901

The original has sixteen stanzas, each beginning with the words “This is my Father’s world,” a good slogan to begin and end the day. It appeared in the author’s _Thoughts for Every Day Living_, a book of religious verse. The hymn expresses a confident attitude toward life and a buoyant faith in God.

Maltbie D. Babcock, prominent Presbyterian minister, was born in Syracuse, New York, graduated from Syracuse University and Auburn Seminary and then began his first pastorate at the First Presbyterian Church, Lockport, N. Y. His second pastorate was at Brown Memorial Church, Baltimore, where he was popular with the students at Johns Hopkins University. He then received a call to the Brick Church, New York City, where he became the successor of Henry van Dyke. In his student days he was known as a fine student, a great athlete, a good musician, and a friend to all. He loved young people and during his ministry they turned to him for counsel.

_MUSIC._ The tune TERRA BEATA is simple, light in movement, and easy to sing. It was composed by Franklin Sheppard, 1852-1930, a Philadelphia business man, Presbyterian layman, and friend of Dr. Babcock. Sheppard was also an accomplished musician. He modestly attributed the tune to an old English folk melody, but it is known now that he himself was the composer. He named the tune “Terra Beata,” happy or blessed earth.

The arrangement in the _Hymnary_, known as “Terra Patris,” is by Edward Shippen Barnes, a contemporary American organist and composer. His harmonization is a little more difficult to sing but also more interesting than the original by Sheppard.

49. Let the whole creation cry _Stopford A. Brooke_, 1832-1916

The hymn is an imitation of Psalm 148. It is a universal call to praise rather than an expression of praise, hence it is addressed not to God but to his creation everywhere, as a call to worship God. The hymn is characterized by literary grace, simplicity, and tenderness, and is included in many modern hymnals.

Stopford A. Brooke, born in Ireland, was educated at Dublin, then became a clergyman in the Anglican Church. For a time he was one of the most popular preachers in London. In 1880, being restive under the doctrinal standards of the church, he severed his relation with the Anglicans and continued a ministry of preaching and lecturing and writing as an independent, not associated with any denomination. His _Life and Letters of F. W. Robertson_ ranks among the classic biographies. In 1881, he compiled _Christian Hymns_ for use in his own congregation, in which this hymn is found, the original having ten stanzas.

_MUSIC._ ROLAND is an easy, flowing tune which congregations love to sing after learning it well. It is suitable for use as a processional. The composer, Caleb Simmer, born 1856, was an American musician. His sacred pieces include anthems, quartets, cantatas, and organ music.

50. The spacious firmament on high _Joseph Addison_, 1672-1719

This hymn was praised by Lord Selbourne as “a very perfect and finished composition, taking rank among the best hymns of the English language.” The author, Joseph Addison, was an eminent Englishman of letters. Dr. Samuel Johnson said of him, “Whoever wishes to attain an English style, familiar, but not coarse, elegant but not ostentatious, must give his days and nights to the volumes of Addison.” In 1712, Addison wrote a series of essays in the _Spectator_, concluding each essay with a hymn. In the issue of August 23, this hymn, a free rendering of Psalm 19, formed the conclusion to an essay on “The Proper Means of Strengthening and Confirming Faith in the Mind of Man.”

_MUSIC._ CREATION is an adaptation of a part of the magnificent chorus (No. 14) in Haydn’s oratorio, _The Creation_. For comments on Haydn, see Hymn No. 27.

51. For the beauty of the earth _Folliott S. Pierpoint_, 1835-1917

This delightful hymn of thanksgiving was originally written for the communion service to bring the note of joy into the solemn sacrament, making it truly an “eucharist.” It is now used frequently at Thanksgiving and children’s services. It names many causes for praise and thanksgiving, from the “beauty of the earth” to the “church that lifteth holy hands.”

The author, Folliott S. Pierpoint, was born at Bath, England, and educated at Cambridge. He was a teacher of the classics, published several books of poems, and made notable contributions to the hymnody of the church.

_MUSIC._ DIX appeared first in a collection of chorales edited and published by Kocher in Stuttgart in 1838, set to the hymn “_Treuer Heiland, wir sind hier_.” It has long been used with the words, “As with gladness men of old” (530), by W. C. Dix, hence the name “Dix.” It has a strong, joyous tune which marches with stately tread and is a favorite processional.

Conrad Kocher, 1786-1872, was a German student of church music, a composer and teacher. He studied at St. Petersburg and in Rome. He founded the School of Sacred Song in Stuttgart, which did much to improve German church music and popularize four-part singing in Germany.

52. God of the earth, the sky, the sea _Samuel Longfellow_, 1819-92

A hymn which finds God in every aspect of nature. For comments on the author, Samuel Longfellow, see Hymn 28.

_MUSIC._ SHELTERING WING, a long-meter melody admirably suited to these words, is by the English church musician, Joseph Barnby, 1838-96. For comments on him see Hymn 19.

53. Lord of all being, throned afar _Oliver W. Holmes_, 1809-94

A hymn difficult to praise too highly, probably the greatest penned on the omnipresence of God. Its first appearance was in the _Atlantic Monthly_ as the final installment of the series of articles later collected into book form and entitled _The Professor at the Breakfast Table_. The work closed with the following lines and the hymn:

Peace to all such as may have been vexed in spirit by any utterances these pages may have repeated! They will, doubtless, forget for the moment the differences in the hues of truth we look at through our human prisms and join in singing (inwardly) this hymn to the Source of the light we all need to lead us, and the warmth which alone can make us brothers:

Lord of all being! throned afar, Thy glory flames from sun and star; Centre and soul of every sphere, Yet to each loving heart how near.

Oliver Wendell Holmes was the son of a Congregational minister in Cambridge, Massachusetts, although later when he became established as a physician in Boston, he united with the Unitarians. His writings are nevertheless permeated by an evangelical warmth which has made his hymns acceptable to all denominations. Holmes was a distinguished graduate of Harvard University in Arts and Medicine and spent most of his years teaching anatomy at Harvard. But he is best known to us as a man of letters. None of his writings is so widely known as the two hymns, “Lord of all being” and “O Love divine, that stooped to share” (172), both of them found in the author’s _The Professor at the Breakfast Table_.

_MUSIC._ LOUVAN is by an American musician, Virgil C. Taylor, 1817-91, organist and editor of song books. This is the only one of his tunes now in common use. An alternative tune that fits the hymn very well is “St. Crispin” found at No. 149.

HIS LOVE AND MERCY

54. Be still, my soul, the Lord is on thy side _Katharina von Schlegel, born c._ 1697 _Tr. Jane L. Borthwick_, 1813-97

The hymn is a translation of a poem by Katharina von Schlegel. She was born in Germany, 1697. No one seems to have found anything definite concerning her life, except that she wrote some hymns, one of which passed into the English language. The original, based on Psalm 46:10, “Be still and know that I am God,” had four stanzas, as follows:

Stille, mein Wille! Dein Jesus hilft siegen; Trage geduldig das Leiden, die Not; Gott ist’s, der alles zum besten will fügen, Der dir getreu bleibt in Schmerzen und Tod. Stille, mein Wille! Dein Jesus wird machen Glücklichen Ausgang bedenklicher Sachen.

Stille, mein Wille! Der Herr hat’s in Händen; Hält sich dein Herz nur im Glauben an ihn, Wird er den Kummer bald wenden und enden Herrlich wird endlich, was wunderbar schien. Stille, mein Wille! Dein Heiland wird zeigen, Wie vor ihm Meer und Gewitter muss schweigen.

Stille, mein Wille! Wenn Freunde sich trennen, Die du so zärtlich und innig geliebt, Wirst du die Freundschaft des Höchsten erkennen, Der sich zum Eigentum treulich dir gibt. Stille, mein Wille! Dein Jesus ersetzet, Was dich beim Sterben der Liebsten verletzet.

Stille, mein Wille! Es kommen die Stunden, Dass wir beim Herrn sind ohn’ Wechsel der Zeit; Dann ist das Scheiden, der Kummer verschwunden. Ewige Freundschaft vergütet das Leid. Stille, mein Wille! Nach zeitlichem Scheiden Sehn wir uns wieder ohn’ Schmerzen und Leiden.

The words, both in the original and in the English translation, are of great beauty and their message has brought real comfort to many a burdened and disquieted soul.

The translation is by Jane Borthwick, born in Edinburgh, who, with her sister, Sarah B. Findlater, did outstanding work as a translator of German hymns. Only Catherine Winkworth surpassed her. Miss Borthwick, a member of the Free Church of Scotland, was a devout Christian character, especially interested in the mission work of the church, both home and foreign. Another of her well-known translations is “My Jesus, as Thou wilt” (250) from the original by Benjamin Schmolke.

_MUSIC._ FINLANDIA is from the pen of Jean Sibelius, born December 8, 1865, in Finland, and undoubtedly the greatest living composer. At this writing, 1948, he is still living, but, through the misfortunes of war, reduced to penury and poverty. Besides seven symphonies, he wrote many smaller orchestral works. This tune is from the tone poem “Finlandia,” the arrangement having been made for the _Hymnal of the Presbyterian Church_ in 1932. It is included in a number of recent hymn books and has become a favorite with worshipping congregations wherever introduced.

55. God is love; His mercy brightens _John Bowring_, 1792-1872

A bright, joyful hymn which we owe to a layman, Sir John Bowring, born at Exeter, England, 1792. Though a member of the Unitarian Church, his faith was apparently that of an evangelical. On his tombstone are engraved the words of another great hymn which he himself wrote, “In the Cross of Christ I glory” (See 110). Bowring was the son of a manufacturer of woolen goods and he spent his early years travelling in all parts of the world in the interest of his father’s business. Though he left school at the age of 14, he became an outstanding linguist and scholar and writer. At the age of 16, he had acquired five languages and late in life he is said to have known 200 languages and spoken 100. One of his primary interests was politics. He was elected to the British Parliament and later became the British consul at Canton and the governor of Hong Kong. He published a book of _Hymns_ with the desire that they might be useful in strengthening the religious faith of others who under suffering and disheartening circumstances might chance to read them.

The hymn is constructed to emphasize in each stanza the idea of God as wisdom (I Cor. 1:30) and love (I John 4:8).

_MUSIC._ STOCKWELL, a very useful tune, appeared in Lowell Mason’s popular collection of hymns, _New Carmina Sacra_, in 1850, set to the words, “Silently the shades of evening,” written by Christopher Cox.

The composer, Darius Eliot Jones, 1815-81, was born at Carroll, N. Y. His father, Abner Jones, was a well-known music teacher in New York. Darius spent twenty years of his adult life in business. He served for a time as assistant editor of the _Choral Advocate_, published by Mason Brothers, New York, and at the same time conducted the music in Plymouth Church, Brooklyn, where Henry Ward Beecher was pastor. At Beecher’s suggestion, Jones prepared a new hymn book, _Temple Melodies_, 1861, for use in Plymouth Church. Feeling a call to the Christian ministry, Jones entered Iowa College, at Davenport, as a student and at the age of 43 was ordained as a Congregational minister. He served churches at Columbia City and Newton Center, Ia., until 1863, when he became treasurer of the Iowa General Association. For a year, he was agent for the American Bible Society; and for four years, 1866-70, he was agent for Iowa College, later located at Grinnell and known as Grinnell College. Here Jones published a second hymn book, _Songs for the New Life_, in 1869. From that time on, he served various churches in Iowa until his death in 1881.

56. How gentle God’s commands _Philip Doddridge_, 1702-51

This hymn, beautiful in poetic imagery, is based on I Peter 5:7, “Casting all your care upon Him: for He careth for you.” When it first appeared, posthumously, in a book of hymns by the author, it bore the title, “God’s care a remedy for ours.”

Philip Doddridge was born in London, the youngest of a family of twenty, most of whom died in childhood. His father was an oil merchant. Before he could read, he had learned from his mother the stories of the Bible by the aid of Bible pictures on the Dutch tiles that covered a portion of the living room. Doddridge became a minister in the Congregational Church and devoted his life not only to preaching, but to writing books and teaching young men for the ministry. In 1751, he went to Lisbon to seek relief from tuberculosis but died there. He is the author of over 400 hymns, a few of which have survived, and are found in most hymn books. The _Hymnary_ contains six of his compositions.

_MUSIC._ DENNIS. For comments on this tune see Hymn 41.

57. Thou Grace Divine, encircling all _Eliza Scudder_, 1821-96

The hymn was written by Eliza Scudder, an American hymn writer of the middle nineteenth century. She was born in Boston, and died in Weston, Massachusetts. She was a niece of Edmund H. Sears, author of “It came upon a midnight clear” (No. 75). Miss Scudder was a person of deep religious insight and lived a quiet, retiring life. She published a book of religious verse, _Hymns and Sonnets_, in 1880. During most of her

## active life she was a Unitarian, but in later life joined the Episcopal

Church.

_MUSIC._ BALLERMA (misspelled Balerma in some editions of the _Hymnary_) is a very simple tune, the second pair of lines varying only slightly from the first pair. The origin of the tune is uncertain. It is thought to be an old Spanish melody, arranged by F. H. Barthélémon.

For comments on Barthélémon see Hymn 2.

58. There’s a wideness in God’s mercy _F. W. Faber_, 1814-63

The original of this poem has thirteen stanzas, the first of which reads:

Souls of men! why will ye scatter Like a crowd of frightened sheep? Foolish hearts! why will ye wander From a love so true and deep?

The five stanzas selected for use here make an impressive and coherent hymn with no trace of the author’s strong Roman Catholic bias which characterizes nearly all of his hymns.

For comments on F. W. Faber see Hymn 44.

_MUSIC._ WELLESLEY was written, by request, for the graduation hymn of the Newton (Mass.) high school class of which Miss Tourjee was then a member. The original tune had a slight fault in voice leading which was corrected, with her permission, by Dr. Hamilton C. Macdougall, then Professor of Music at Wellesley College.

Lizzie S. Tourjee, 1858-1913, was a student at Wellesley College during the year 1877-78. In 1883, she married Frank Estabrook. Her father, Dr. Eben Tourjee, encouraged her in the writing of the tune, and named it for the new college nearby where she became a student for one year.

59. Father Almighty, bless us with Thy blessing _Anonymous_

A prayer of invocation seeking the blessing and guidance of Almighty God. The authorship is anonymous.

_MUSIC._ INTEGER VITAE (or FLEMMING) was composed by Flemming for a chorus of men’s voices. It was set to “Integer Vitae,” an ode by Horace. The tune became a great favorite with college men not only in this country but also in England and Germany. It was introduced as a hymn tune through the hymnals of Dr. Charles R. Robinson, _Songs of the Sanctuary_, and _Laudes Domine_, and has since been widely used and accepted as one of our most satisfactory hymn tunes. It is one of the favorite tunes in the _Gesangbuch mit Noten_ where it is set to the words, “_Ach mein Herr Jesu_.”

The composer, Frederick Ferdinand Flemming, M. D., 1778-1813, received his training in medicine and was a successful practitioner in Berlin. He is known to posterity, however, as a composer of part songs for men’s choruses, and more particularly as the composer of this tune.

60. God moves in a mysterious way _William Cowper_, 1731-1800

There is no basis, according to most hymnologists, for the story that this hymn was written after Cowper was mysteriously prevented from committing suicide by drowning. The hymn was published by John Newton in the _Olney Hymns_, 1779, and rapidly became popular. It is still found in nearly all the hymnals. Its original title was “Light shining out of darkness.” Its central thought is that God is working His sovereign will even in the mystery and perplexity of human life, bringing light, not _after_ darkness, but _out of_ darkness.

William Cowper, 1731-1800, was the greatest English poet of his age. He had been trained for the law and was called to the bar at the age of twenty-three but had to retire on account of ill health. He lost his mental balance and became deeply melancholic, a misfortune which is attributed to cruelty received at the hands of older and stronger lads while he attended preparatory school. After treatment in a private asylum, and living for a time in the home of Rev. Morley Unwin, he moved to Olney where his devoted friend, the Rev. John Newton was curate. Here he assisted Newton in his parochial and evangelistic work and collaborated with him in the production of what became known as the _Olney Hymns_. In spite of efforts at literary work, his depression of spirit returned and never left him, except for brief intervals, until his death in 1800.

_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.

61. O God, our help in ages past _Isaac Watts_, 1674-1748

Based on Psalm 90:1-6: “Lord, thou hast been our dwelling place in all generations,” etc., this is Watt’s greatest hymn and one of the greatest in the English language. It is found in all English hymn books and has been translated into many languages. Its smoothness, simple dignity, and faithfulness to Scripture give it the marks of a true church hymn, and it has probably been chosen more than any other for use upon important occasions. It is an indispensable New Year’s hymn.

A press dispatch related how the hymn was used during the Second World War by a group of eleven doomed Norwegians as they faced a Nazi firing squad in the village of Selbu outside of Trondheim, Norway, for “general hostility” to German occupiers. “Despite the torture to which they had been subjected to earlier,” writes an eye-witness, “the group of prisoners, linked hand in hand, proudly and firmly faced their executioners. One of the men, Peter Morseth, who for years led the singing in the local church, read a short prayer and was joined by his companions in singing the hymn, ‘O God our help in ages past.’ Then the shots rang out.”

John Wesley printed the hymn in his _Collection of Psalms and Hymns_, 1734, altering the opening line from “Our God, our help,” to “O God, our help.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ ST. ANNE appeared anonymously, in two parts—treble and bass—in _A Supplement to the New Version of Psalms by Dr. Brady and Mr. Tate. ... the sixth edition, corrected and much enlarged_, 1708, where it was set to Psalm 42. It is attributed upon good authority to William Croft, 1678-1727, who was interested in the production of the Tate and Brady _New Version_. Croft is one of the greatest names in English musical history.

For further comments on Croft, see Hymn 6.

62. The Lord is my Shepherd _James Montgomery_, 1771-1854

One of the fine metrical versions that have been made of the Twenty-third Psalm. It Is found in Montgomery’s _Songs of Zion, being Imitations of Psalms_, 1822. Another much-loved and widely used version of the same Psalm is that in the _Scottish Psalter_ (See 579).

James Montgomery, greatest of Moravian hymn writers, was born in Ayrshire, Scotland, near the birthplace of Robert Burns. His father became a minister in the Moravian Church and finally went as a missionary to the West Indies where both he and his wife died. After spending a part of his youth in precarious and doubtful ways of living, and failing in several business ventures, James became the editor of _The Sheffield Register_, a position he held with honor and distinction for thirty-one years. He was twice imprisoned for expressing liberal political views in his paper. He is classed by the _literati_ as a minor English poet, but in the writing of hymns he ranks with Wesley, Watts, and Doddridge. Of his 400 hymns, 100 are still in use. Eleven of his hymns are found in the _Hymnary_, exceeded in number only by those of Hosmer, Wesley and Watts. All of Montgomery’s hymns show a marvelous knowledge of the Scriptures on the part of their author. He found in the Psalms an inexhaustible source of devotional material and made metrical versions of many of them.

_MUSIC._ POLAND. The tune is unique in the _Hymnary_ in that the melody in the first three lines is found in the alto. To bring the melody out with sufficient clearness, the altos might well be reenforced by some sopranos, or men’s voices, or both.

Thomas Koschat, 1845-1914, was an Austrian composer and singer. While a student of natural science at Vienna University he sang in the Court Opera Chorus, and soon became its leader. In 1875, Koschat organized the Kärnthner Quintet which became famous for its singing of Carinthian folk songs. He is known for his harmonization of Carinthian melodies and original songs in their style, for which he wrote the texts.

63. Father and Friend, Thy light, thy love _John Bowring_, 1792-1872

A hymn on the omnipresence of God who reigns as Lord of life and cares for His children.

For comments on John Bowring see Hymn 55.

_MUSIC._ ILLA, a simple long-meter tune within easy compass of the voices, is by the American composer, Lowell Mason, 1792-1872, an exact contemporary of Bowring. Mason’s tunes were popular at first and then for a time they were frowned upon by some of the “highbrow” musicians but in late years are returning with new favor into the hymn books. Mason’s name appears 24 times in our collection.

For further comments on Mason see Hymn 12.

64. Let us with a gladsome mind _John Milton_, 1608-74

This delightful lyric is the result of John Milton’s paraphrasing of Psalm 136 when he was a boy of 15 years. The original has 26 stanzas. The Psalm tells the story of Israel’s history, ending each verse with the refrain, “For his mercy endureth forever.” The selections here are his renderings of verses 1, 2, 7, and 25. The closing stanza returns to verse 1.

John Milton, the poet, was born in London, the son of the John Milton, who had turned from the Roman Catholic Church to become a Protestant. The future poet went to Christ’s College, Cambridge, where he received his B.A. in 1628 and M.A. in 1632. His short poems and paraphrases were written at an early age and constitute some of his best work. The second period of his literary career was given almost entirely to writings on political subjects for he lived in the day of the controversies which led to Civil War and the establishment of the Commonwealth in England. Milton joined Oliver Cromwell as his secretary for foreign tongues to the Council of State, a position he held until the eve of the Restoration, when he barely escaped the scaffold. For years he had suffered from poor eyesight and became totally blind in his forty-fourth year. The third period of his life, after the Restoration of the Monarchy, was lived in close retirement. During this time he produced his greatest writings: _Paradise Lost_, _Paradise Regained_, and _Samson Agonistes_, all of them dictated to others. He ranks second only to Shakespeare among English poets. He translated 19 psalms into meter. Being the scholar’s rather than the people’s poet, he, however, had no great influence on hymnology. His version of Psalm 84 is found at No. 592.

_MUSIC._ INNOCENTS appeared, anonymously, in the _Parish Choir_, 1850, a publication issued by members of the Oxford Movement in England who went by the name of “The Society for Promoting Church Music.” The “Society” laid down the following principles for singing:

1. Congregational singing should be in unison.

2. The melody should be clearly marked.

3. The compass should be within the natural limits of the human voice.

4. Metrical psalmody should be confined to tunes in common time, as being more simple and solemn than triple time.

After three years of precarious existence, 1846-49, the _Parish Choir_ was discontinued. INNOCENTS appeared at the end of Volume III amongst a number of old psalm tunes, appointed to be sung to a hymn for Innocents Day, hence the name. Lightwood attributes the tune to Joseph Smith, born in 1800, near Birmingham, England. Smith was not a professional musician but very fond of music, an excellent singer, and composer of many hymn tunes and other pieces. The editor of the _Parish Choir_ altered the original to the present form. It made its way into _Hymns Ancient and Modern_, 1861, and is now found in many modern hymn books.

JESUS CHRIST OUR LORD—HIS ADVENT

65. Hail to the Lord’s Anointed _James Montgomery_, 1771-1854

A rendering of Psalm 72, made in 1821 for the Christmas worship of a Moravian settlement. The original has eight stanzas. Montgomery was greatly interested in missions and this hymn, generally esteemed his finest composition, is a good missionary hymn as well as a splendid one for the Advent season. Dr. Adam Clarke gave it wide publicity by publishing it in his famous _Bible Commentary_, 1822, at the end of his exposition of Psalm 72, adding this note:

I need not tell the intelligent reader that he has seized the spirit, and exhibited some of the principal beauties, of the Hebrew bard; though (to use his own words in a letter to me) his “hand trembled to touch the harp of Zion.” I take the liberty here to register a wish, which I have strongly expressed to himself, that he would favor the Church of God with a metrical version of the whole book.

It is interesting to compare this hymn with Isaac Watts’ rendering of the same psalm (341).

For comments on James Montgomery see Hymn 62.

_MUSIC._ WEBB, also known as “Morning Light,” was composed for a secular song, “’Tis dawn, the lark is singing,” and first published in _Odeon: A Collection of Secular Melodies_, by G. J. Webb and Lowell Mason, 1837. It first appeared as a hymn tune in _The Wesleyan Psalmist_, 1842, and later it was used for the hymn “The morning Light is breaking,” in books by Mason and Webb.

The composer, George James Webb, 1803-87, a member of the Swedenborgian Church, was born near Salisbury, England; studied theology and music; came to the United States and became associated with Lowell Mason in editing and publishing music books. He was married to Mason’s daughter, Mary. He played the organ at Old South Church, Boston, and was Professor of Secular Music in the Boston Academy of Music.

66. Watchman, tell us of the night _John Bowring_, 1792-1872

An Advent and missionary hymn, unique in that it consists of a dialog (between a watchman and a traveller). The hymn is based on Isaiah 21:11, 12: “Watchman, what of the night? watchman, what of the night? The watchman said, The morning cometh, and also the night: if ye will enquire, enquire ye: return, come.” The meaning of the passage is not evident from the context. Dr. C. S. Robinson describes the setting as follows:

The image it presents is singularly dramatic and picturesque. The

## scene is laid in the midst of the Babylonian Captivity. A lonely

watchman is represented as standing on the ramparts of some tower along the defenses of the citadel. He seems to be anxiously looking for the issues of the siege leveled against it. The time is midnight. Calamity is over the land. The people are afflicted. Their enemies are pressing them hard. That solitary sentinel sadly remains at his post, peering into the unlit gloom, trying to discern signs of deliverance. But the heavens are starless, and the impenetrable clouds keep rolling on. Suddenly an unknown voice pierces the air. Whether in wailing sorrow or in bitter taunt, is not evident; but out of the stillness already grown oppressive breaks the question with repetitious pertinacity: “Watchman, what of the night? Watchman, what of the night?” The sentinel waits through a moment of surprised meditation and then tranquilly answers: “The morning cometh and also the night; if ye will inquire, inquire ye: return, come.” Then the dialog lapses into silence again, and the night gathers its unbroken shadows deeper than ever.

For comments on John Bowring see Hymn 55.

_MUSIC._ WATCHMAN is by Lowell Mason who wrote the tune in 1830 in 3-4 time. He intended it as a duet between soprano and tenor, with the congregation repeating the last line of each stanza (the reply of the watchman). The tune also lends itself well to antiphonal singing.

For comments on Mason see Hymn 12.

67. O come, O come, Emmanuel _From the Latin, 12th Century_ _Stanza 1, Tr. John M. Neale_, 1818-66 _Stanzas 2, 3, Henry Sloan Coffin_, 1877—

Veni, veni, Emmanuel captivum solve Israel, qui gemit in exilio, privatus Dei Filio. Gaude, gaude; Emmanuel nascetur pro te, Israel.

The hymn comes from the Latin, being a translation of the first of the seven greater _Antiphons_ (short anthems-verses) sung in the Roman Church at Vespers on the seven days before Christmas. The refrain, “Rejoice, rejoice,” etc., added to the hymn during the 13th century, is the answer to the longing for Christ expressed in each stanza.

The translation of Stanza 1 is by John M. Neale, 1818-66, a Cambridge scholar and the most noted hymnologist and liturgist of his time. He was a minister and author of books on biblical and historical subjects, but his fame rests chiefly on his translations of Greek and Latin hymns. The _Hymnary_ contains ten of his works.

The second and third stanzas were translated in 1916 by Henry Sloan Coffin, eminent Presbyterian minister, formerly of the Madison Avenue Church in New York City, and then for many years president of Union Theological Seminary. He is a recognized leader in contemporary American church life.

_MUSIC._ VENI EMMANUEL, written in the first Gregorian mode, is an adaptation by Thomas Helmore, in 1856, of a melody said to have been found in a French manuscript in Lisbon, which has since disappeared. The original is believed to have been a 12th century “Kyrie.” The harmony in the minor mode gives the tune its quaint flavor. It should be sung with spirit, in keeping with the joyful anticipation embodied in the words. It is effective with men’s voices singing the first part in unison, then all the voices in harmony on the refrain. The tune also lends itself to interesting effects in antiphonal singing.

68. Veiled in darkness Judah lay _Douglas LeTell Rights_, 1891—

Written in 1915, while World War I was raging in Europe and the clouds were gathering thick over the United States. The hymn is an appeal for the Spirit of Christ to bring peace and light to a troubled world. It was composed while the author, a Moravian, was a student at the Divinity School of Harvard University. It was the custom at that institution to have students of the School submit original compositions of hymns, one of which would be selected to be sung at the annual Christmas service of the school. This hymn was selected for the Christmas of 1915.

Douglas LeTell Rights, born in Winston-Salem, N. C., received his A. B. degree from the University of North Carolina and then prepared for the ministry at the Moravian Theological Seminary, Bethlehem, Pa., and at Harvard University. A member of the Moravian Church, anciently called the _Unitas Fratrum_, his first pastorate was at the First Moravian Church, Greensboro, N. C., 1916-18. In 1918-19, he was chaplain in the army in World War I. Since 1919, he has been pastor of Trinity Moravian Church, Winston-Salem, N. C. Rights is the author of _A Voyage Down the Yadkin-Great Peedee River_, 1928, and has written numerous articles on historical and archaeological subjects pertaining to his native state. His latest book is the _American Indian in North Carolina_.

_MUSIC._ EBELING. For comments on the composer of this tune, Johann Georg Ebeling, 1620-76, see Hymn 555.

69. Come, Thou long-expected Jesus _Charles Wesley_, 1707-88

A dignified, yet stirring Advent hymn, based on Haggai 2:7: “The desire of all nations shall come.” One of the first hymns of Wesley, it appeared in a small book of 24 pages. _Hymns for the Nativity of our Lord_, published in 1744. It is found in nearly all the modern hymn books in England and America.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ HYFRYDOL is a Welsh tune composed by Rowland Hugh Prichard, 1811-87, of Bala, Wales, who was active in the church as song leader, soloist, and composer of tunes. This tune is a composition of his youth, while he was still under twenty. It is characterized by its length, smoothness, and utter simplicity, the whole melody moving throughout, except for one note, within the compass of the fifth.

HIS BIRTH

70. Joy to the world! the Lord is come _Isaac Watts_, 1674-1748

This hymn, which has such an important place in the yearly celebration of the Nativity, is a free rendering of the latter part of Psalm 98: “Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise.” Watts entitled it, “Messiah’s Coming and Kingdom.” His effort to put the New Testament gospel into the Psalm resulted in a great hymn of the Advent and Nativity, though his free rendering nearly lost sight of the Psalm itself. He feels all nature thrilling with joy at the Saviour’s birth.

For comments on Isaac Watts see Hymn 11.

_MUSIC._ ANTIOCH is an arrangement, credited by some authorities to Lowell Mason, from Handel’s _Messiah_. The opening phrase resembles the first bar of the chorus, “Lift up your heads,” and the four measures set to “and heaven and nature sing” are reminiscent of the introduction to the tenor recitative, “Comfort ye my people.” It is a stirring tune well fitted to the words. It may be sung antiphonally to good effect, the congregation singing lines 1 and 2 (1st score), the choir, lines 3 and 4 (2d and 3d scores), and both choir and congregation the refrain (last score).

71. Christians, awake! salute the happy morn _John Byrom_, 1692-1763

From a longer poem of 48 lines, written about 1749, by Dr. John Byrom for his daughter Dolly who, when asked what she would like to have for a Christmas present, replied, “Please write me a poem.” On Christmas morning she found on her plate at the breakfast table a sheet of paper on which was written this poem, entitled, “Christmas Day. For Dolly.” It is based on Luke 2.

John Byrom was born in Manchester, England, graduated from Cambridge, studied medicine but gave up its practice in order to teach a system of shorthand he himself had invented, and which became the chief system of shorthand in his time. He was a friend of Charles and John Wesley and taught them shorthand, which Charles especially put to good use in dashing down hymns as they flashed into his mind. Byrom was a man of learning and piety and also was given to wit and humor. He coined the phrase “tweedledum and tweedledee” when the friends of Handel and Buononcini were debating the relative merits of the two composers:

Some say, compared to Buononcini That Mynheer Handel is a ninny. Others aver that he to Handel Is scarcely fit to hold a candle. Strange all this difference should be Twixt tweedledum and tweedledee.

_MUSIC._ YORKSHIRE was composed by a musician and organist, John Wainwright, of whom little is known. He is remembered principally by this tune. Musically and emotionally, the tune is completely satisfactory and well deserves its great popularity. It has been a favorite among English speaking people for nearly a century.

72. Today be joy in every heart _Frederick L. Hosmer_, 1840-1929

A hymn of Christmas peace.

The author, Frederic L. Hosmer, one of America’s foremost hymn writers, was born in Framingham, Mass., and died in Berkeley, Calif. He was educated at Harvard University and Divinity School and served as minister of Unitarian churches in Northboro, Mass., Quincy, Ill., Cleveland, O., St. Louis, Mo., and Berkeley, Calif. At least 35 of his hymns have come into more or less use in this country and in England. The _Hymnary_ includes thirteen, a larger number than of any other writer except Wesley and Watts.

_MUSIC._ DORKING, an English folk tune of anonymous composition, as all folk tunes are, has characteristic grace of melody and strength of rhythm.

73-74. While shepherds watched their flocks _Nahum Tate_, 1652-1715

This carol is the work of Nahum Tate, poet laureate and co-author with Nicholas Brady of the _New Version_ of the psalms in meter, to which was added a supplement in 1770 containing this hymn. The quaint and picturesque paraphrase of Luke 2:9-11, closing with the doxology, was one of the few hymns permitted to be sung in the English churches along with the metrical psalms. It became very popular and has been translated into the Latin and nearly all the living languages. The words have been set to many tunes.

For comments on Nahum Tate, see Hymn 18.

_MUSIC._ CHRISTMAS is an adaptation of a melody from Handel’s opera, _Siroe_. Geo. F. Handel was born in Prussia in 1685 (the same year as J. S. Bach) and died in 1759. He lived in England 50 years and became a naturalized English citizen. He wrote many forms of music but is chiefly known and loved for his oratorio, _The Messiah_.

_MUSIC._ ST. MARTIN’S (74), by William Tans’ur, is less joyful than “Christmas,” but the tune fits the words perfectly. Its quiet, mystic melody suggests the serenity of the Judean hillside where shepherds watched their flocks.

William Tans’ur, 1706-85, was the son of a laborer, whose name is spelled “Tanzer” in the church register. He became a teacher of psalmody, moved from town to town to conduct singing classes, and did much to improve psalm-singing in the Church of England. He published a number of books on music. An eccentric man, given to self-advertisement, he described his first volume _The Harmony of Sion_, 1734, as “The most curiosest Book that ever was published.”

75. It came upon a midnight clear _Edmund H. Sears_, 1810-76

Published by the _Christian Register_ in 1860, the hymn quickly attained wide popularity. Edmund H. Sears was minister of a Unitarian Church at Wayland, Mass. He wrote, “Though I was educated in the Unitarian denomination, I believe and preach the divinity of Christ.” A careful reading of the hymn reveals a fine social message. The author was writing at a time of extraordinary unrest throughout the world, caused in America by the passing of the Fugitive Slave Law, the great forty-niner gold rush to California, and in Europe by the aftermath of the revolution in France and Germany. In the stillness of the first Christmas night, the author finds a message of healing for our restlessness, and with Isaiah looks forward to a golden age when peace shall reign on earth. But when will that time come? The Civil War, tragic irony, followed in ten years! The hope, however, abides and is valid, for peace is in the ultimate plan of God.

_MUSIC._ CAROL was composed by Richard Storrs Willis, brother of the American poet, N. P. Willis. It is a graceful, popular tune, and is often set to “While shepherds watched their flock by night,” for which it is admirably adapted.

76. The first Noel the angel did say _Traditional_

“Noel” is a French word which came to mean several things—a “song of the Birthday,” or “Christmas,” or “Carol.” A carol is a religious song telling the story of a place or person or event. It is less formal and solemn than an ordinary church hymn and was originally intended to be sung outside rather than within the church walls. The words and music of this carol are traditional, which means that no one knows who composed them or when. They are known to have existed as early as the 17th century. It is a very popular carol even though not quite true to the gospel account in verse 2, for it was the wise men, not the shepherds, that saw the star. Since most of the words have to do with the coming of the wise men, the carol is fully as suitable for Epiphany as for Christmas.

_MUSIC._ The tune THE FIRST NOEL is one of the best-known of all English carol airs, especially in the west of England.

77. The stars were silent and the hills _E. Royce_

The poem was published in the _Presbyterian_ about 1939. No specific information is at hand concerning the author. Bixel, composer of the music, is under the impression that E. Royce was a missionary to China who sent this poem to her church paper for publication.

_MUSIC._ SILENT was composed for this carol by James W. Bixel, who was born at Bluffton, Ohio, November 7, 1913. After graduating from Bluffton College, Bixel studied music in Cincinnati Conservatory of Music, where he received his Master of Music degree in composition. He taught music in the public schools of Mt. Gilead, Ohio, and then spent nearly four years in Civilian Public Service. In the fall of 1947 he became a teacher of harmony and piano in the music department of Bethel College. The tune, begun and completed in one evening, has the distinction of being the only one in the _Hymnary_ composed by a Mennonite. Which leads one to observe that our hymns and tunes, like many other elements in our culture, are “ours” by appreciation and use rather than by invention or creation. It may be the future will find us less “practical” minded than heretofore and that poetic and musical gifts will yet come to fruition to make our contribution to the stream of hymns and tunes that have enriched the worship of the Visible Church of all places and ages.

78. What child is this _William C. Dix_, 1837-98

One of numerous carols written by William Dix about 1865.

William Chatterton Dix was the son of a Bristol surgeon. He was educated for a business career and became the manager of a marine insurance company in Glasgow. He maintained, however, his literary interests and wrote the _Life of Chatterton_, the poet; a book of _Pen Pictures of Popular English Preachers_; and other works, including several volumes of devotional poetry. He had been ill in bed on Epiphany Day, and after reading the Gospel for the day, he wrote this hymn, finishing it by evening. It became very popular and is found in nearly all English hymnals. The accuracy of the second verse may be questioned—“To that lowly manger bed.” For it is not likely that the babe Jesus was still in the manger when the wise men appeared.

_MUSIC._ CHRIST THE KING, known in many hymnals as “Greensleeves,” is an old English melody of the 17th century, mentioned somewhere by Shakespeare. It is a joyous tune which may be sung as a solo, or with the sopranos singing the words of the stanzas, while the other parts hum the accompaniment, then all parts singing the refrain in harmony or in unison.

79. Come, all ye shepherds _Traditional_

A shepherd carol from Bohemia.

The words and music are traditional.

_MUSIC._ The tune was arranged by Edward Shippen Barnes, b. 1887, American organist and composer who received his musical education at Yale and in Paris. He now lives at Santa Monica, California. His personal counsel was solicited and secured in the compilation and editing of the _Hymnary_.

80. O come, all ye faithful _Latin_

Adeste, fideles, Laeti triumphantes; Venite, venite in Bethlehem; Natum videte Regem Angelorum: Venite, adoremus Dominum.

Deum de Deo; Lumen de Lumine, Gestant puellae viscera Deum Verum, Genitum, non factum: Venite, adoremus Dominum.

Ergo Qui natus Die hodierna, Iesu, Tibi sit gloria: Patris Aeterni Verbum Caro factum! Venite, adoremus Dominum.

A priceless legacy from the Latin Church and one of the most popular of Christmas hymns. It has been translated into at least 125 languages. The origin of the text and tune is obscure. The original poem may have been German or French of the 17th or 18th century.

From the lengthy (and on the whole profitless) discussions of the possible origins of the hymn, it may be concluded that the hymn and tune came into use together, in the services of the Roman Church, during the first part of the 18th century; that they were circulated first in manuscript form and later appeared in print, the earliest known book containing them being a small volume, _An Essay on the Church Plain Chant_, published in London, 1782. Nothing definite can be stated as to the authors of either words or music.

The translation was made in 1841 by Frederick Oakeley, 1802-80, Church of England minister who later joined the Roman Catholics.

_MUSIC._ ADESTE FIDELES belongs by long association to this hymn, its name being derived from the first words of the Latin. It is also widely used with “How firm a foundation.” The present arrangement is credited to Vincent Novello, organist in the Portuguese Chapel in London about 1785.

81. Angels from the realms of glory _James Montgomery_, 1771-1854

A graceful lyric presenting to the imagination a series of pictures—the Angels, the Shepherds, the Wise Men, and the Saints who like Simeon and Anna, were waiting for the consolation of Israel. The fourth verse is reminiscent of the prophetic words of Malachi: “The Lord whom ye seek shall suddenly come to his temple, even the messenger of the covenant whom ye delight in: behold he shall come, saith the Lord of Hosts” (3:1).

It is widely used for the Christmas season.

For comments on James Montgomery see Hymn 62.

_MUSIC._ REGENT SQUARE is a jubilant, vigorous tune, composed for the English _Presbyterian Hymnal_ of 1867 in which it was set to Bonar’s hymn, “Glory be to God the Father.”

The composer, Henry Smart, 1813-79, studied law for four years and then decided to become a musician. Though he had little formal musical training, he became a great organist, composer, and conductor. He became totally blind by 1865, but, being a capable improviser, and possessing a keen memory, he was able to continue as an organist. He did much for the cause of good music in the church.

For further comments on Smart see Hymn 46.

82. Angels we have heard on high _Bishop Chadwick_

A popular carol of French origin, sung first in England by the Westminster Abbey Choir and for that reason it is sometimes called the “Westminster Carol.”

No information has been traced concerning Bishop Chadwick.

_MUSIC._ GLORIA is a traditional melody of anonymous composition. The tune has been variously harmonized. This version is found in the _St. Basil’s Hymnal_, compiled by the Basilian Fathers, and published in Chicago, 1918 (Revised Ed.).

83. Silent night, holy night _Joseph Mohr_, 1792-1848

The most loved and most widely used of all Christmas carols.

It was composed December 24, 1818, by Joseph Mohr, 1792-1848, assistant Catholic priest in an obscure German village, Oberndorf, near Salzburg, Austria. At a Christmas celebration in the schoolhouse Mohr withdrew for a time, then returned with a folded sheet of paper on which this carol was written. He handed it to his friend, Franz Gruber, 1787-1863, schoolmaster, song writer, and organist, as a Christmas gift. Gruber composed the tune for it the same evening. The author and composer sang it together, the latter accompanying on the guitar, and a choir of girls from the village joining in the melody. The hymn and the tune became immensely popular in Germany and Austria even before they appeared in print, through their use by wandering Tyrolese singers. Today the carol is sung in all Christian lands. It was a favorite of the great opera singer Madame Ernestine Schumann-Heink, and she sang it on many of her concert appearances.

_MUSIC._ STILLE NACHT. In keeping with German custom, the tune is named after the first line of the hymn for which it was written.

A plaque in the schoolhouse at Oberndorf bears the following inscription:

Stille Nacht, heilige Nacht! Wer hat dich, O Lied, gemacht? Mohr hat dich so schoen erdacht, Gruber zu Gehoer gebracht, Priester und Lehrer vereint.

84. O little town of Bethlehem _Phillips Brooks_, 1835-93

This carol was written for children, but it has become popular everywhere with adults as well.

Phillips Brooks, one of America’s greatest preachers, grew up in a musical home where memorizing and reciting of hymns was a part of the children’s education. By the time he was ready for college he had committed over 200 hymns to memory. He graduated from Harvard and from the Episcopal Theological Seminary, Alexandria, Virginia, and served as rector at the Church of the Advent, Philadelphia, and at Trinity Church, Boston, where his preaching powers came to full and fruitful fruition. In 1891, he became Bishop of Massachusetts. While in Philadelphia, he was given a year’s leave of absence to travel in Europe and the Near East. In Christmas Week in 1865, he rode on horseback from Jerusalem to Bethlehem. The view of the little town is thought to have inspired this hymn which he wrote several years later for the Christmas service of the Sunday school in his church.

_MUSIC._ ST. LOUIS. Brooks asked his church organist, Lewis Redner, who was also Sunday school superintendent, to set the carol to music. This was done in great haste on the Saturday night before Christmas, 1868. The words and tune, printed on leaflets, were sung by six teachers and 36 Sunday school children, and then practically forgotten until 1892 when they were published in the _Hymnal of the Episcopal Church_. The hymn has become popular since, not only in America but also in England. The tune generally used in England, however, is not “St. Louis,” but “Forest Green.” (See 290.)

85. Hark the herald angels sing _Charles Wesley_, 1707-88

One of the most popular English hymns. Julian listed four hymns as standing at the head of all in the English language: “When I survey” (105-6), “Rock of Ages” (148), “Awake my soul” (25), and this one.

It is taken from Wesley’s _Hymns and Sacred Poems_, 1739. The original had 10 four-line stanzas and no refrain. The hymn has been altered in various ways and improved. For example, the lines,

With the angelic host proclaim, Christ is born in Bethlehem,

originally read

Universal nature say Christ the Lord is born today.

And for our familiar first lines,

Hark! the herald angels sing! Glory to the new-born King,

Wesley had

Hark! how all the welkin rings, Glory to the King of Kings.

These, and other changes, disprove the common assertion that hymns should always be sung just as the authors left them. As a rule, however, it still remains true that “the _professional_ hymn mender is an odious creature.”

For comments on Charles Wesley see Hymn 6.

_MUSIC._ MENDELSSOHN, also called “Bethlehem” and “St. Vincent,” is from Mendelssohn’s _Festgesang_ for Male Chorus and Orchestra, composed in 1840 to celebrate the invention of printing. The tune is adapted from chorus No. 2 of that work. Dr. W. H. Cummings, organist at Waltham Abbey, set the tune to the words of this hymn and had it sung by the Abbey Choir. It was so well received that he published it in 1856 and it has since found its way into the hymn books of all denominations.

It is interesting to note Mendelssohn’s own estimate of the tune, as he expressed it in a letter to his English publishers.

I am sure that piece will be liked very much by the singers and hearers, but it will never do to sacred words. There must be a national and merry subject found out, something to which the soldier-like and buxom motion of the piece has some relation, and the words must express something gay and popular as the music tries to do.

86. O holy night

The night of the Saviour’s birth is the subject of Christmas carols in every land, of which this and “Silent Night” are outstanding examples. The words are anonymous.

The omitted third stanza reads as follows:

Truly He taught us to love one another; His law is love and His gospel is peace. Chains shall he break for the slave is our brother, And in His name all oppression shall cease. Sweet hymn of joy in grateful chorus raise we, Let all within us praise His holy name; Christ is the Lord, Oh, praise His name forever! His power and glory evermore proclaim. His power and glory evermore proclaim.

_MUSIC._ The tune, HOLY NIGHT, is by Adolphe Adam, 1803-56, distinguished French composer of comic operas and teacher of composition. He became a professor in the Conservatory of Music in Paris in 1849.

HIS EPIPHANY

87. What star is this _C. Coffin_, 1676-1749

A Latin hymn, _Quae stella sole pulchrior_, was included in the _Paris Breviary_, 1736, and, again, in Coffin’s _Hymni Sacri_, 1736. Charles Coffin, rector of the University of Paris, wrote a large number of hymns, “not so much,” he says, “to gratify the poetic Spirit as to achieve elegance and piety.”

The translation is by John Chandler, 1806-76, in his _Hymns of the Primitive Church_, 1837. Chandler was educated at Oxford and became a minister in the Church of England. Besides making a collection of hymns, he is the author of several biographies and volumes of devotional literature. His translation of this hymn has passed into many English hymn books but invariably with some alterations.

_MUSIC._ PUER NOBIS is an arrangement of a German folk tune published by the German composer, Michael Praetorius, 1571-1621, which he wrote in 1609. It was harmonized in 1904 by G. R. Woodward, an English musician. It is a spirited tune and should be sung briskly and merrily.

88. Bethlehem, of noblest cities _Prudentius_, 348-_c._ 413 _Tr. E. Caswall_, 1814-78

Based on Matt. 2:6: “And thou, Bethlehem, in the land of Judah, art not the least among the princes of Judah: for out of thee shall come a governor, that shall rule my people Israel,” and the story of the three wise men bringing their gifts to Jesus.

The author, Prudentius, 348-c. 413, a Spaniard, was one of the best and most prolific of early Latin Christian poets. He received legal training and served as lawyer and judge in several cities. At the age of 57 he entered a monastery and for the rest of his life was a writer of poetry in defense of and in praise of the Christian faith. He is regarded by some as the first really great Christian poet and was widely read in Europe throughout the Middle Ages, Erasmus being one of his admirers.

The translation is by Edward Caswall who shortly before had left the Church of England to become a priest in the Roman Catholic Church. Caswall was a Latin scholar and did much translating of Latin hymns. For further comments on Caswall see Hymn 19.

_MUSIC._ STUTTGART is adapted from a melody by Christian F. Witt in his _Psalmodia Sacra_, published in Gotha, 1715, where it is set to the hymn, “_Sollt es gleich bisweilen scheinen_.” It is a stately, straightforward tune of simple, rhythmic pattern and is singable by any average congregation.

Christian F. Witt, 1660-1716, was a court organist and later _Kapellmeister_ at Gotha. He composed a number of hymn tunes.

89. From the eastern mountains _Godfrey Thring_, 1823-1903

Based on Matt. 2:2: “We have seen his star in the east and are come to worship Him.” Its reference to the guiding star and its missionary emphasis fit it ideally for the Epiphany season, but the hymn may be used appropriately on more general occasions.

Godfrey Thring was educated at Shrewsbury and Balliol College, Oxford, and held various positions as minister in the Church of England. In 1859, he succeeded his father as rector of Alford-with-Hornblotton and in 1876, became prebendary of East Harptree in Wells Cathedral. He published various hymn books of a high literary standard.

_MUSIC._ PRINCETHORPE. This tune, by William Pitts, 1824-1903, was taken from _The Hymnary_ of the United Church of Canada. No information is at hand concerning the composer or the origin of the tune.

90. We three kings of Orient are _John H. Hopkins, Jr._, 1820-91

A popular carol giving the story of the wise men seeing the star and bringing gifts to the Christ child.

John Henry Hopkins, Jr., was born at Pittsburgh, Pa. His father was an Episcopalian minister who became the Bishop of Vermont. John was educated at the University of Vermont and later was minister at Williamsport, Pa. He is the author of several books of poems.

_MUSIC._ KINGS OF ORIENT was composed for this hymn by the author.

91. Brightest and best of the sons _Reginald Heber_, 1783-1826

A lovely hymn of great beauty and simplicity of form and characterized by robust faith—“richer by far is the heart’s adoration.” It was written for the feast of Epiphany and was entitled, “Star of the East.” The hymn was first published in the _Christian Observer_, 1811.

Heber, a hymnist of the first order, ranking with Wesley and Watts, was governed by three ideas in his hymn writing: (1) the hymn is liturgical and should follow the church year; (2) the hymn should follow and supplement the sermon; (3) the hymn should be literary art.

For further comments on Reginald Heber see Hymn 1.

_MUSIC._ BRIGHTEST AND BEST was composed by Rev. Joseph Francis Thrupp, 1827-67, fellow of Cambridge College and minister in the Church of England. He is the author of several books on Biblical subjects and wrote a number of hymns of merit, none of which have come into general use.

HIS LIFE AND MINISTRY

92. O sing a song of Bethlehem _Louis F. Benson_, 1855-1930

Written as a Christmas carol but sings also of the later life of Jesus in Nazareth, Galilee, and at Calvary. It was contributed to _The School Hymnal_ (Presbyterian), edited by Dr. Benson in 1899.

Louis Fitzgerald Benson was born in Philadelphia and educated for the bar. After seven years of practice, he gave up law to enter Princeton Theological Seminary and was ordained a Presbyterian minister. He became minister of the Church of the Redeemer, Germantown, Pa., but resigned his charge after six years, to begin his great work as editor of hymn books and writer and lecturer on hymnology. His book, _The English Hymn_, unfortunately out of print, has no rival as a source of accurate information about the development and use of English and American hymns. His _Studies in Familiar Hymns_ (2 vols.) is unexcelled. For forty years Dr. Benson rendered outstanding service to all students of hymnology through his writings and lectures on the subject. He composed 32 original hymns and made 16 translations from the Latin which were published as _Hymns, Original and Translated_, Philadelphia, 1925, in which the present hymn appears.

_MUSIC._ BETHLEHEM, also called “Evangel,” was composed by Gottfried W. Fink, 1783-1846, German minister, musician, music critic, and editor, who was appointed in 1842 to a Professorship of Music at Leipzig. It is a joyful tune in popular style, especially suitable for large choruses or congregations.

93. O Master Workman of the race _Jay T. Stocking_, 1870-1936

A hymn entitled, “The Carpenter of Nazareth,” written for young people while the author was watching some carpenters at work in an Adirondack Camp. It is one of a number of excellent modern hymns concerned with the earthly life of Jesus and connecting Him with our daily life and labor. Others are “O Master let me walk with Thee” (223), “Where cross the crowded ways” (222), and “O Son of Man, Thou madest known” (373).

Jay T. Stocking was educated at Amherst, Yale Divinity School, and at the University of Berlin. He was ordained in 1901, held a number of prominent pastorates in the Congregational Church, and was made moderator of the Congregational Council in 1934. He is the author of several books and was a member of the Commission on International Justice and Good Will of the Federal Council of Churches.

_MUSIC._ ST. MICHEL’S appeared in a collection of _Psalms and Hymns_, compiled by William Gawler, and published in London around 1784 to 1789, for use of the children of an orphan asylum at Lambeth. It was set to “Creator Spirit, by whose aid,” a long-meter hymn. Later the tune was changed to common meter double. It is also known by the names “St. Maria,” “Beulah,” and “Woolrich Common.” The composer of the tune is not known. _The Hymnary_ of the United Church of Canada attributes it to Haydn. At No. 125 of the _Hymnary_ it appears as “Jerusalem, Jerusalem,” where it is erroneously attributed, in the earlier editions, to Thomas Hastings—an error carried over from the _Gesangbuch mit Noten_. Hastings was born at about the same time the tune was already in print! It is possible, of course, that he made an arrangement of the tune, and thereby getting his name associated, inadvertently, with its composition.

Wm. Gawler, c. 1750-1809, was a London musician and music publisher. In 1785, while organist at the Lambeth “Asylum,” a home, the first of its kind in England, for fatherless girls, he published the book _Psalms and Hymns_, referred to, later adding a supplement. Gawler made other compilations of music books and also did some composing.

94. Ye fair green hills of Galilee _Eustace R. Conder_, 1820-92

A fine hymn, setting forth obedience to duty and love to God and man as the marks of Christ’s followers. It was contributed by the author to the _Congregational Church Hymnal_, London, 1887.

Eustace Rogers Conder studied for the Congregational ministry in Birmingham and later graduated with high honors in philosophy at London University. For 17 years, he was minister of a Congregational Church at Poole, where he trained students for missionary work, besides attending to his regular duties as pastor. In 1873, he was elected chairman of the Congregational Union of England and Wales. He wrote several books, including _Outlines of the Life of Christ_ and _Sleepy Forest_, a book of fairy tales for children.

_MUSIC._ STELLA is from an old English melody in 6-8 time which the children sang to “Sweet Mary, sweet Mary, my age is sixteen.” About 1850, it was arranged by Henri F. Hemy, 1818-88, English organist, for use in Catholic churches as an easy choir number. In 1875, the tune appeared (almost note for note as in the _Hymnary_) in the Appendix of _St. Alban’s Tune Book_, a book of pre-Reformation hymns set to plainsong melodies. The Appendix of the book is a treasure house of arrangements and adaptations of singable tunes from sacred and secular sources.

95. Thine arm, O Lord, in days of old _Edward H. Plumptre_, 1821-91

A hymn on the healing ministry of Christ, written in 1864 for use in the Chapel of King’s College Hospital, London. Suitable for Hospital Day and other occasions.

Edward Hayes Plumptre, an English scholar and church man, was educated at King’s College, London, and at Oxford. He was minister in various churches (Anglican) and became Professor of New Testament Exegesis at King’s College. He wrote many excellent books, including the standard _Life of Bishop Ken_, and several volumes of poems. He was appointed a member of the Old Testament Company of Revisers of the Bible. This hymn was included in the 2d edition of his _Lazarus, and other Poems_, from which it made its way into the hymnals.

_MUSIC._ ST. MATTHEW, a psalm tune, appeared in the 6th ed. (1708) of _A Supplement to the New Version of Psalms_, by Tate and Brady, where it was set, in two parts, treble and bass, to Psalm 33. In slightly altered form, it became one of the great hymn tunes but is more popular in England than in America.

For comments on William Croft, 1678-1727, an important name in English church music, see Hymn 6.

96. Who is he in yonder stall _Benj. R. Hanby_, 1833-67

A hymn on the birth, ministry, passion, resurrection, and exaltation of Christ, the refrain answering the question asked in each stanza. It may be used effectively for antiphonal singing between choir and congregation.

The author, Benjamin Russel Hanby, was a minister in the United Brethren Church but was strongly inclined to music and decided to make that his life work. An interesting and talented man, he became associated with George F. Root in the publication of sacred and secular song books in Chicago. He was the author of a number of Sunday school songs and of “Darling Nellie Gray,” “Old Shady,” and other popular numbers. His untimely death ended his career almost before it was well begun. His father, the Rev. William Hanby, was a bishop in the church of the United Brethren in Christ and editor, for a number of years, of _The Telescope_, the church’s official paper published at Circleville, Ohio.

_MUSIC._ LOWLINESSS was composed by the author of the words.

97. Fairest Lord Jesus _Münster_, 1677 _Translated_, _c._ 1850

Called the “Crusader’s Hymn,” but there is no foundation for the tradition that it was sung by the German knights of the 12th century on their way to Jerusalem. The text and tune are modern. The German text was published in _Münster Gesangbuch_, 1677 (Catholic). Our translation, the oldest English version, is by an unknown author, about 1850. A later translation, beginning “Beautiful Savior,” was made by J. A. Seiss in 1873. The original is as follows:

Schönster Herr Jesu, Herrscher aller Herren, Gottes und Mariä Sohn! Dich will ich lieben, Dich will ich ehren. Meiner Seelen Freund’ und Kron’.

Schön leucht’t der Monden, Schöner die Sonne Als die Sternlein allzumal. Jesus leucht’t schöner, Jesus leucht’t reiner, Als all die Engel im Himmelssaal.

Schön sind die Wälder, Schöner die Felder In der schönen Frühlingszeit. Jesus ist schöner, Jesus ist reiner, Der unser traurigs Herz erfreut.

Alle die Schönheit Himmels und der Erde Ist nur gegen ihn als Schein. Keiner soll nimmer Lieber uns werden Als er, der schönste Jesus mein!

_MUSIC._ CRUSADER’S HYMN, also known as _Schönster Herr Jesu_, appeared in a book of Silesian folk songs, _Schlesische Volkslieder_, Leipzig, 1842. The hymn with this tune was first published in America in _Church Carols and Choir Studies_ by the American composer Richard Storrs Willis, 1850. F. Melius Christiansen, director of the St. Olaf Choir, has arranged an exquisite anthem on this melody with the words “Beautiful Savior.”

It is a useful and charming melody. Its popularity in Germany ranks with Paul Gerhardt’s “_Befiehl du deine Wege_.”

98. Not always on the mount _Frederick L. Hosmer_, 1840-1929

Based on the story of the transfiguration in Matthew 17, the lesson enforced by the hymn is that the mount is necessary for vision; we cannot abide there, yet our work in the valley will be nobler for the pattern shown us on the mount.

For comments on Frederick L. Hosmer see Hymn 72.

The hymn, written in 1882, was first published in _Unity_, Chicago, April 1, 1884. A year later it was included, in revised form, in the author’s first series of _The Thought of God_.

_MUSIC._ TRANSYLVANIA is from a 16th century Hungarian chorale, arranged by Robert L. Sanders, F. A. A. R., Chicago, for _Hymns of the Spirit_, Beacon Press, 1938.

99. I know not how that Bethlehem’s Babe _Harry W. Farrington_, 1880-1931

A Christmas song written in 1910, while the author was a graduate student at Harvard University. It was awarded the prize which had been offered for the best Christmas hymn written by a student. Though simple and unpretentious, Professor George Herbert Palmer declared it “a perfect poem.” The few lines encompass a vast body of Christian truth.

The author, Harry W. Farrington, 1880-1931 (date of death printed erroneously as 1911 in earlier editions of the _Hymnary_), was educated at Harvard and then became a Methodist minister. He was greatly interested in work among children and inaugurated the Week Day Church School at Gary, Ind., in 1914. After returning from service in World War I, he became widely known as a speaker for children and it is estimated that he addressed more than two million children in the public schools of America. He is the author of several volumes of poems and has written books on Franklin, Washington, Lincoln, and Theodore Roosevelt.

_MUSIC._ ES IST EIN BORN, also named “I Do Believe,” and “Camp-meeting,” is an early American camp-meeting chorus sung to:

I do believe, I now believe, I can hold out no more; I sink by dying love compelled And own Thee Conqueror.

It is used in the _Gesangbuch mit Noten_ to the words “_Es ist ein Born, d’raus heil’ges Blut_.”

HIS TRIUMPHAL ENTRY

100. All glory laud and honor _St. Theodulph of Orleans_, _c._ 820 _Tr. John M. Neale_, 1854

From a long Latin hymn of 39 couplets, based on Psalm 24:7-10; Psalm 118:25-26; Matthew 21:1-17; and Luke 19:37-38.

Gloria, laus et honor tibi sit, rex, Christe, redemptor, cui puerile decus prompsit hosanna pium.

Israel tu rex, Davidis et inclyta proles, nomine qui in Domini, rex benedicte, venis.

Coetus in excelsis te laudat caelicus omnis et mortalis homo, cuncta creata simul.

Plebs Hebraea tibi cum palmis obvia venit; cum prece, voto, hymnis adsumus ecce tibi.

Hi tibi passuro solvebant munia laudis; nos tibi regnanti pangimus ecce melos.

Hi placuere tibi; placeat devotio nostra, rex pie, rex clemens, cui bona cuncta placent. Amen.

The hymn was used as the processional in the Palm Sunday service of the medieval church.

St. Theodulph of Orleans composed the words about A.D. 820. He was probably born in Italy, though neither the date nor place of his birth are definitely known. Theodulph became the abbot of a monastery in Florence but was later brought to France and made bishop of Orleans. Emperor Louis the Pious imprisoned him on a false charge of conspiracy in 818. There is a legend, but only a legend, that this hymn was composed during the author’s confinement, and that St. Theodulph sang it at the window of his cell as the King passed the prison on the way to church and that the latter was so moved by it that he ordered the release of Theodulph and his restoration to his office as bishop.

The translation was made by the learned John M. Neale (See 67) who wrote that “another verse was usually sung, until the 17th century, at the pious quaintness of which we can scarcely avoid a smile:

“Be thou, O Lord, the rider, And we the little ass; That to God’s holy city Together we may pass.”

_MUSIC._ ST. THEODULPH was composed by Melchior Teschner (c. 1615), a Lutheran pastor and musician. It was originally sung to the German chorale, _Valet will ich dir geben_ (“Farewell, I gladly bid thee”), a hymn for the dying. That the same tune is used to carry a cheerful, festive hymn, as well as a hymn for the dying, illustrates the plasticity of hymn tunes. Bach used the tune in his _St. John’s Passion_, and it is also associated with Gerhardt’s “_Wie soll ich dich empfangen_.” It is widely used as a Palm Sunday processional with St. Theodulph’s words. The refrain may be sung by the congregation, answering to the verses sung by the choir. Processional hymns were almost invariably sung that way in the medieval church and Canon Douglass suggests that “we should put this plan into far wider practice if we really desire to improve our congregational singing.”

101. Ride on, ride on in majesty _Henry H. Milman_, 1791-1868

A popular Palm Sunday hymn and incidentally one of the finest poems in our hymn books. It was written by Henry H. Milman at the age of 30, the year he was elected Professor of Poetry at Oxford University—1821.

Henry H. Milman was born in London, the son of Sir Francis Milman, physician to the King. After a brilliant career at Oxford, he was ordained at 25, appointed Professor of Poetry at Oxford at 30. Later he became canon of Westminster and finally dean of St. Paul’s Cathedral in London, which high office he filled with distinction. He is the author of thirteen hymns. Milman was interested, too, in drama and wrote several plays and translated Greek plays. He is best known, however, as a historian, having published _The History of the Jews_ in 1829, and the _History of Latin Christianity_ in 1855, both of them classics.

_MUSIC._ ST. DROSTANE was written for the words “Ride on, ride on” for the _Congregational Hymn and Tune Book_, London, 1862. It has since come into wide use with this hymn. Other tunes also used with this text are “Winchester New” (369) and “Park Street” (272).

For comments on the composer, J. B. Dykes, see Hymn 1.

HIS PASSION

102. When my love to God grows weak _John R. Wreford_, 1800-81

A useful hymn, true to the Gospel record, and free from the emotional morbidity that is found in many passion hymns.

John Wreford, an Englishman trained for the Unitarian ministry, was compelled to give up his ministry on account of a failing voice. He then opened a school at Edgbaston. The later years of his life were spent in retirement at Bristol. The original of this hymn written in 1837, received little notice until it was rewritten and improved by Samuel Longfellow, brother of the more famous Henry Wadsworth. In this revised form it has been included in a number of the best English hymnals.

_MUSIC._ ORIENTIS PARTIBUS, the so-called “Donkey Festival Tune,” has a most peculiar origin. During the Middle Ages, the church in some parts of France celebrated January 14 as the “Feast of the Ass,” to commemorate the flight into Egypt. A beautiful young woman holding a child in her arms rode a donkey through the streets of the town and then into the principal church. The donkey, with its burden, stood beside the high altar while mass was celebrated, during which the hymn beginning with the line “_Orientis partibus adventatis asinus_” was sung. The melody of this hymn is the basis for our tune which was adapted by Richard Redhead and published in his _Church Hymn Tunes_, 1853. The original was the work of Pierre De Corbeil, Archbishop of Sens, who died in 1222. It is a virile tune worthy of its increasing place in modern hymn books.

For Richard Redhead see Hymn 109.

103. ’Tis midnight and on Olive’s brow _William Bingham Tappan_, 1794-1849

A midnight hymn, depicting the darkness and sadness of Gethsemane. It is often sung at communion services held on Thursday evening before Good Friday.

William Bingham Tappan, a clock maker, was an influential leader in Sunday school work in the Congregational Church in America. In early manhood he taught school in Philadelphia, and then from 1826 until his death he was in the employ of the American Sunday School Union as manager and superintendent at Philadelphia, Cincinnati, and Boston. He wrote and published eight or ten volumes of poetry of no special significance.

_MUSIC._ OLIVET’S BROW was composed for this hymn and was first published in _The Shawm_, 1853, by Bradbury and Root.

William Batchelder Bradbury, 1816-68, was born in York, Maine. After many struggles, due to poverty, he learned music from Lowell Mason and G. J. Webb and began conducting singing classes. He did outstanding work in New York City in teaching music to children. His Juvenile Music Festivals at the Baptist Tabernacle became an important feature of New York’s musical life and gave a powerful stimulus to the introduction of music into the public schools. In 1847, he went abroad for further study in music. Upon returning to America, he became associated with Geo. F. Root, Thos. Hastings, and Lowell Mason in musical Normal Institute work. The group collaborated in the production of a new type of church music, known as gospel songs, which swept the country during the revivalistic work of Moody and Sankey.

104. There is a green hill far away _Mrs. Cecil Frances Alexander_, 1823-95

A popular hymn on the atonement, written for children but appropriated for general use with all ages. It was first published in the author’s _Hymns for Little Children_, 1848, her most famous book which ran into 100 editions. The accuracy of the first line may well be questioned for the Gospels do not state that Jesus was crucified on a hill, only that it was a place called “the skull” (Lk. 23:33). In any case, the sun-baked Judean hills are seldom green.

Cecil Frances Humphrey, daughter of Major John Humphrey, was a native of Ireland. Her father was an Englishman who, as a landowner and government agent, went to reside in Ireland. In 1850, she married the Rev. Wm. Alexander who, after spending many years in obscure parish work, was elected Archbishop of Armagh and later Primate of all Ireland. Mrs. Alexander was preëminently a writer for little children, her verses being characterized by simplicity and tenderness and poetic beauty; but she also contributed some notable church songs, e.g., “Jesus calls us o’er the tumult” (140).

To make the truths of the church catechism interesting and intelligible to little children, Mrs. Alexander wrote a series of poems to illustrate the Apostle’s Creed. This hymn is on the clause “suffered under Pontius Pilate, was crucified, dead, and buried.” “All things bright and beautiful” (410) was written for the first clause, “I believe in God the Father Almighty, maker of heaven and earth.” For the second clause, “And in Jesus Christ His Son, born of the virgin Mary” she wrote “Once in royal David’s city” (412).

_MUSIC._ MEDITATION appeared in _Original Tunes_, 1890, by John H. Gower, where it is set to “There is a land of pure delight.” The tune has since become closely associated with Mrs. Alexander’s hymn for which it forms an appropriate setting.

John Henry Gower, 1855-1922, English organist and concert artist, became professor of music at Trent College, Nottingham. Later he came to America on account of mining interests in Colorado but maintained his

## activity in music. He served as organist and choirmaster of St. John’s

Cathedral, Denver, and during the World’s Fair in Chicago, 1893, became organist of the Church of the Epiphany in that city.

105-106. When I survey the wondrous cross _Isaac Watts_, 1674-1748

One of the twenty-five hymns prepared by Watts to be sung at the Lord’s Supper. Matthew Arnold, the famous literary critic, called it the “most majestic hymn in the English language.” It is one of four hymns which have been printed in more collections, translated into more tongues, and used in more congregations, than any other. The three hymns classed with this in popularity are “Rock of Ages,” “Jesus, Lover of my soul,” and “All hail the power of Jesus’ name.”

Watts gave this hymn the title “Crucifixion to the World by the Cross of Christ.” It is based on Galatians 6:14: “God forbid that I should glory save in the Cross of our Lord Jesus Christ, by whom the world is crucified to me, and I unto the world.” In the first stanza there is a reference to Phil. 3:7: “Howbeit what things were gain to me, these have I counted loss for Christ.” The whole hymn, and especially the closing stanza, reflects the thought of Galatians 2:20: “I have been crucified with Christ ... who loved me and gave himself for me.” The third stanza, a sublime picture of the suffering Saviour, should always be sung softly.

For comments on Isaac Watts, see Hymn 11.

_MUSIC._ ROCKINGHAM OLD is a famous tune always used with this hymn in England. It was named after the Marquis of Rockingham, a Whig statesman who was thrice prime minister of England, and a friend of the composer.

Edward Miller, 1731-1807, was born at Norwich, England, the son of a stone mason. He was a man of great literary attainments and considerable musical ability. For 56 years he was organist of the parish church at Doncaster, receiving the appointment in 1751 and retaining the post until his death in 1807. Miller played the flute in Handel’s orchestra in London and had many a story to tell of the great composer’s eccentricities. Dissatisfied with the church music of his time, he was led to publish a book, _Psalms of David_, which turned out to be a great success. The book contained such tunes as “Burford” (228), “St. Magnes” (582), “St. Anne” (61), “Surrey” (44), and others of a similar style from the early part of the 18th century. It also contained some of his original tunes, including ROCKINGHAM OLD, destined to become one of the most popular English tunes ever written. This tune was not identified at first with any particular words. Miller had set it to 9 different psalms, using 3 keys—F, E flat, and E. It became associated with Watts’ “When I survey the wondrous cross,” in 1854, the combination appearing in _Mercer’s Church Psalter_, and again in 1861, in _Hymns Ancient and Modern_. The words and tune have now become inseparable in England.

HAMBURG (106), an arrangement by Lowell Mason from a Gregorian Chant, illustrates the greatness of simplicity. The tune employs only five tones of the scale and yet breathes the dignity and solemnity of the great hymn to which it is set.

For comments on Lowell Mason see Hymn 12.

107. Go to dark Gethsemane _James Montgomery_, 1771-1854

A song of the sufferings and death of Christ.

Gethsemane, the Judgment Hall, and Calvary are successively brought to mind and at each stage there is found in the example of Christ a lesson for his disciples to learn.

The fourth verse in the original poem reads:

Early hasten to the tomb Where they laid his breathless clay; All is solitude and gloom; Who hath taken him away? Christ is risen! he meets our eyes: Saviour, teach us so to rise.

For comments on James Montgomery see Hymn 62.

_MUSIC._ GETHSEMANE is a dignified tune in the minor mode, well adapted to carry the words of this hymn. It was composed by Christopher Tye (c. 1508-72), a musician and minister in the Anglican Church, of whom a contemporary document says that he is “a doctor of music but not skilful at preaching.” He has been called the “father of the anthem,” having given it a model for others to follow.

For comments on W. H. Monk, who adapted the tune, see Hymn 40.

108. Alas! and did my Savior bleed _Isaac Watts_, 1674-1748

A fine hymn of consecration, published by Watts in his _Hymns and Spiritual Songs_, 1707, under the title “Godly Sorrow Arising from the Sufferings of Christ.” Dr. Charles S. Robinson states that “more conversions in Christian biography are credited to this hymn than to any other.” Fanny Crosby, the blind poet, ten of whose lyrics are found in the _Hymnary_, credits this hymn with a share in her conversion. In telling the story she says that during a revival in the old Thirtieth Street Church, New York, in 1850, several times she sought the Saviour at the altar; but not until one evening, November 20, did the light come. “After a prayer was offered they began to sing the good old consecration hymn, ‘Alas! and did my Saviour bleed,’ and when they had reached the third line of the fourth stanza, ‘Here, Lord, I give myself away,’ my very soul flooded with celestial light.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ MARTYRDOM. The original form of this melody is in common time (4/4). It appeared in triple time in R. A. Smith’s _Sacred Music sung in St. George’s Church_, Edinburgh, 1825, where it was designated “Old Scottish Melody.” In 1827, it appeared in _The Seraph, Selection of Psalms and Hymns_, edited by J. Robertson and published at Glasgow. In a footnote to the tune it is stated that “the above tune ‘Fennich,’ or ‘Martyrdom,’ and by some called ‘Drumclog,’ was composed by Hugh Wilson, a native of Fennick.” A legal dispute arose between Smith and Wilson over the ownership of the tune. The evidence was abundant to show that Wilson composed it. It is an effective tune. When it was first sung in St. George’s, Edinburgh, the minister, Dr. Thomson, said, “O man! I could not sing for weeping.”

Hugh Wilson, 1766-1824, the composer of the tune, learned his father’s trade of shoemaking, studied and taught mathematics, and made sun-dials as a hobby. He then held positions of responsibility in certain mills and afterwards became a draftsman. He was interested in Sunday school work and wrote a number of psalm tunes but MARTYRDOM is the only one found in modern hymnals.

109. Throned upon the awful tree _John Ellerton_, 1826-93

A solemn dirge of the Passion, written in 1875 in the seclusion of a quiet rural parish and regarded as the author’s best composition. It appeared in _Hymns Ancient and Modern_, 1875.

For comments on John Ellerton see Hymn 43.

_MUSIC._ REDHEAD NO. 76, also called “Petra,” and “Gethsemane,” was composed by Richard Redhead, 1820-1901, English chorister and organist, and proponent of the Oxford Movement (not to be confused with the modern Oxford movement headed by Buchman). The tune, without name, appeared in his _Church Hymns and Tunes, Ancient and Modern_, 1853, as No. 76. In England it has long been sung to the hymn “Rock of Ages, cleft for me.”

110. In the Cross of Christ I glory _John Bowring_, 1792-1872

The most popular of John Bowring’s _Hymns_, published in 1825, and a classic among the hymns of the cross. It is based on Gal. 6:14: “But God forbid that I should glory save in the cross of our Lord Jesus Christ, by whom the world is crucified unto me, and I unto the world.” Bowring died on November 23, 1872, and the words, “In the cross of Christ I glory,” were placed on his tombstone.

It is remarkable that so great a hymn on the cross should be written by a Unitarian, a communion which denies the deity of Jesus and the evangelical doctrine of the atonement. Yet the hymn can be sung whole-heartedly by every evangelical Christian for it magnifies the cross and makes it the center of the Christian faith. Bowring, in spite of his Unitarian connection, was a devout, evangelical believer.

For further comments on John Bowring see Hymn 55.

_MUSIC._ RATHBUN was composed by Ithamar Conkey, 1815-67, an organist and prominent bass soloist who took part in many oratorio performances in New York City. The tune was composed one Sunday afternoon after the minister, Dr. Hiscox, of the Central Baptist Church, Norwich, Conn., had preached one of a series of sermons on the “Words of the Cross.” Conkey named the tune after the leading soprano in his choir, Mrs. Beriah S. Rathbun.

111. Cross of Jesus, Cross of sorrow _William J. Sparrow Simpson_

From Stainer’s oratorio, _The Crucifixion_, where it appears as No. 4 under the title, “The Mystery of Divine Humiliation.” The original has 10 stanzas.

The libretto of _The Crucifixion_ was written by Wm. J. Sparrow Simpson, Church of England clergyman. He was educated at Cambridge, ordained in 1882, and became chaplain of St. Mary’s Hospital, Great Alford. His theological works include the _Catholic Conception of the Church_ and the _History of the Anglo-Catholic Movement_.

_MUSIC._ CROSS OF JESUS in Stainer’s _Crucifixion_ is intended among other numbers in the oratorio, “to be sung by the congregation.” Its depth of feeling is best realized if sung in rather slow tempo.

John Stainer, 1840-1901, began his career as a choir boy at St. Paul’s Cathedral, London, at the age of seven, continuing there for nine years. He early became acquainted with Arthur Sullivan and the two remained fast friends throughout life. Stainer became one of England’s greatest organists and succeeded Sir John Goss, at St. Paul’s Cathedral. He was one of the most prolific and best-loved of the Victorian composers. A bronze tablet, installed in his honor in St. Paul’s, was dedicated by a service in which parts of his cantatas were sung, and closed with his “sevenfold Amen” (623).

112. Beneath the Cross of Jesus _Elizabeth Cecilia Clephane_, 1830-69

A hymn of Scottish origin, especially appropriate for use in Good Friday services, but it can also be used on more general occasions.

Elizabeth Cecilia Douglas Clephane, daughter of the Sheriff of Fife and Kinross, was born in Edinburgh. She was a member of the Free Church of Scotland. Her hymn, “There were ninety and nine,” became widely known through its use by Moody and Sankey in their famous evangelistic meetings.

The hymn, “Beneath the Cross of Jesus,” appeared in Scotland, three years after the death of Miss Clephane, in _The Family Treasure_, a home magazine, with this explanatory note by the editor:

These lines express the experiences, the hopes, and the longings of a young Christian lately released. Written on the very edge of this life, with the better land fully in view of faith, they seem to us footsteps printed on the sands of Time, where those sands touch the ocean of Eternity. These footprints of one whom the Good Shepherd led through the wilderness into rest, may, with God’s blessing, contribute to comfort and direct succeeding pilgrims.

_MUSIC._ ST. CHRISTOPHER was composed for this hymn by Frederick C. Maker, 1844-1927, an English organist and composer of numerous hymn tunes. Maker spent all his life in Bristol, England, thirty years of which were devoted to the position of organist at the Redland Park Congregational Church.

HIS RESURRECTION

113. Come ye faithful, raise the strain _John of Damascus_, _c._ 700 _Tr. John M. Neale_

A Greek hymn based on the Song of Moses, Exodus 15.

Αἴσωµεν, πάντες λαοί, τῶ ἐκ πικρᾶς δουλείας Φαραὼ τὸν Ἰσραὴλ ἀπαλλάξαντι καὶ ἐν βυθῷ φαλάσσης ποδὶ ἀβρόχως ὁδηγήσαντι ᾠδὴν ἐπινίκιον, ὅτι δεδόξασται.

Σήµερον ἔαρ ψυχῶν, ὅτι Χριστὸς ἐκ τάφου, ὥσπερ ἥλιος, ἐκλάµψας τριήµερος τον ζοφερὸν χειµῶνα ἀπήλασε τῆς ἁµαρτίας ἡµῶν, αὐτὸν ἀνυµνήσωµεν, ὅτι δεδόξασται.

Ἡ βασιλὶς τῶν ὡρῶν τῆ λαµπροφόρῳ ἡµέρᾳ ἡµερῶν τε βασιλίδι φανότατα δωροφοροῦσα, τέρπει τὸν ἔγκριτον τῆς ἐκκλησίας λαόν, ἀπαύστως ἀνυµνοῦσα τὸν ἀναστάτα Χριστόν.

Πύλαι θανάτου, Χριστέ, οὐδὲ τοῦ τάφου σφραγῖδες, οὐδὲ κλεῖθρα τῶν θυρῶν Σοι ἀντέστησαν, ἀλλ’ ἀναστὰς ἐπέστης τοῖς φίλοις σου εἰρήνην, Δέσποτα, δωρούµενος τὴν πάντα νοῦν ὑπερέχουσαν.

It was written by John of Damascus about the middle of the 8th century.

John of Damascus, Greek theologian and distinguished hymnist, as well as the greatest scholar and poet of his time, was born in Damascus of a prominent family, about A.D. 700. He was educated by an Italian monk named Cosmas, and retired to the monastery of St. Sabas in the Holy Land. He died between 754 and 787. He wrote a number of canons. A canon in Greek hymnology was a series of odes, usually eight or nine, threaded on an acrostic. This hymn is from his canon for the Sunday after Easter.

For comments on the translator, John M. Neale, see Hymn 67.

_MUSIC._ ST. KEVIN. The composer, Arthur Sullivan, 1842-1900, was born in London, the son of an Irish band-master. He received a thorough musical education in London and on the continent and became a famous choir leader, hymn book editor, conductor, and composer. In collaboration with W. S. Gilbert, he composed light operas for which he is best known.

114. Jesus Christ is ris’n today _Latin_ _Charles Wesley_, 1707-88

This hymn, which Percy Dearmer called “the Easter hymn par excellence,” is based upon some Latin verses of an Easter carol of the 14th century, except verse 4, which is attributed to Charles Wesley. It is of unknown authorship, appearing with the tune “Easter Hymn” in a now rare book, _Lyra Davidica_.

“Allelujah” is “Hallelujah” with the “H” omitted to soften it.

For comments on Wesley see Hymn 6.

_MUSIC._ EASTER HYMN, one of the most famous of all hymn tunes, is from _Lyra Davidica, or a Collection of Divine Songs and Hymns, partly New Composed, partly Translated from the High German and Latin Hymns; and set to easy and pleasant Tunes_, published in London, 1708. The composer is unknown. The hymn and tune were headed, “The Resurrection.”

115. The day of Resurrection _John of Damascus_, _c._ 700 _Tr. John M. Neale_

Ἀναστάσεως ἡµέρα, λαµπρυνθῶµεν λαοί. Πάσχα Κυρίου, πάσχα. Ἐκ γὰρ θανάτου πρὸς ζωήν, καὶ ἐκ γῆς πρὸς οὐρανόν, Χριστὸς ὁ θεὸς ἡµᾶς διεβίβασεν, ἐπινίκιον ᾄδοντας.

Another resurrection hymn from the Eastern Church by John of Damascus. (See 113.) It is sung after midnight on Easter morning to set forth the fact of the resurrection. Julian describes the service in his _Dictionary of Hymnology_ (p. 62). The people assemble in the church with unlighted tapers in their hands. While the priest chants in a half whisper, they await the signal that Easter Day has begun. A cannon is fired when the moment comes, the Cross is raised, and the people cry, “_Christos anesti_” (Christ is risen.) The tapers are lighted and the church is set ablaze with light. Outside there is the sound of drums and trumpets, the people embrace and congratulate each other, and salute one another with “_Christos anesti_.”

The reference in stanza 2 is to Matt. 28:9: “Jesus met them, saying, ‘All Hail!’”

For comments on the translator, John M. Neale, see Hymn 67.

_MUSIC._ LANCASHIRE, a thrilling tune of steady swing, was composed for “From Greenland’s icy mountains,” to be used at a missionary meeting at Blackburn, England. It is also, in some hymn books, used with “Lead on, O King Eternal” (399).

For comments on the composer, Henry Smart, 1813-79, see Hymn 46.

116. The strife is o’er, the battle done _Latin_ _Tr. Francis Pott_, 1832-1909

Alleluia, Alleluia, Alleluia. Finita iam sunt praelia, Est parta iam victoria; Gaudeamus et canamus: Alleluia!

Post fata mortis barbara Devicit Iesus tartara; Applaudamus et psallamus: Alleluia!

Surrexit die tertia Caelesti clarus gratia Insonemus et cantemus: Alleluia!

Sunt clausa stygis ostia. Et caeli patent atria; Gaudeamus et canamus: Alleluia!

Per tua, Iesu, vulnera Nos mala morte libera, Ut vivamus et canamus: Alleluia! Amen.

One of the most celebrated of Easter hymns. It comes from an anonymous medieval Latin poem which appeared in the Jesuit _Symphonia Sirenum_, Cologne, 1695.

The translation is by Francis Pott, an Englishman. He was educated at Oxford University and after serving a long number of years as curate and rector in various churches, he retired on account of increasing deafness. Pott published several volumes of hymns and wrote a book on the “_Te Deum_.” He was a member of the original committee which produced _Hymns Ancient and Modern_.

_MUSIC._ VICTORY, also called “Palestrina,” is an adaptation from the “Gloria Patri” of a work called, _Magnificat Tertii Toni_, 1591, by the eminent Italian composer, Giovanni Pierluigi Sante Da Palestrina, 1525-94.

The present arrangement was made by Wm. H. Monk for this hymn.

Palestrina, foremost composer of the Roman Catholic Church and supreme master of polyphonic music, was born at Palestrina, Italy, the son of a wealthy peasant, Pierluigi Sante. He was named “Da Palestrina” after his birthplace, a common custom in his time. He received his musical training at Rome where he came under the powerful influence of Orlando di Lasso, the great master from the Netherlands. Palestrina served as chapelmaster in his home town, master of the boys in the Julian Chapel in Rome, and in 1555 was appointed one of the pontifical singers in the Sistine Chapel but was dismissed a few months later when he became guilty of the “crime” of matrimony. He then became chapelmaster at St. John Lateran and later of the Liberian Chapel of Santa Maria Maggiore, during which time he became known as “the saviour of church music.” Many abuses had crept into the music of the church, particularly in the use of secular airs grafted on stately church themes, and improvizations by the singers who sometimes departed from the solemn words of the service and substituted profane and lewd words in Italian and French. To correct this scandal, the Ecumenical Council of Trent, in 1552, asked Palestrina to prepare a mass free from the admixture of alien words and secular melodies, and suitable for church use. The result was the composition of three 6-part services, one of which, _Missa Papae Marcelli_, has been regarded as one of the most sublime creations of all music and the model of what church music should be. As a reward for this service, Palestrina was granted a stipend by papal decree which was not large but gave him a sufficient income. In 1571 he was re-elected to his old post as Chapelmaster of St. Peter’s, where he remained for life. His fame as teacher and composer extended throughout Europe, but his happiness was clouded by the loss of two sons and the death of his wife in 1580, while the remaining son, Igino, became a source of grief to him. Palestrina’s compositions were many and of great variety, including 93 masses, 179 motets, hymns, prayers, responses, madrigals, etc.

For comments on Monk see Hymn 40.

HIS ASCENSION

117. Hail the day that sees Him rise _Charles Wesley_, 1707-88

This hymn, originally in ten stanzas, appeared in Wesley’s _Hymns and Sacred Poems_, 1739, under the caption “For Ascension Day.” The Hallelujah was added later in White’s _Introits and Hymns_, 1852.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ LLANFAIR, also named “Bethel,” is a Welsh hymn tune by Robert Williams, c. 1781-1821, a basket maker. He was born blind, but became a skilled craftsman and a musician of considerable ability.

118. Crown Him with many crowns _Matthew Bridges_, 1800-94

Based on Rev. 19:12: “On his head were many crowns.” The hymn mentions a four-fold crowning of Christ, as: (1) Lamb upon His throne; (2) Son of God; (3) Lord of life; (4) Lord of heaven. Two omitted stanzas mention “Lord of peace,” and “Lord of years.”

Matthew Bridges was brought up in the church of England but became interested in the Oxford Movement and entered the Roman Catholic Church in 1848. He was a student of history and wrote _The Roman Empire under Constantine the Great_. He is also the author of several books of poems. The latter part of his life was spent in the Province of Quebec, Canada.

The hymn was recast by Godfrey Thring to eliminate several obvious Roman tendencies in it.

_MUSIC._ DIADEMATA, a solid, dignified tune which organists like to play and congregations enjoy singing, was written for this hymn and named after the Latin title given the hymn.

The composer, George Job Elvey, 1816-93, was a gifted organist and composer and a devout Christian. He received the Bachelor of Music and Doctorate in Music from Oxford University and was organist of St. George’s Chapel, Windsor, for 47 years.

119. Look, ye saints, the sight is glorious _Thomas Kelly_, 1769-1854

A majestic coronation hymn ranking with the best hymns of Watts and Wesley. It is based on Rev. 11:15: “The kingdoms of this world are become the kingdoms of our Lord and of his Christ. And he shall reign forever and ever.”

Thomas Kelly was born in Dublin, the son of an Irish judge. He at first intended to follow his father into the legal profession, but his profound religious convictions led him to train for the ministry. As a young clergyman, he was summoned, with others, to appear before the Archbishop of Dublin to answer for his evangelistic zeal. He was rebuked and prohibited from preaching in Dublin pulpits. He then withdrew from the Church of England and started a number of independent churches. He was much interested in the hymnody of the church and wrote 736 hymns in all. They are characterized by loyalty to Jesus Christ and a deep evangelical glow.

_MUSIC._ CORONAE is a virile tune, written in 1871, and well adapted by its voice range for congregational singing.

For comments on the composer, Wm. H. Monk, see Hymn 40.

120. Majestic sweetness sits enthroned _Samuel Stennett_, _c._ 1727-95

This hymn was published in John Rippon’s _Selection_, 1787, with the title, “Chief among Ten Thousand: or the Excellencies of Christ.” It is based on Song of Solomon 5:10-16. The original has 9 stanzas.

The author, Samuel Stennett, prominent non-conformist and champion of religious freedom, was a Baptist clergyman who in 1741 became his father’s assistant in Little Wild Street Church, London, and then succeeded his father in 1758, continuing in the pastorate of the church until his death in 1795.

_MUSIC._ ORTONVILLE has been a favorite hymn tune for over a century. It is associated with these words now, but at first it was set to “O for a closer walk with God.” Among Hastings’ tunes, this is second in popularity to “Toplady” (148), the tune he made for “Rock of Ages.”

Thos. Hastings, 1784-1872, was born in Connecticut, moved to New York state to farm but left the farm at the age of 33 to devote himself to music. In 1831 he moved to New York City to serve the musical interests of a group of churches. He wrote 600 hymns and about 1,000 hymn tunes. He published 50 books of music and collaborated with Lowell Mason in _Spiritual Songs for Social Worship_. The University of the City of New York gave him the degree of Doctor of Music in 1858.

121. Rejoice, the Lord is King _Charles Wesley_, 1707-88

A jubilant song of Christ’s exaltation and coming in power, based on Phil. 4:4: “Rejoice in the Lord alway, and again I say, rejoice.”

The hymn, in seven stanzas, appeared first in John Wesley’s _Sacred and Moral Poems_, 1744, and later in Wesley’s _Hymns for our Lord’s Resurrection_, 1746. Though the resurrection note is in the hymn, it is appropriate also for general occasions.

Charles Wesley wrote four great festival hymns: (1) “Hark! the herald angels sing” for Christmas; (2) “Christ the Lord is risen today” for Easter; (3) “Hail the day that sees Him rise” for Ascension; and (4) “Rejoice, the Lord is king” for Whitsuntide.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ ARTHUR’S SEAT appeared in _Hymns and Songs of Praise_ 1874, by John K. Paine and Uzziah C. Burnap. The tune is believed to be an arrangement by Burnap from a melody composed by Sir John Goss, 1800-80, English organist and composer of church choir music. Handel composed a tune, “Gopsal,” especially for this hymn, but it is not well known and has not found its way into many of the hymn books.

For comments on Paine and Burnap see Hymn 134.

122. Hail, Thou once despisèd Jesus! _John Bakewell_, 1721-1819

A worshipful and strongly doctrinal hymn, bringing out plainly the doctrine of the atonement as well as the Saviour’s enthronement and glorification.

The authorship is traditionally assigned to John Bakewell, one of John Wesley’s lay preachers. But it is not clear that he wrote all of it. It appeared in 1760 in a collection by M. Madan, and later, in 1776, it was included in _Psalms and Hymns_ by Augustus M. Toplady. Both editors apparently made some changes and omissions in the hymn, resulting in our present version.

_MUSIC._ IN BABILONE is a Dutch traditional melody, its present arrangement having been made by Professor Julius Röntgen, 1855-1933, of Amsterdam. It appeared in _The English Hymnal_ in 1906 and has since won its way into many American hymn books. It is a joyous, robust melody well suited to carry this hymn.

123. Hark, ten thousand harps and voices _Thomas Kelly_, 1769-1854

Based on Heb. 1:6: “Let all the angels of God worship Him.”

The original poem has 7 stanzas. Lowell Mason added the “Hallelujahs” and the “Amen” when he set the hymn to music. Some hymn books have softened the “Hallelujah” to “Allelujah.” The last stanza is a prayer for the hastening of the day when heaven and earth shall pass away, which some may not be able to sing heartily and sincerely.

For comments on Thomas Kelly see Hymn 119.

_MUSIC._ HARWELL was written for this hymn in 1840. The original version had the men’s voices introduce lines 5 and 6 with a dotted eighth and a sixteenth note, in unison, while the soprano and altos observed a quarter rest. Later editing changed the tune so all the parts observed the quarter rest.

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

124. Alleluia! sing to Jesus! _William C. Dix_, 1837-98

Based on Rev. 5:9: “Thou hast redeemed us to God by thy blood out of every nation.”

The original poem of five stanzas appeared in Dix’s _Altar Songs_, 1867, and was entitled “Redemption by the Precious Blood.” The hymn was linked to the sacrament of the Lord’s Supper. The third and fourth stanzas, omitted here, are as follows:

Alleluia! Bread of Heaven, Thou on earth our food, our stay! Alleluia! here the sinful Flee to thee from day to day: Intercessor, friend of sinners, Earth’s Redeemer, plead for me, Where the songs of all the sinless, Sweep across the crystal sea.

Alleluia! King eternal, Thee the Lord of lords we own: Alleluia! born of Mary, Earth thy footstool, heav’n thy throne: Thou within the veil hast entered, Robed in flesh, our great High Priest: Thou on earth both Priest and Victim In the eucharistic feast.

For comments on William C. Dix see Hymn 78.

_MUSIC._ The tune was taken from _St. Basil’s Hymnal_, Chicago, 1918, where it appears unnamed. It is a traditional Dutch melody. The present arrangement of it is anonymous.

HIS COMING AGAIN

125. The King shall come when morning dawns _From the Greek_ _Tr. by John Brownlie_, 1859-1925

This hymn, setting forth the hope of Christ’s Second Coming in triumph, comes from the Greek, but no information is at hand concerning the original poem. It is not included in Julian’s _Dictionary_.

The translation is by John Brownlie, a Scottish minister, born in Glasgow. He published several books of original hymns and translations from the Greek.

_MUSIC._ JERUSALEM, JERUSALEM is wrongly attributed here to Thomas Hastings though it is possible that the arrangement is his. The same tune, named “St. Michel’s,” appears at No. 93, which see for comments.

For comments on Thomas Hastings see Hymn 120.

126. Thou art coming, O my Savior _Frances R. Havergal_, 1836-79

The first hymn Miss Havergal wrote after Advent Sunday, December 2, 1873, when she “first saw clearly the blessedness of true consecration.”

Frances Ridley Havergal was the daughter of Rev. Wm. H. Havergal, an Anglican clergyman who was greatly interested in the hymns and music of the church and composed a number of tunes still in use. His tune, “Evan,” is used in the _Hymnary_ (153 and 253). Frances thus grew up in a cultured religious environment in which hymns and church music held a prominent place. She was handicapped by a frail body and died at the early age of forty-three. But throughout her short life, from the time of her confirmation at seventeen until the end, she had an unbounded joy in Christian service. No suffering could diminish her faith in the grace of God through Jesus Christ. Despite her poor health, she was a devoted student of the Bible and was able to repeat from memory the four Gospels, the Epistles, Revelations, all the Psalms, Isaiah, and the Minor Prophets. Besides writing many letters counselling those who sought her advice, she wrote devotional books and composed sacred hymns and poems, always emphasizing consecration and service. She made a considerable contribution to the hymnody of the church. Six of her compositions are to be found in the _Hymnary_ (126, 190, 215, 219, 296, 380).

_MUSIC._ BEVERLEY was composed for this hymn for use in _Hymns Ancient and Modern_, Rev. ed., 1875.

For comments on W. H. Monk see Hymn 40.

127. Christ is coming, let creation _John R. Macduff_, 1818-95

A Scottish hymn setting forth the glowing hope and expectation of the coming of Christ in glory. It is based on Rev. 22:20: “He which testifieth these things saith, Surely, I come quickly. Amen. Even so, come, Lord Jesus.”

John R. Macduff was minister of the Sandyford Parish, Glasgow. He is the author of several books of devotions and wrote numerous hymns. His ministry at Sandyford was singularly fruitful. George Mattheson, blind Scottish preacher, then a boy in Macduff’s congregation, afterwards said of him: “Dr. Macduff gave me my first real conviction of the beauty of Christianity.” Macduff held strongly to the premillennial view of the coming of Christ.

_MUSIC._ NEANDER. This famous tune has been associated with various words. The composer first published it in 1680 set to the hymn, “_Unser Herrscher, unser König_.” It is also used with Schmolk’s “Open now the gates of beauty” (505), and in England it is almost invariably associated with “Come, ye saints, and raise an anthem,” by J. Hupton and others.

Joachim Neander, 1650-80, whose real name was Neumann, was born at Bremen, where he spent most of his life. As a youth he was somewhat wild but in time became converted and associated himself with the Pietists of Germany. He was a friend of Spener, the leader of the Pietists. His unconventional zeal brought him into conflict with the authorities of the Reformed Church of which he was a member, and he was dismissed for a time from his office as teacher in the Düsseldorf schools. Being obliged to leave town, he lived for some months in a cave in the region of the Rhine, where he composed many of his hymns. He is the foremost hymn writer of the German Reformed Church and is called “the Paul Gerhardt of the Calvinists.” Neander, like Luther, was a man of scholarship and accomplishment in poetry and music, as well as theology. He wrote more than 60 hymns and composed tunes for them.

128. Ye servants of the Lord _Philip Doddridge_, 1702-51

“The Active Christian” is the author’s title of this hymn. It appeared first in Job Orton’s posthumous edition of _Hymns founded on Various Texts_, 1755. It is founded on Luke 12:35-37:

Let your loins be girded about, and your lights burning;

And ye yourselves like unto men that wait for their lord, when he will return from the wedding; that when he cometh and knocketh, they may open unto him immediately.

Blessed are those servants, whom the lord when he cometh shall find watching: verily I say unto you, that he shall gird himself, and make them to sit down to meat, and will come forth and serve them.

Doddridge, known for his sound learning and genuine Christian character, was a first-rate hymn writer. He taught Hebrew, Greek, algebra, trigonometry, logic, philosophy, and theology to classes of candidates for the Congregational ministry.

For further comments on Doddridge see Hymn 56.

_MUSIC._ OLD 134TH (ST. MICHAEL) is one of the greatest of short-meter tunes, derived from the tune composed by L. Bourgeois for Psalm 101 in the _Genevan Psalter_ of 1551.

For comments on L. Bourgeois see Hymn 34.

129. Come, Lord, and tarry not _Horatius Bonar_, 1808-89

A plaintive, sad hymn bordering almost on pessimism, by an able, pious author who held the doctrine of the premillenarian coming of Christ. All his life, Bonar’s mind was occupied with the subject of the second advent, an interest which inspired much of his writing.

Horatius Bonar, born in Edinburgh, was the prince of Scottish hymn writers. Educated at the University of Edinburgh, he was ordained in 1837 and became a minister in the Established Church of Scotland at Kelso. At the Disruption in 1843, Bonar “came out” and was one of the founders of the Free Church of Scotland (Presbyterian). Leaving Kelso, he became the minister of Chalmer’s Memorial Church in Edinburgh, where he served, a greatly beloved man, until his death. He was known as a man of wide scholarship and culture. His mind was saturated with Scripture and his heart possessed by a broad and generous faith.

His son, Rev. H. N. Bonar, wrote his father’s _Life_ which gives some interesting information concerning his hymn writing. Bonar carried notebooks with him in which he jotted thoughts, verses, and hymns as they came to his mind.

“These notebooks,” writes the son, “contain most of the better-known hymns, hastily written down in pencil in his spare moments. They are full of contractions, with an occasional word or phrase in shorthand; sometimes a line is struck out and another substituted, yet in nearly every case the complete hymn, almost as it was afterwards published, can be gleaned from this rough draft.”

_MUSIC._ SHIRLAND was composed by Samuel Stanley, 1767-1822, English composer and precentor of Carr’s Lane Congregational Chapel, in Birmingham. Through his skilled leadership the music of this church became famous. The hymn singing attracted attention and resulted in a great growth in the congregation.

For further comments on Stanley see Hymn 20.

130. Lo, He comes, with clouds descending _John Cennick_, 1718-55

A hymn on the Second Advent, based on Rev. 1:7: “Behold He cometh with clouds; and every eye shall see him, and they also which pierced him: and all kindreds of the earth shall wail because of him. Even so, Amen.”

The author, John Cennick, came from a Quaker family though he grew up in the Church of England. For some years his religious convictions were unsettled. Then while engaged in land surveying, he came under the influence of Wesley and became one of his lay preachers. Later he became a follower of George Whitefield, and finally he joined the Moravians. While limited in culture and outlook, he possessed genuine lyric fire; and his name is of note among the hymnists, even though only a few of his many hymns survive.

This hymn has been much revised. It owes not a little to Charles Wesley who changed Cennick’s first line, “Lo! he cometh; countless trumpets,” to the familiar “Lo, He comes with clouds descending.” Martin Madan, who issued the hymn in his _Collection of Psalms and Hymns_, also gave it certain finishing touches. The hymn possesses a scriptural vividness and impressive treatment of theme which have carried it throughout the English speaking world, despite the apocalyptic form of the description it sets forth.

_MUSIC._ HOLYWOOD is attributed to Samuel Webbe, probably the elder, 1740-1816, a London organist and composer and a member of the Roman Catholic Church. His son, Samuel Webbe, Jr., 1770-1843, following his father in the musical profession, likewise became an organist and composer.

Its solidity and triumphant note give this tune a worthy place in the music of the church.

THE HOLY SPIRIT

131. Come, Holy Ghost, in love _Ray Palmer_, 1808-87 _Tr. from the Latin_

Veni, Sancte Spiritus, Et emitte caelitus Lucis tuae radium: Veni, Pater pauperum; Veni, Dator munerum; Veni, Lumen cordium.

Consolator optime, Dulcis Hospes animae, Duce Refrigerium, In labore Requies, In aestu Temperies, In fletu Solacium.

O Lux beatissima, Reple cordis intima Tuorum fidelium. Sine tuo numine Nihil est in homine. Nihil est innoxium.

Lava, quod est sordidum, Riga, quod est aridum, Rege, quod est devium, Fove, quod est languidum, Flecte, quod est rigidum, Sana, quod est saucium.

Da tuis fidelibus In te confidentibus Sacrum septenarium; Da virtutis meritum, Da salutis exitum, Da perenne gaudium. Amen.

This truly great Latin hymn, addressed to the Holy Spirit, comes from the 12th or 13th century. Its authorship is uncertain. Archbishop Trench characterized it as “the loveliest of all the hymns in the whole cycle of Sacred Latin Poetry.” Many translations have been made of it, this one by Ray Palmer.

Ray Palmer, who held pastorates at Bath, Me., and Albany, N. Y., was for a time corresponding secretary for the American Congregational Union. His name remains the greatest among hymnists and translators in the American Congregational church. His hymn, “My faith looks up to Thee” (150), is known all over the world.

_MUSIC._ MALVERN is from _The Hallelujah_, a series of compilations of tunes, edited by J. J. Waite and H. J. Gauntlett, first published in 1842. The work was intended to encourage the congregation to sing in parts, an altogether novel principle in the English churches of that time. To make the music easy to read, the notes were numbered, the tonic sol-fa system having, as yet, not been developed. The present arrangement is by John Roberts, 1822-77, Welsh Methodist pastor and musician of extraordinary ability. He did much to improve congregational singing in the church and was an eminent conductor of school music festivals. Roberts wrote a number of tunes that are high in favor throughout Wales and was incomparable as an arranger of congregational hymn tunes.

132. Lord God, the Holy Ghost _James Montgomery_, 1771-1854

One of the few hymns which deals distinctively with the Day of Pentecost. For this reason, as well as for its inherent quality, it is especially valuable.

For comments on James Montgomery see Hymn 62.

_MUSIC._ OLD 134TH. For comments on this tune see Hymn 128.

133. Spirit of God, descend upon my heart _George Croly_, 1780-1860

Based on Gal. 5:25: “If we live in the Spirit, let us also walk in the Spirit.”

George Croly was educated at Trinity College, Dublin. After ministering in Ireland for a number of years, he went to London to engage in literary pursuits. He had varied talents and became well known for his poetry, fiction, plays, and contributed articles to magazines. In 1835, he entered parish work in London, where he was greatly admired and loved. His outspoken utterances attracted large congregations of all ranks to his church. He prepared, at the request of his people, a collection of _Psalms and Hymns for Public Worship_, of which only one edition was printed. Dr. Croly dropped dead while walking one day on Holborn Street. A man of scholarship and culture, and author of many volumes, he is remembered chiefly through this hymn.

_MUSIC._ MORECAMBE, originally called “Hellespont,” was written to be sung with “Abide with me,” for use in the church at Mannington, England, where its composer was serving as organist.

Frederick Cook Atkinson, 1841-97, was an English organist and choirmaster, having received his musical education at Cambridge.

134. Holy Ghost, dispel our sadness _Paul Gerhardt_, 1607-76

A hymn of entreaty for the indwelling of the Holy Spirit.

The original is as follows:

O Du allersüsste Freude, O Du allerschönstes Licht, Der Du uns in Lieb und Leide Unbesuchet lässest nicht; Geist des Höchsten, höchster Fürst Der Du hältst und halten wirst Ohn’ Aufhören alle Dinge Höre, höre, was ich singe.

Du bist ja die beste Gabe Die ein Mensch nur nennen kann; Wenn ich Dich erwünsch’ und habe, Geb’ ich alles Wünschen d’ran. Ach, ergib Dich, komm zu mir, In mein Herze, das Du Dir, Eh ich in die Welt geboren Selbst zum Tempel auserkoren.

Sei mein Retter, führ’ mich eben; Wenn ich sink’, mein Stab sei Du; Wenn ich sterbe, sei mein Leben; Wenn ich lieg’, sei meine Ruh; Wenn ich wieder aufersteh’, O so hilf mir, dass ich geh Hin, da Du in ew’gen Freuden Wirst die Auserwählten weiden.

The first translation was made by John Christian Jacobi, 1670-1750, for his _Psalmodia Germanica_. His rendering began

“O Thou sweetest source of gladness”

which Augustus Montague Toplady recast into the familiar

“Holy Ghost, dispel our sadness.”

For comments on Toplady see Hymn 148.

Paul Gerhardt, next to Martin Luther, is the most noteworthy hymn writer of the Evangelical Church in Germany. Even the hymns of Luther are not as widely used today in the English speaking world as those of Gerhardt. He was born March 12, 1607, in Gräfenhynichen, a village near the celebrated Wittenberg. At 21 he began the study of theology in Wittenberg, but he received no church position until 45, when he was ordained and appointed provost at Mittenwalde, a small village. During his six years there, his hymns were published and he became widely known. In 1657, he was appointed third assistant pastor of the famous Church of St. Nicholas in Berlin. From this position he was deposed because he refused to sign a document promising that all clergymen would abstain from any references in their sermons to doctrinal differences between the Lutherans and Calvinists. Though he felt the blow keenly, he met it with Christian patience and fortitude. “This,” he said, “is only a small Berlin affliction; but I am also willing and ready to seal with my blood the evangelical truth, and, like my namesake, St. Paul, to offer my neck to the sword.” Additional sorrows came into his life with the death of his wife and four of his children. He was left with a single child, a boy of six, when he was called to the church at Lübden, where he labored faithfully and successfully until his death on June 7, 1676. Most of his life being spent in the distractions and disasters of the Thirty Years War, which left Germany in misery and ruins, Gerhardt knew the depths of human sorrow. Out of the depths came his hymns of comfort and hope which have been a source of strength to a multitude of believers.

_MUSIC._ INVOCATION was composed by Uzziah C. Burnap, 1834-1900, organist at the Church of the Heights, Brooklyn, and co-editor with John K. Paine, Professor of Music at Harvard, of _Hymns and Songs of Praise_.

135. Breathe on me, breath of God _Edwin Hatch_, 1835-89

An earnest prayer for an inbreathing of the Holy Spirit and a greater consecration of life. The hymn was first published in a privately printed leaflet called, _Between Doubt and Prayer_, 1878. It is based on John 20:22: “He breathed on them and saith unto them, Receive ye the Holy Ghost.”

Edwin Hatch, Church of England clergyman and University Reader of Ecclesiastical History at Oxford, was a scholar of world reputation. His Bampton Lectures, _The Organization of the Early Christian Church_, 1881, were translated into German by Prof. Adolph Harnack, who wrote of Hatch: “In his learning that of England’s great old theologians, Ussher and Pearson, lived to me again. He was a glorious man, whose loss I shall never cease to mourn.” Though a man of profound learning, his faith was as simple and unaffected as that of a child.

_MUSIC._ TRENTHAM is a tune of great beauty, well fitted for these words of devotion. The tenor part is especially melodious.

Robert Jackson, 1840-1914, English composer of many anthems, hymn tunes, songs and part songs, succeeded his father as organist and choirmaster at St. Peter’s church, Oldham, the father and son together having a record of continuous service at the same church for 92 years. His whole life was devoted to music. He was a member of Sir Charles Halle’s orchestra and conductor of the Oldham Musical Society.

136. Holy Spirit, Truth divine _Samuel Longfellow_, 1819-92

Entitled a “Prayer for Inspiration,” this superb hymn of the Holy Spirit appeared in _Hymns of the Spirit_, 1864, edited by Samuel Johnson and the author. Stanzas 5 and 6 are omitted.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ MERCY is an arrangement of a piano composition called, “The Last Hope,” by Louis Gottschalk, 1829-69, American composer, conductor, and popular concert pianist. Among Gottschalk’s works are two operas, two symphonies, and some piano pieces and songs—most of which are forgotten today. The arrangement of the tune is the work of Dr. Edwin P. Parker, 1836-1925, hymnologist and distinguished Congregationalist minister at Hartford, Conn.

137. Holy Spirit, faithful Guide _Marcus M. Wells_, 1815-95

The hymn and tune were written by Marcus M. Wells, a farmer and maker of farm implements who lived all his life in New York State. Born at Otsego, N. Y., he was converted in a mission at Buffalo. Regarding the origin of the hymn and tune he wrote:

On a Saturday afternoon, Oct. 1858, while at work in my cornfield, the sentiment of the hymn came to me. The next day, Sunday, being a very stormy day, I finished the hymn and wrote a tune for it and sent it to Prof. I. B. Woodbury.

The hymn sets forth God as a Presence, near the Christian’s side, friendly and helpful and true, guiding him through the storms and floods and desert wastes of his pilgrimage from earth to his heavenly home. It was first published in the _New York Musical Pioneer_, edited by Isaac B. Woodbury.

138. Our blest Redeemer, ere He breathed _Harriet Auber_, 1773-1862

One of the finest of our hymns on the Holy Spirit. It was written for Whitsunday and published in the author’s _The Spirit of the Psalms_, 1829, in seven stanzas, the second and third being omitted here. The hymn appears in most modern hymnals and has been translated into several languages.

Harriet Auber, whose grandfather went from Normandy to England in 1685 as a Huguenot refugee, was born in London. She was a woman of refinement and culture who spent most of her life in the quiet villages of Broxbourne and Hoddesdon, Hertfordshire. She wrote numerous poems and hymns, but her name survives as the author of this exquisite lyric.

_MUSIC._ ST. CUTHBERT was composed for these words by J. B. Dykes for the original edition of _Hymns Ancient and Modern_, 1861.

For comments on Dykes see Hymn 1.

139. Spirit divine, attend our prayer _Andrew Reed_, 1787-1862 _Samuel Longfellow_, 1819-92

This is a revision by Samuel Longfellow of a hymn written by Andrew Reed, an English Congregational minister. Reed, a philanthropist and great organizer, and founder of six asylums and orphanages, wrote 21 hymns and published several hymn books. He was an ardent supporter of missionary work at home and abroad. Writing to his son who suggested that the father should write his autobiography, Dr. Reed summed up his own life in these words:

I was born yesterday, I shall die tomorrow, and I must not spend today in telling what I have done, but in doing what I may for HIM who has done all for me. I sprang from the people, I have lived for the people—the most for the most unhappy; and the people when they know it will not suffer me to die out of loving remembrance.

_MUSIC._ BRECON. The origin of this tune has not been traced. It is a useful tune as a choir response after the prayer.

THE CHRISTIAN LIFE—THE CALL OF CHRIST

140. Jesus calls us o’er the tumult _Cecil Frances Alexander_, 1823-95

A hymn of consecration which has had far-reaching influence especially over young people. It is based on Matt. 4:18, 19: “And Jesus, walking by the sea of Galilee, saw two brethren, Simon, called Peter, and Andrew, his brother, casting a net into the sea: for they were fishers. And he saith unto them, Follow me, and I will make you fishers of men.” There is also a reference to the incident by the lake recorded in John 21:15: “So when they had dined, Jesus saith to Simon Peter, son of Jonas, lovest thou me more than these?”

The hymn appeared first in _Hymns_, 1852, published by the Society for the Promotion of Christian Knowledge. In the Episcopal Church in the United States and Canada, it has been adopted as the hymn of the Brotherhood of St. Andrew.

Mrs. Alexander is known principally as a writer of children’s hymns (410 and 412), but she also contributed excellent church songs for adults.

For comments on Mrs. Alexander see Hymn 104.

_MUSIC._ GALILEE was written for this hymn by William H. Jude, 1852-1922, English organist, composer, and lecturer on musical subjects. The tune becomes waltz-like when sung in quick tempo. Recognizing this danger, some hymn books are using other tunes with this hymn.

141. Behold a stranger at the door _Joseph Grigg_, 1720-68

A lyric revealing in a remarkable manner the tenderness and love of Christ. It is based on Rev. 3:20: “Behold, I stand at the door and knock.” Bishop How’s hymn, “O Jesus Thou art standing” (144), with which this may be compared, is based on the same passage.

Joseph Grigg, an English Presbyterian minister, began writing hymns when only ten years old. After a brief pastorate, he retired from the active ministry to devote himself to literary work. He published about 40 volumes, including several collections of hymns. Only two of his 43 hymns are found in modern hymnals, this one and “Jesus, and shall it ever be” (192), the latter written when he was only ten years of age.

_MUSIC._ BERA, a very useful tune, was composed by John Edgar Gould, 1822-75, an American musical editor, dealer in musical instruments, choral conductor, and publisher of music books. He was born in Maine, but spent most of his adult life in New York City and Philadelphia.

142. I heard the voice of Jesus say _Horatius Bonar_, 1808-89

Based on John 1:16: “Of his fulness have all we received, and grace for grace,” and originally published with the title, “The Voice from Galilee.”

The hymn is constructed on three sayings of Jesus: (1) “Come unto me, all ye that labor and are heavy laden, and I will give you rest,” Mt. 11:28; (2) “Whosoever drinketh of the water that I shall give shall never thirst,” John 4:14; (3) “I am the light of the world; he that followeth me shall not walk in darkness, but shall have the light of life.” John 8:12. In the hymn, these three sayings, blended into a perfect unity, have sounded down the ages by the “Voice from Galilee.”

The hymn, as C. S. Robinson reminds us, employs the personal pronoun to emphasize the intimate relationship between Christ and the individual. “Christ says, ‘Come to _me_,’ and the Christian says, ‘_I_ come.’ Christ says, ‘_I_ give the living water’; and the listener answers, ‘_My_ thirst was quenched’; Christ says, ‘I am the light’; and the child of God replies, ‘I found in him _my_ Star, _my_ Sun.’”

For comments on Horatius Bonar see Hymn 129.

_MUSIC._ VOX DELECTI was composed by J. B. Dykes for this hymn in _Hymns Ancient and Modern_, Appendix, 1868. The musical difficulties of the tune are more apparent than real. They can be overcome and its possibilities appreciated by careful study and practice. The first half is written in the minor key to carry the quiet, invitational words of Jesus. The second part, the glad acceptance of the invitation, is written in the strongly contrasting major key.

For comments on J. B. Dykes see Hymn 1.

143. Art thou weary, heavy laden _Stephen the Sabaite_, 725-94 _Tr. John M. Neale_, 1818-66

A restful, appealing lyric on the theme, “Come unto me, all ye that labor and are heavy laden, and I will give you rest” Matt. 11:28.

It is one of the few dialog hymns. [Others are “Watchman, tell us of the night” (66), and “Who is He in yonder stall?” (96)]. It may be sung antiphonally, the choir singing the questions and the congregation the answers.

Neale published this hymn in his _Hymns of the Eastern Church_, 1862, as a translation of a Greek hymn by Stephen the Sabaite. It is a paraphrase, however, rather than a translation.

For comments on John Neale see Hymn 67.

Hymnody in the Eastern Church reached its height in the 8th century. Stephen was a nephew of John of Damascus. At the age of 10 he was placed by his uncle in the monastery of Saint Sabas, located on a lofty cliff overhanging the ravine of the Kidron, between Jerusalem and the Dead Sea. Here he lived for more than half a century, known as Stephen the Sabaite. The monastery, many of the cells cut out of solid rock, still stands. The monks have been subjected to persecution, at various times, at the hands of Persians, Moslems, and Bedouin Arabs, and the monastery looks much like a fortress.

_MUSIC._ STEPHANOS was composed for this hymn by Henry W. Baker, and was first published in the appendix of the original edition of _Hymns Ancient and Modern_, 1868. The tune was harmonized by W. H. Monk (See 40).

Henry Williams Baker, 1821-77, was educated at Cambridge, ordained in 1844, and served as vicar of Monkland, Herefordshire, from 1851 till his death in 1877. He was editor-in-chief of the epoch-making book, _Hymns Ancient and Modern_, to which he contributed several of his own hymns and tunes. As a High Churchman, he held to the doctrine of the celibacy of the clergy and was never married.

144. O Jesus, Thou art standing _William W. How_, 1823-97

Based on Rev. 3:20: “Behold, I stand at the door and knock: if any man hear my voice and open the door, I will come in to him, and sup with him, and he with me.” It was composed after the author had been reading the beautiful poem by Jean Ingelow, entitled “Brothers and a Sermon,” describing two brothers listening to an old parson in a fishing-village church. A part of the poem is as follows:

The parson knew that he had lost the eyes And ears of those before him for he made A pause ... ... then with a sigh Fronted the folk, lifted his grand gray head, And said, as one that pondered now the words He had been preaching on with new surprise, And found fresh marvel in their sound, “Behold! Behold!” saith He, “I stand at the door and knock.”

Open the door with shame, if ye have sinned; If ye be sorry, open it with sighs. Albeit the place be bare for poverty, And comfortless for lack of plenishing, Be not abashed for that, but open it, And take Him in that comes to sup with thee; “Behold!” He saith, “I stand at the door and knock!”

Speak, then, O rich and strong: Open, O happy young, ere yet the hand Of Him that knocks, wearied at last, forbear; The patient foot its thankless quest refrain. The wounded heart forevermore withdraw.

Holman Hunt’s picture, “The Light of the World,” is an exquisite illustration of the spirit of this hymn.

William Walsham How was born at Shrewsbury, England, educated at Oxford, and ordained to the ministry in 1846. He served various churches as pastor and declined offers of positions of more distinction. He refused the bishopric of Durham, one of the most distinguished posts in the Anglican Church, with an income more than double what he then had. He was a man of broad sympathies and apostolical zeal, and was a master of the pastoral art. He collaborated with Thos. Baker Morrell in editing _Psalms and Hymns_, 1854, and in 1871 was joint editor of _Church Hymns_, published by the Society for the Promotion of Christian Knowledge, the latter becoming the greatest rival of _Hymns Ancient and Modern_ which that book had had to date. His poems are marked by simplicity and beauty of diction and constitute some of the richest treasures of modern hymnody.

_MUSIC._ ST. HILDA, also known as “St. Edith,” is an arrangement by Rev. Edward Husband of a tune published by Justin H. Knecht in _Vollständige Sammlung_, Stuttgart, 1799.

For comments on Knecht see Hymn 511.

Edward Husband, 1843-1908, was an English clergyman with a great deal of musical talent and interest and was a well-known lecturer on the subject of church music.

PENITENCE AND CONFESSION

145. Savior, when in dust to Thee _Robert Grant_, 1779-1838

A hymn of penitence which has had a wide use. It was published in the _Christian Observer_, 1815, as a Lenten “Litany.” The last line of each stanza (five in the original) read, “Hear our solemn litany,” here changed to “Hear thy people when they cry.” Stanzas 2 and 4 have been much altered by an unknown hand. Grant’s original hymn of five stanzas reads as follows:

1. Savior, when in dust to Thee Low we bow the adoring knee, When, repentant, to the skies Scarce we lift our weeping eyes, Oh, by all Thy pains and woe Suffered once for man below, Bending from Thy throne on high, Hear our solemn litany!

2. By Thy helpless infant years, By Thy life of want and tears, By Thy days of sore distress In the savage wilderness, By the dread, mysterious hour Of the insulting Tempter’s power, Turn, O turn, a favoring eye, Hear our solemn litany!

3. By the sacred griefs that wept O’er the grave where Lazarus slept; By the boding tears that flowed Over Salem’s loved abode; By the anguished sigh that told Treachery lurked within Thy fold; From Thy seat above the sky Hear our solemn litany!

4. By Thine hour of dire despair, By Thine agony of prayer, By the cross, the nail, the thorn, Piercing spear, and torturing scorn, By the gloom that veiled the skies O’er the dreadful sacrifice, Listen to our humble cry, Hear our solemn litany!

5. By Thy deep expiring groan, By the sad sepulchral stone, By the vault whose dark abode Held in vain the rising God, Oh, from earth to heaven restored, Mighty, reascended Lord, Listen, listen, to the cry Of our solemn litany!

For comments on Robert Grant see Hymn 7.

_MUSIC._ SPANISH HYMN, also called “Spanish Chant,” is from an old 17th century melody of unknown origin.

146. Come, let us to the Lord our God _John Morison_, 1750-98 _Scottish Paraphrase_, 1781

A version, from the Scottish Presbyterian Church, of Hosea 6:1-4:

Come, and let us return unto the Lord: for he hath torn, and he will heal us; he hath smitten, and he will bind us up. After two days will he revive us: in the third day he will raise us up, and we shall live in his sight. Then shall we know, if we follow on to know the Lord: his going forth is prepared as the morning: and he shall come unto us as the rain, as the latter and former rain unto the earth.

O Ephraim, what shall I do unto thee? O Judah, what shall I do unto thee? for your goodness is as a morning cloud, and as the early dew it goeth away.

Our hymn is one of the 67 “Translations and Paraphrases, in Verse, of Several Passages of Sacred Scriptures,” together with five hymns, that are appended to the _Scottish Psalter_ for use in public worship in the Scotch Presbyterian Church.

John Morison was a Scotch scholar, teacher, and minister. He wrote a number of paraphrases of scriptural passages, seven of which were accepted into the authorized collection of _Scottish Paraphrases_, 1781.

_MUSIC._ BALLERMA. For comments on this tune see Hymn 57.

147. Lord, thy mercy now entreating _Mary Ann Sidebotham_, 1833-1913

A hymn of penitence which was contributed to _The Children’s Hymn Book_, 1881, published by the Society for the Promotion of Christian Knowledge, London.

The author, Mary Ann Sidebotham, was an accomplished musician and a lifelong friend of Henry Smart, the eminent organist and composer. She spent much of her life in her brother’s vicarage, St. Thomas-on-the-Bourne, Surrey, England, where she served as organist. She composed numerous songs for children and was the music editor of the above-mentioned _Children’s Hymn Book_.

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

FAITH AND VISION

148. Rock of Ages, cleft for me _Augustus M. Toplady_, 1740-78

Few hymns are more generally familiar or more treasured in the affections of all ranks of people than this. It appeared first in the _Gospel Magazine_, edited by Toplady, March, 1776, at the end of an article entitled, “A remarkable calculation Introduced here for the sake of the Spiritual Improvements subjoined. Questions and answers relating to the National Debt.” The article points out that the national debt is so large that the government will never be able to pay it off. The author then proceeds to calculate the number of sins each human being commits. Figuring the rate to be one per second, he arrives at this:

Our dreadful account stands as follows: At ten years old each of us is chargeable with 315 millions and 360,000 sins. At twenty, with 630 millions and 720,000. At thirty with 946 millions and 80,000.... At eighty, with 2,522 millions and 880,000.

The conclusion is that the debt can only be paid by the blood of Christ. The hymn follows his “calculation,” under the heading, “A living and dying Prayer for the Holiest Believer in the World.”

For 45 years after its publication, the hymn had little acceptance in England. Its merits then became recognized, and it became very popular. In the last century and a quarter it has had world-wide use, in a form altered somewhat from the original. The hymn has been criticized for its mixed metaphors (“cleft rock,” “riven side,” “to thy cross I cling,” “to the fountain fly”), for its false rhymes, and its over-emphasis upon sin obsession; but it has certain heart-piercing qualities which override all its faults. Like other hymns of the first rank (e.g., “Jesus Lover of my soul,” “Lead kindly light,” and “Nearer my God to Thee”) it voices the universal need of divine help. Professor Saintsbury, a literary critic, says of this hymn: “Every word, every syllable, in this really great poem has its place and meaning.”

The central imagery of the hymn is found in the following Scripture passages: Ex. 33:22: “While my glory passeth by, I will put thee in a cleft of the rock, and will cover thee with my hand while I pass by”; Isa. 26:4: “Trust ye in the Lord for ever: for in the Lord Jehovah is the rock of ages” (margin); I Cor. 10:4: “and that Rock was Christ.”

A picturesque story, which originated about 1850, had it that Toplady composed the hymn while he was sheltering from a thunder storm in a great cleft of a limestone rock, some twelve years before the publication of the hymn. The story is without foundation. Toplady was fascinated by the thought of Christ as a rock and in a sermon on Isa. 42:11: “Let the inhabitants of the rock sing,” he said: “Chiefly may they sing who inhabit Christ the spiritual Rock of Ages. He is a Rock in three ways: as a Foundation to support, a Shelter to screen, and a Fortress to protect.”

The hymn has had a wide use among German speaking people in a translation made by Ernst Gebhardt, 1832-99.

Fels des Heils, geöffnet mir, Birg’ mich, ew’ger Hort in dir! Lass das Wasser und das Blut, Deiner Seite heil’ge Flut, Mir das Heil sein, das frei macht Von der Sünden Schuld und Macht!

Dem, was dein Gesetze spricht, Kann mein Werk genügen nicht. Mag ich ringen wie ich will, Fliessen auch der Tränen viel, Tilgt das doch nicht meine Schuld, Herr, mir hilft nur deine Huld.

Da ich denn nichts bringen kann, Schmieg’ ich an dein Kreuz mich an Nackt und bloss—o kleid’ mich doch. Hülflos—ach erbarm’ dich noch. Unrein, Herr, flieh’ ich zu dir. Wasche mich, sonst sterb’ ich hier.

Jetzt, da ich noch leb’ im Licht, Wenn mein Aug’ im Tode bricht, Wenn durch’s finst’re Tal ich geh’, Wenn ich vor dem Richter steh’, Fels des Heils, geöffnet mir, Birg’ mich, ew’ger Hort in dir!

Augustus M. Toplady, born at Farnham, England, was educated at Trinity College, Dublin. His conversion occurred at the age of 16 while on a visit in Ireland. The service was held in a barn and the text was Eph. 2:13: “But now, in Christ Jesus, ye who sometimes were far off are made nigh by the blood of Christ.” The preacher was an illiterate but warm-hearted layman named Morris. Concerning his conversion Toplady wrote:

Strange that I, who had so long sat under the means of grace in England, should be brought nigh unto God in an obscure part of Ireland, amidst a handful of God’s people met together in a barn, and under the ministry of one who could hardly spell his name. Surely this is the Lord’s doing, and it is marvelous.

Toplady was ordained to the ministry of the Church of England in 1762 and in 1768 became vicar of Broadhembury. The last years of his life were passed in London preaching in a chapel of French Calvinists. He was a powerful preacher, and large congregations came to hear him. A strong Calvinist, and bitterly opposed to what he considered the reproach of Arminianism, he became involved in unfortunate controversies with John Wesley, during which neither disputant showed himself at his best. He died of consumption at the early age of 38.

_MUSIC._ TOPLADY was composed for this hymn by Thomas Hastings, 1784-1872. It is a popular easily sung tune, and universally used in America with this hymn. Hastings was not a great musician and this tune, with its “sentimentality and rocking-chair rhythm,” can hardly be considered great music. But it has been a blessing to millions of people and will doubtless continue to be sung for years to come. In England the hymn is invariably set to other tunes and some American hymn books have introduced alternative tunes. The tune “Petra” (109) is used with this hymn, as is also _Grosser Gott wir loben Dich_ (519).

For comments on Thomas Hastings see Hymn 120.

149. Strong Son of God, immortal love _Alfred Tennyson_, 1809-92

From the prologue of Tennyson’s great poem, “In Memoriam,” 1850, containing eleven stanzas; these are 1, 4, 5, and 7, unaltered.

The story of “In Memoriam” is familiar. At Cambridge University, Tennyson and Arthur Hallam became intimate friends. Hallam became engaged to Tennyson’s sister, and, after graduating from the University, took a trip to the Continent. At Vienna, he became sick and died, which prompted Tennyson to write the following brief but beautiful words:

“In Vienna’s fatal walls, God’s finger touched him, and he slept.”

In 1850, seventeen years after Hallam’s death, Tennyson published “In Memoriam,” a memorial to Hallam, but also to himself as well. Among the individual verses of the poem which have become immortal are the familiar lines beginning, “Ring out, wild bells, to the wild sky.” (See 379).

Alfred Tennyson was the son of Rev. George C. Tennyson. He was educated at Cambridge and wrote poetry while an undergraduate. Upon the death of Wordsworth in 1850, Tennyson was appointed Poet Laureate. He is regarded as one of England’s greatest poets. He was not a hymn writer, yet several of his poems are used as hymns. Tennyson died October 6, 1892, and was buried in Westminster Abbey.

_MUSIC._ ST. CRISPIN was composed for the hymn “Just as I am, without one plea.” The tune was used at the funeral of the composer.

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

150. My faith looks up to Thee _Ray Palmer_, 1808-87

This hymn was written when the author had just left Yale at the age of 21 and was looking forward to his lifework in the Congregational ministry. The origin of the hymn is given in Duffield’s _English Hymns_, as follows:

The hymn was written in 1830, but not published (as a hymn) until 1882. The author was in New York City, “Between his college and theological studies,” and was in poor health, and a teacher in a ladies’ school. Dr. Palmer says: “I gave form to what I felt by writing, with little effort, the stanzas. I recollect I wrote them with very tender emotion, and ended the last lines with tears.” The manuscript was then placed in a pocket-book, where it remained for some time. Its true discoverer was Lowell Mason, the musician, who asked young Palmer if he had not some hymn or hymns to contribute to his new book. The pocket-book was produced and the little hymn, then between two and three years old, and never previously utilized, though it had been in print as a poem, was brought to light. Dr. Mason was attracted by it, and desired a copy. They stepped together into a store (it was in Boston), and the copy was made and taken away without further comment. On carefully reading the hymn at home, Dr. Mason was so interested that he wrote for it the tune “Olivet,” to which it is usually sung. Two or three days later, he again met the author in the street, and scarcely waiting to salute him, he said, “Mr. Palmer, you may live many years, and do many good things, but I think you will be best known to posterity as the author of ‘My Faith looks up to Thee.’”

The hymn appeared first in _Spiritual Songs for Social Worship_, 1831, by Thomas Hastings and Lowell Mason. It has been translated into many languages on the mission fields.

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

151. How firm a foundation _“K” in Rippon’s Selection_, 1787

A great song of faith, calling to mind such scripture passages as Heb. 13:5: “I will never leave thee nor forsake thee”; Isa. 43:1, 2: “Fear not, for I have redeemed thee: I have called thee by thy name; thou art mine. When thou passest through the waters, I will be with thee; and through the rivers, they shall not overflow thee; when thou walkest through the fire, thou shalt not be burned; neither shall the flame kindle upon thee.”

The authorship is uncertain. The hymn appeared in _A Selection of Hymns from the Best Authors_, 1787, edited by John Rippon, 1751-1836, pastor of the Baptist Church in Carter’s Lane, London, where it was signed “K.” Who “K” was remains uncertain. The best guess seems to be that it refers to Robert Keene, precentor in Dr. Rippon’s church. It is one more example of a writer sending forth an immortal song to bless and strengthen the faith of millions, and then hiding himself completely from public notice.

_MUSIC._ ADESTE FIDELIS. For comments on this tune see Hymn 80.

152. We walk by faith, and not by sight _Henry Alford_, 1810-71

Based on the story of the incredulity of Thomas in John 20:25-29: “Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe ... blessed are they that have not seen, and yet have believed.”

Henry Alford was educated at Cambridge for the Anglican ministry. After serving various churches, he finally, in 1857, became Dean of Canterbury, the highest post in the church. He was a renowned scholar and the author of numerous volumes. His _Greek Testament_ was his greatest work and remained the standard critical commentary of the latter 19th century. He was a member of the New Testament Revision Company, whose work resulted in the revised version in 1881. Greatly interested in hymnology, he himself wrote and translated many hymns, and published several collections of hymns. Dean Alford was a strenuous worker, never idle, always broad-minded and throughout his life maintained cordial relations with non-conformists. A lifelong desire to visit the Holy Land remained unfilled; which fact suggested the beautiful inscription on his tombstone: “_Deversorium viatoris proficiscentis Hierosolymam_”—“the inn of a pilgrim travelling to Jerusalem.”

_MUSIC._ ARLINGTON is a tune from Thos. A. Arne’s opera _Artaxerxes_, arranged by Rev. Ralph Harrison, 1748-1810, an English Presbyterian minister who published it in his _Sacred Harmony_, 1784.

Thos. A. Arne, 1710-1778, was educated for the legal profession. He turned away from law to become the foremost English composer of the 18th century. He received his degree of Doctor of Music from Oxford in 1759. Arne wrote the patriotic air, “Rule Britannia,” besides many other popular songs. His sister, a famous contralto, was chosen by Handel as one of the soloists for the first performance of _The Messiah_ in Dublin, April 13, 1742.

153. O for a faith that will not shrink _Wm. Hiley Bathurst_, 1796-1877

An excellent hymn on “The Power of Faith,” based on I John 5:4: “And this is the victory that overcometh the world, even our faith.” It appeared in the author’s _Psalms and Hymns for Public and Private Use_, 1831.

William Hiley Bathurst graduated from Oxford in 1818. During 33 years of ministry at Barwick-in-Elmet, he endeared himself to his people by his “eminent piety, his great simplicity of character, his tender love, and his abundant generosity.” He was a shy and reserved man “and had the peculiarity of becoming utterly silent if one asked the most trivial question.” His father was Charles Bragge, a member of Parliament for Bristol. The son assumed the name of Bathurst on succeeding to the estate of his uncle, Earl Bathurst, at Lydney Park, Gloucester.

_MUSIC._ EVAN was originally a setting by Wm. H. Havergal for a poem by Burns, “O Thou dread power who reign’st above.” Lowell Mason took a part of the melody and arranged it, as here, for a psalm tune, publishing it in _New Carmina Sacra_, 1850, under the name “Eva.” It might be added that Havergal disapproved of the arrangement as a “sad estrangement.” In spite of this, Mason’s arrangement has remained popular.

Rev. W. H. Havergal, 1793-1870, graduated from Oxford and was ordained in the Church of England. He became the rector of a church, but due to a carriage accident which resulted in concussion of the brain and injury to his eyesight, he resigned his church and devoted himself to the study of church music. In this field, he made a significant contribution by his compositions and his efforts at purifying and elevating the music used in the church. His daughter, Frances Ridley Havergal (see 126), wrote many hymns, six of which are found in the _Hymnary_.

154. Faith of our fathers, living still _Frederick W. Faber_, 1814-63

A stirring hymn of faith bringing to mind the story of the Christian martyrs and pledging loyalty till death to the faith of our fathers. The last stanza, suggesting the preaching of the faith through “kindly words and virtuous life,” is especially fine and Christian in spirit.

By “faith of our fathers” we mean, as we sing the hymn, the truth contained in the Gospels, taught by the Apostles, and brought again into clear light at the Reformation. But the hymn originally, written by a Roman Catholic, had reference to the Roman Catholic faith. The author, an Englishman, wrote one verse as follows:

Faith of our fathers! Mary’s prayers Shall win our country back to Thee! And through the truth that comes from God England indeed shall then be free.

The lines have been adapted for Protestant services to read:

Faith of our fathers! God’s great power Shall soon all nations win for thee; And through the truth that comes from God Mankind shall then be truly free.

The stanza, somewhat over-optimistic, is omitted from the _Hymnary_.

For comments on the author, F. W. Faber, see Hymn 44.

_MUSIC._ ST. CATHERINE is of English origin. The composer, Henry F. Hemy, 1818-88, was organist at St. Andrew’s Roman Catholic Church in Newcastle-upon-Tyne, and a teacher of piano and singing. He wrote this tune for another hymn and published it in his _Crown of Jesus Music_, 1864, a popular book in Catholic churches in England. The refrain was added in an arrangement by James G. Walton, 1821-1905.

PEACE AND JOY

155. Jesus, the very thought of Thee _Ascribed to Bernard of Clairvaux_, 1091-1153 _Tr. Edward Caswall_, 1814-78

“This may well be called the sweetest and most evangelical hymn of the Middle Ages.... It breathes the deepest love to Christ, as the fountain of all peace and comfort, and the sum of all that is pure and lovely.”—Philip Schaff.

It is from the famous medieval hymn “_Jesu, dulcis memoria_,” which David Livingstone used to repeat as he explored Africa: “That hymn of St. Bernard, on the name of Christ, although in what might be termed dog-Latin, pleases me so: it rings in my ears as I wander across the wide, wide wilderness.” Its beauty has charmed many others who are familiar with the Latin. The original poem has fifty quatrains, of which our hymn is a selection of the following five:

Iesus dulcis memoria, Dans vera cordis gaudia; Sed super mel et omnia Dulcis eius praesentia.

Nil canitur suavius, Auditur nil iucundius, Nil cogitatur dulcius, Quam Iesus, Dei Filius.

Iesu, spes paenitentibus, Quem pius es pententibus, Quam bonus te quaerentibus! Sed quid invenientibus.

Nec lingua potest dicere, Nec littera exprimere; Experto potes credere, Quid sit Iesum diligere.

Tu esto nostrum gaudium, Qui es futurus praemium; Sit nostra in te gloria Per cuncta semper saecula.

It is usually attributed to Bernard of Clairvaux (See 539), but many authorities now question the authorship. Percy Dearmer says in _Songs of Praise Discussed_ that “it is not by St. Bernard.... St. Bernard of Clairvaux was born 1091 and the poem itself has been found in a manuscript of the 11th century.” In further commenting on the authorship he says, “We really know nothing and are not likely to know.”

The translation here is by Edward Caswall.

For comments on Caswall see Hymn 19.

A translation of a different _cento_ of the same hymn, by Ray Palmer, is found at No. 171.

_MUSIC._ ST. AGNES was written for this hymn in _A Hymnal for Use in the English Church_, 1866, edited by Rev. J. Grey. In England it is called “St. Agnes, Durham,” to distinguish it from the tune, “Langran” (303) which is known in England as “St. Agnes.”

For comments on the composer, John B. Dykes, see Hymn 1.

156. Rejoice, ye pure in heart _Edward H. Plumptre_, 1821-91

A popular processional hymn written for that purpose in May, 1865, for a choir festival in Peterborough Cathedral, one of the most important Norman churches now standing in England. It was published in the same year in the author’s _Lazarus, and Other Poems_. The refrain has been added.

For comments on Edward H. Plumptre see Hymn 95.

_MUSIC._ MARION was written in 1883 for this hymn. The tune is admirably adapted to the words and the combination has made this one of the choicest of processional hymns. It is also effective for antiphonal singing.

Arthur Henry Messiter, 1834-1916, born in Somersetshire, England, began the serious study of music at the age of 17. Coming to America in 1863, he sang for a time in the volunteer choir of Trinity Church, New York City. Three years later this famous church appointed him their director of music and organist, a position he held with distinction for 31 years. He is the author of several notable books on music and editor of _Episcopal Hymnal_ of 1893.

157. Jesus, our Savior, grant us Thy peace _E. C. Poppe_ _Tr. Amanda Hostettler_ _and E. Shippen Barnes_

A hymn of the peace of God, based on Col. 3:15: “And let the peace of God rule in your hearts, to which also ye are called”; and John 14:27: “Peace I leave with you, my peace I give unto you.”

The original poem of five stanzas appears in the _Gesangbuch mit Noten_ where it is attributed to E. C. Poppe. Erhard Christoph Poppe, 1804-78, the son of a goldsmith, was born in Bremen. He was a colporteur for the Methodist church.

Seliger Friede, köstliche Gab’ Meines geliebten Heilands, mich lab’; Tief in mein Inn’res du dich ergiess’, Dass ich dich, wie ich wünsche geniess. O, wie schmeckst du dem Herzen so süss!

Seit mir mein Jesus Frieden geschenkt, Hat sich mein Alles in Ihn versenkt; Ach, wie war’s Ihm am Kreuze so bang! O, wie Ihn dort die Liebe so drang! Frieden zu spenden, Er für mich rang.

Jesu, verklär Dich in mir noch mehr, Dass solchen Frieden ferner nichts stör’; Wie ja ein Vater Gutes gern giebt, Schenkst Du auch Deinem Kind, das Dich liebt; Frieden, den keine Wolke mehr trübt.

Nimm Du allein das Herze uns ein, Dass wir recht mild und sanftmüthig sein, Dass uns’re Seelen, Dir nur geweiht, Ruhen in Deinem Blut allezeit; Friede versüsst uns dann Kreuz und Leid.

Gieb Deinen Frieden immer mir so, Dass ich in Leid bleib’ ruhig und froh, Und wenn auch höher steiget die Noth, Ja, wenn zuletzt mir nahet der Tod, Lass mich im Frieden eilen zu Gott.

This free translation, specially made for the _Hymnary_, is by Mrs. Amanda Hostettler, Upland, California, whose father, John Hirschler, was a prominent minister in the General Conference of Mennonites. A few changes in her work were made by E. Shippen Barnes.

For comments on Barnes see Hymn 48.

_MUSIC._ SELIGER FRIEDE, named after the initial words of the German text, appeared anonymously in the _Gesangbuch mit Noten_. Its quiet, pensive phrases are well adapted to the sentiment of the words.

158-9. Jesus, Lover of my soul _Charles Wesley_, 1707-88

The greatest hymn of all time.

Many of the stories concerning the origin of this hymn, such as that of the bird flying in time of storm to Wesley, or a dove pursued by a hawk finding refuge in his room, or Wesley’s own escape from a threatening mob, cannot be substantiated and must be dismissed as legendary, however plausible and fitting they may be.

The hymn first appeared in _Hymns and Sacred Poems_, 1740, with the title, “In time of Prayer and Temptation.” The third stanza, omitted from all hymnals, reads:

Wilt Thou not regard my call? Wilt Thou not accept my prayer? Lo, I sink, I faint, I fall, Lo, on Thee I cast my care. Reach me out Thy gracious hand, While I of Thy strength receive, Hoping against hope I stand, Dying, and behold, I live.

The simplicity and literacy art of the hymn are unsurpassed. Of the 188 words in the four stanzas of the hymn generally used, all but 31 are monosyllables. The hymn has been translated into virtually every language and uncounted millions have found it a source of help in time of need. Henry Ward Beecher once said: “I would rather have written that hymn than to have the fame of all the kings that ever sat upon the earth.”

In the annotated edition of the _Book of Common Praise_, 1909, the following story is given:

A party of Northern tourists were on the deck of an excursion steamer, on the Potomac, one summer evening in 1881. One of the party, who had a remarkable voice, began to sing hymns to the others. When he had sung two verses of “Jesu, lover of my soul,” a stranger made his way from the outskirts of the crowd: “Beg your pardon, sir, but were you

## actively engaged in the late war?” “Yes, sir, I fought under General

Grant.” “Well,” the first speaker continued, “I did my fighting on the other side, and I think I was very near you one bright night eighteen years ago this month. It was much such a night as this. If I am not mistaken, you were on guard-duty. We of the South had sharp business on hand. I crept near your post of duty, my weapon in my hand; the shadows hid me. Your beat led you into the clear light. As you paced back and forth you were singing that same hymn. I raised my gun and aimed at your heart—and I had been selected for the work because I was a sure shot. Then out upon the night floated the words:

Cover my defenceless head With the shadow of thy wing.

Your prayer was answered. I couldn’t fire after that. And there was no attack made upon your camp that night. I felt sure, when I heard you singing this evening, that you were the man whose life I was spared from taking.” The singer grasped the hand of the Southerner and said: “I remember the night very well, and the feeling of depression with which I went forth to my duty. I knew the post was one of great danger. I paced my lonely beat, thinking of home and friends and all that life holds dear. Then the thought of God’s care came to me with peculiar force, and I sang the prayer of my heart and ceased to feel alone. How the prayer was answered I never knew until this evening.”

For comments on Wesley see Hymn 6.

_MUSIC._ MARTYN. The composer of this tune, Simeon B. Marsh, 1798-1875, spent many years teaching singing classes in and near Albany, N. Y., travelling constantly on horseback from town to town through Albany Presbytery. It was while enroute on his weekly circuit, one day during the autumn of 1834, that the melody took form. He alighted from his horse and wrote the music which he set to a hymn by John Newton, “Mary to her Saviour’s tomb.” Thomas Hastings later set the tune to “Jesus, Lover of my soul,” a combination now deeply imbedded in the affections of the American Church.

_MUSIC._ HOLLINGSIDE (159) is the tune composed by John B. Dykes, 1823-76, especially for this hymn. The tune has more of musical interest than the better known “Martyn,” and many hymnals give it first place for use with this hymn. Dykes was always particular about the naming of his tunes, often some incident in his life supplying the name. “Hollingside” was the name of the cottage he lived in, while precentor at Durham, when he wrote this. Regarding its composition, one of his sisters wrote:

Some scenes during that visit will live forever in my memory. As, for instance, one calm Sunday evening, when I sat in the verandah in the deepening twilight and heard, through the open window, my brother composing and playing over the tune “Hollingside,” to the words “Jesu, Lover of my soul.”

For comments on Dykes see Hymn 1.

GUIDANCE AND PROTECTION

160. Guide me, O Thou great Jehovah _William Williams_, 1717-91

A superb hymn of guidance in which the analogies of the history of Israel in the wilderness appear in every stanza and almost in every line. It was written in Welsh in 1745 and translated into English in 1771 by Rev. Peter Williams, friend of the author and fellow-worker. Some think stanzas 2 and 3 were translated by the author himself or by his son, the Rev. John Williams.

The hymn in Welsh, with its unpronounceable words, is as follows:

Arglwydd, arwain trwy’r anialwch Fi bererin gwael ei wedd, Nad oes ynof nerth na bywyd, Fel yn gorwedd yn y bedd: Hollalluog Ydyw’r un a’m cwyd i’r lan.

Agor y ffynnonau melus Sydd yn tarddu o’r Graig i maes; ’Rhyd yr anial mawr canlyned Afon iachawdwriaeth grâs: Rho imi hyny; Dim i mi ond dy fwynhau.

Ymddiriedaf yn dy allu, Mawr yw’r gwaith a wnest erioed: Ti gest angau, ti gest uffern, Ti gest Satan dan dy droed: Pen Calfaria, Nac aed hwnw byth o’m cof.

William Williams was the chief hymn writer of Wales and one of her greatest poets. He at first was in training for the medical profession but after attending some revival services, decided to become a minister. On account of his evangelical views (and his interest in evangelistic work), he came in conflict with church dignitaries, resulting in his withdrawal from the Established Church, and throwing himself into evangelistic work. His preaching itineraries took him throughout Wales. He travelled an average of 3,000 miles per year for 50 years. He wrote many hymns, stirring the nation, influencing its character, and deepening its faith. Williams was to Wales what Paul Gerhardt was to Germany and Isaac Watts to England.

_MUSIC._ DISMISSAL was composed for the hymn “Lord, dismiss us with Thy blessing” (45).

The composer, William Letton Viner, 1790-1867, was a student of Charles Wesley, Jr. He was organist at St. Michael’s Church, Bath, for 18 years and at St. Mary’s Penzance for 21 years. In 1859, he came to the United States. He composed organ and church music and songs, and edited several hymnals.

161. Jesus, Savior, pilot me _Edward Hopper_, 1818-88

A beautiful hymn suggested by the seafaring life. It was published anonymously in _Sailors’ Magazine_, 1871, and again in the _Baptist Praise Book_, 1871, and in C. S. Robinson’s collection of _Spiritual Songs_, 1878. The author of the hymn, unknown for several years, was discovered at the anniversary of the Seamen’s Friend Society, held at the Broadway Tabernacle, New York City, May 10, 1880. Dr. Edward Hopper, popular pastor of the Church of the Sea and Land in New York, having been asked to write a special hymn for the occasion, brought instead, “Jesus Savior, pilot me,” not aware that the hymn had already been published in several church hymnals. The public learned then for the first time the real authorship of the hymn. The original has six stanzas, this being a selection of 1, 5, and 6.

Edward Hopper was born in New York City. He graduated from New York University and then prepared himself at Union Theological Seminary, New York, for the Presbyterian ministry. For many years he was pastor of the Church of the Sea and Land in New York, which sailors attended in large numbers.

_MUSIC._ PILOT, universally sung and beautifully adapted to these words, was written just before the composer sailed for Europe a short while before his death. He played the tune on the piano the night before he embarked on shipboard for his last earthly voyage.

For further comments on the composer, John E. Gould, see Hymn 141.

162-3. Lead, kindly Light _John Henry Newman_, 1801-90

A prayer for light and guidance, written on Sunday, June 16, 1833, while the author, travelling for his health, was lying, sick in mind and body, on the deck of a sail vessel that was becalmed for a whole week in the Straits of Bonifacio, in the Mediterranean Sea. Newman was going through a period of great heart-searching because of the disturbed conditions in England, both in church and state. His depressed feelings were accentuated by the wretched state of his health. The hymn deserves its wide popularity, for it expresses the universal longing for divine help in time of deep depression. The meaning of “kindly light” was never explained by the author. To some it represents the Inward Light of conscience; to others just the divine guidance; but to most people it doubtless means Christ as the Light of the World.

John Henry Newman was born in London, the son of a banker. His parents were devout nonconformists and brought up their son in the evangelical faith. After a distinguished career at Trinity College, Oxford, Newman was ordained in the Church of England, and became the vicar of the Oxford University Church, a post he filled with distinction from 1828 to 1843. His charm of personality and pulpit eloquence made him a profound influence at the University. Newman became a leader in the Oxford Movement and finally, in 1845, after a period of much hesitation, he left Anglicanism to unite with the Roman Catholic Church. His _Apologia pro Vita Sua_, a masterpiece of autobiography, constitutes a powerful defense of the Roman system of belief. In 1879, after some years of neglect by the church, he was made a cardinal. His fine Christian character, and spiritual force, as well as his literary ability, were universally recognized. Newman was a great Englishman and a great saint though referred to by some writers as an “angel who lost his way.”

_MUSIC._ LUX BENIGNA was written for these words by J. B. Dykes. Dykes told a friend that the tune came to him while walking through the Strand in London. The tune is also known as “St. Oswald.”

A friend visiting Cardinal Newman said to him of “Lead, Kindly Light”: “It must be a great pleasure to you to know that you have written a hymn treasured wherever English speaking Christians are to be found: and where are they not found?” To which Newman, after thoughtful silence, replied: “Yes, deeply thankful, and more than thankful: but you see it is not the hymn, but the tune, that has gained the popularity! The tune is Dykes’, and Dr. Dykes was a great master.”

For comments on J. B. Dykes see Hymn 1.

SANDON was also written for this hymn. It appeared in _The Church and Home Metrical Psalter and Hymnal_, 1860, edited by Purday himself. It is simpler in form than LUX BENIGNA and is an effective and desirable alternative tune.

Charles Purday, 1799-1885, the composer, was at one time a noted singer in London. He became a publisher of music and was a popular lecturer on musical subjects.

164. Lead us, O Father, in the paths of peace _Wm. H. Burleigh_, 1812-71

A hymn on the journey of life, entitled by the author, “Prayer for Guidance.”

William Henry Burleigh was brought up on a farm at Plainfield, Conn. At the age of 25, he went to Pittsburgh, Pa., and learned the printing trade and journalism. He later became editor of the _Christian Freeman_, an abolitionist journal, at Hartford, Conn. He was an ardent temperance reformer and advocate of the abolition of slavery. His last appointment was harbour master at New York, a post he held for 15 years. Burleigh belonged to a distinguished group of Unitarians who have contributed to American hymnody. His wife, Celia Burleigh, was for some time minister of the Unitarian Church at Brooklyn, Conn., and wrote the _Life_ of her husband.

_MUSIC._ LONGWOOD was composed for John Ellerton’s hymn, “Savior, again to thy dear name we raise” (43).

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

165. O’er the trackless ocean guided _Wm. H. Adams_, 1864—

A hymn on pioneer service, written probably with the Pilgrim Fathers in mind, but equally applicable to other groups of immigrants who came “o’er the trackless ocean” to build “rude homes” in the “new land, wild and lonely.”

Information concerning the author has not been traced. The hymn is not listed in _Julian’s Dictionary_.

_MUSIC._ BEECHER. For comments on this tune and its composer see Hymn 178.

166. For them whose ways are in the height _Richard Roberts_, 1874—

This hymn for travellers by air was created to meet the new day of amazing development which has taken place in modern travel. It is a welcome addition to the hymnody of travel.

Richard Roberts, born in Wales, in 1874, is an eminent preacher. Before going to Canada where he became the first Moderator of the United Church of Canada, he occupied pulpits in Wales, London, and Brooklyn. He is one of the founders of the “Fellowship of Reconciliation.” His views on the relation of the church to war are well expressed in his own words:

The world order in which war is inherent, the church exists to transform. When it supports the method of war, an end-product of the unredeemed world order, the church is not only proclaiming its own failure, but is hauling down its own flag and hoisting instead the flag of the world.

_MUSIC._ MORWELLHAM was composed by Charles Steggall, 1826-1905, an English musician who was educated at the Royal Academy of Music in London and then for half a century was chief professor of the organ in the same institution. He is said to have trained more organists than any teacher in England. Steggall was an enthusiast for the music of Bach and served as honorary secretary of the Bach Society. He composed anthems and church music and had a lifelong interest in hymnology. He succeeded W. H. Monk as musical editor of _Hymns Ancient and Modern_.

167. O God of Bethel, by whose hand _Philip Doddridge_, 1702-51 _and others_

A paraphrase of Genesis 28:20-22: “And Jacob vowed a vow, saying, If God will be with me, and will keep me in this way that I go, and will give me bread to eat, and raiment to put on, so that I come again to my father’s house in peace; then shall the Lord be my God: and this stone, which I have set for a pillar, shall be God’s house: and of all that thou shalt give me I will surely give the tenth unto thee.”

The hymn has undergone certain changes and additions so that it really is a composite production, the details of which need not be enumerated here. Ours is the Scottish version found in the _Scottish Paraphrases_, 1781. In Scotland it is the best-loved of the paraphrases as “The Lord’s My Shepherd” is the best-loved of the psalms.

For comments on Philip Doddridge see Hymn 56.

_MUSIC._ SALZBURG is an adaptation of an air in a movement of a Mass composed by J. M. Haydn “for the use of country choirs.” It was originally in 6-8 time. An entirely different tune by the same name is found at Hymn 545.

For comments on Johann Michael Haydn see Hymn 7.

168. Captain of Israel’s host, and Guide _Charles Wesley_, 1707-88

Based on the story of God’s guidance of the Israelites during their exodus from Egypt and their journeyings in the wilderness, Exodus 13:17-22.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ MIDDLESEX is an anonymous tune, the origin of which has not been traced. The hymn and tune were taken from _The Hymnary_, published in Toronto, 1930, by the United Church of Canada.

169. Eternal Father! strong to save _William Whiting_, 1825-78

A hymn for travellers by sea. This hymn and tune have long been used more frequently than any other for that purpose. Sir Evelyn Wood wrote regarding this hymn: “It is much used by those at sea, and, when the wind blows hard, by those on land.” The words, written in 1860, have been revised several times.

It was the favorite hymn of the late Franklin D. Roosevelt and was sung at his funeral at Hyde Park, New York, April 14, 1945.

William Whiting was a native of Kensington, London, and was for over twenty years master of the Choristers’ School at Winchester College.

_MUSIC._ MELITA was written for this hymn. For comments on the composer, J. B. Dykes, see Hymn 1.

LOVE AND GRATITUDE

170. Jesus, Thy boundless love to me _Paul Gerhardt_, 1607-76 _Tr. John Wesley_

A hymn of the love of Christ, suited especially well for the Communion Service. This great hymn by Paul Gerhardt first appeared in Crüger’s _Praxis Pietatis Melica_, Berlin, 1653, in sixteen stanzas. John Wesley, great revivalist and eminent translator of German hymns, rendered the entire hymn into English, in a different meter, and published it in _Hymns and Sacred Poems_, 1739. Our hymn consists of the first three stanzas, the original of which are as follows:

O Jesu Christ, mein schönstes Licht, Der du in deiner Seelen So hoch mich liebst, dass ich es nicht Aussprechen kann noch zählen: Gib, dass mein Herz dich wiederum Mit Lieben und Verlangen Mög’ umfangen Und als dein Eigentum Nur einzig an dir hangen!

Gib, dass sonst nichts in meiner Seel’ Als deine Liebe wohne; Gib, dass ich deine Lieb’ erwähl’ Als meinen Schatz und Krone! Stoss alles aus, nimm alles hin, Was dich und mich will trennen Und nicht gönnen, Dass all mein Mut und Sinn In deiner Liebe brennen!

Wie freundlich, selig, süss und schön Ist, Jesu, deine Liebe! Wo diese steht, kann nichts bestehn, Das meinen Geist betrübe; Drum lass nichts andres denken mich, Nichts sehen, fühlen, hören, Lieben, ehren Als deine Lieb’ und dich, Der du sie kannst vermehren!

The prayer for the realization of the love of Christ was answered abundantly in Wesley’s own life. In his _Plain Account of Christian Perfection_, he wrote:

In the beginning of the year 1738, as I was returning from Savannah, the cry of my heart was

“O grant that nothing in my soul May dwell but Thy pure love alone.”

On May 24 of the same year, in the Society Meeting in Aldersgate Street, about a quarter before nine, during the reading of Luther’s Preface to the Epistle to the Romans, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for Salvation; and an assurance was given me that He had taken away my sins, even _mine_, and saved _me_ from the law of sin and death.

Wesley became interested in the German chorales through his contact with the Moravians. In 1735, he and his brother Charles Wesley set sail for Georgia. Among their fellow passengers on the boat were 26 Moravians who made much of the singing of hymns and seemed to meet every storm and trial with unfaltering faith. Wesley was so impressed that on the third day out he began the study of German and soon joined in the daily worship of the Moravians. The fervor and spontaneity of their singing made an indelible impression on his mind. He later translated a number of chorales into English. (See 246, 508, 558.)

For comments on Paul Gerhardt see Hymn 134.

_MUSIC._ STELLA. For comments on this tune see Hymn 94.

171. Jesus, Thou Joy of loving hearts _Latin 11th Century_ _Tr. Ray Palmer_

A hymn of devotional meditation especially appropriate for the Communion Service.

From the same Latin hymn, “_Jesu dulcis memoria_,” as Hymn 155 (which see) but using a different set of quatrains, Nos. 4, 3, 20, 28, and 10, which appear in the Latin as follows:

Jesu, dulcedo cordium; Fons veri, lumen mentium, Excedit omne gaudium, Et omne desiderium.

Jesus, spes poenitentibus, Quam pius es petentibus, Quam bonus te quaerentibus! Sed quid invenientibus?

Qui te gustant, esuriunt; Qui bibunt, adhuc sitiunt: Desiderare nesciunt Nisi Jesum, quem diligunt.

Quoconque loco fuero, Mecum Jesum desidero; Quam laetus, cum invenero! Quam felix, cum tenuero!

Mane nobiscum, Domine, Et nos illustra lumine, Pulsa mentis caligine, Mundum replens dulcedine.

For comments on the translator, Ray Palmer, see Hymn 131.

_MUSIC._ QUEBEC. This tune by Henry Baker was originally set to the hymn, “Sun of my soul.” It is also called “Hesperus” and “Whitburn.”

Henry Baker (not to be confused with Henry W. Baker), 1835-1910, son of Rev. James Baker, was educated as a civil engineer and spent many years in his profession on railroad work in India. He loved music, and, encouraged by John B. Dykes, proceeded in 1867 to his musical degree (Mus. Bac.) at Exeter College, Oxford.

172. O love divine, that stooped to share _Oliver Wendell Holmes_, 1809-94

One of Holmes’ best hymns to which he gave the title, “Hymn of Trust.” It is found in the author’s _Poems_, 1862. It was first published as one of the poems in _The Professor at the Breakfast Table_, where it was represented as having been heard by the professor as he walked by a sick room. The little refrain, “Thou art near,” is based on Psalm 119:151: “Thou art near, O Lord; and all thy commandments are truth.”

Oliver Wendell Holmes, American poet and man of letters, was the son of Rev. Abiel Holmes, a Congregational minister. He graduated from Harvard in 1829, studied medicine at home and abroad, and became Professor of Anatomy and Physiology at Dartmouth in 1838. He was elected to the same chair at Harvard in 1847, a position he filled with distinction for 35 years. During all his years of teaching he was also engaged in literary work and published many volumes. Holmes was chief founder of the _Atlantic Monthly_. He was a member of the Unitarian Church though in later years he fell back for spiritual comfort on the great evangelical hymns of Watts and Wesley, finding in them a source of satisfaction and power which the hymns of his own denomination failed to supply. His son, Oliver Wendell, Jr., became an eminent member of the Supreme Court of the United States.

For further comments on Holmes see Hymn 53.

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

173. Immortal Love, forever full _John Greenleaf Whittier_, 1807-92

One of the great hymns on the living presence and sympathy of Christ. It is taken from the poem, “Our Master,” of 38 stanzas, of which this hymn is a selection of stanzas 1, 5, 13, 14, and 16 of the original.

John Greenleaf Whittier, the “Quaker Poet,” was born near Haverhill, Mass., where he began life as a farm boy and village shoemaker. At the age of 20, with only a limited education, he entered the profession of journalism, largely as the result of becoming acquainted with William Lloyd Garrison. He became editor of the _American Manufacturer_ in 1828, and of the _New England Review_ in 1830. In 1836 he became the secretary of the American Anti-Slavery Society and editor of its official organ, the _Freeman_. Whittier was a staunch advocate of the freedom of slaves, and as a Quaker, he was just as strongly opposed to war. His poems are characterized by wide sympathy and a fervent love for God and man. Though a staunch Quaker, wearing the distinctive garb and using the Quaker mode of speech all his life, there was no narrow sectarianism in his heart. A letter written to friends in Whittier, California, a city named after the poet, for the dedication of the Protestant Episcopal Church at that place, illustrates his large-hearted religious views:

I see the good in all denominations, and hope that all will be represented in the settlement; ... diligent in business and serving the Lord, not wasting strength and vitality in spasmodic emotions, not relying on creed and dogma, but upon faithful obedience to the voice of God in the soul. I see your town is spoken of as an orthodox Quaker colony. I hope there will be no sectarian fence about “Whittier,” but that good men, irrespective of their creeds, will find a home there. Nothing would be worse for it than to have the idea get abroad that anything like intolerance and self-righteousness was its foundation. I am gratified to know that the people of the town which bears my name will remember me on my birthday. I watch its growth with great interest. It has the reputation among all who have seen it that it occupies one of the loveliest sites in California, and that in a moral and religious and educational point of view it need

Fear not the skeptic’s puny hand While near the school the church will stand; Nor fear the blinded bigot’s rule While near the church shall stand the school.

_MUSIC._ SERENITY is taken from a larger work entitled, _Waft ye winds_. Though the tune is named “Serenity,” the composer’s life was anything but serene; he was the world’s most restless and most picturesque composer. William Vincent Wallace, 1812-65, son of an Irish bandmaster, became a brilliant violinist. He loved adventure and travel and made successful concert tours to Australia, the South Sea Islands, India, South America, Mexico, the United States, and elsewhere. Wallace spent 14 years in Germany composing piano music chiefly, but also writing a number of operas. On account of failing health, he abandoned writing, and went to New York where he lost all his fortune through the failure of a piano factory. Undiscouraged by this disaster, he once more resumed his career as composer, returned to London, and then on doctor’s orders went to the Pyrenees where he died at the age of 51.

174. Gracious Spirit, Holy Ghost _Christopher Wordsworth_, 1807-85

Written for one of the pre-Lenten Sundays (_Quinquagesima_), the lesson for the day being I Corinthians 13. It is a fine enough hymn, but no poet can render this great paean of praise of love into verse to equal in poetic beauty the English of the King James Version.

Christopher Wordsworth was a nephew of the poet William Wordsworth. He was a brilliant student and a good athlete. After graduation from Cambridge, he became Head Master of Harrow for a time, then minister of a church where he proved to be a model parish priest, and later was appointed Bishop of Lincoln. Among his writings are a _Commentary on the Bible_, and a book of devotional poetry, _The Holy Year_, prepared for use in public worship.

_MUSIC._ CAPETOWN is an adaptation of a melody in “_Vierstimmiges Choralbuch herausgegeben von Dr. F. Filitz_,” Berlin, 1847. It was originally set to the hymn, “_Morgenglanz der Ewigkeit_” (554).

The composer, Friedrich Filitz, 1804-76, was a musician and editor of German chorale books. He spent all his life in Munich except the years 1843-47 in Berlin.

175. O Love that wilt not let me go _George Matheson_, 1842-1906

A song of joyful resignation, love, and trust, born out of the author’s experience of suffering. The story has been circulated that the hymn was written after the woman whom Matheson loved gave him up because of his becoming blind—a good story with one defect, _viz._, that it isn’t true. It could not be true because Matheson became blind at 15 and the hymn was not written until he was 40 years old.

The author’s own account of the composition of the hymn is as follows:

My hymn was composed in the manse of Innellan, on the evening of June 6, 1882. I was at that time alone. It was the day of my sister’s marriage, and the rest of the family were staying over night in Glasgow. Something had happened to me, which was known only to myself, and which caused me the most severe mental suffering. The hymn was the fruit of that suffering. It was the quickest bit of work I ever did in my life. I had the impression rather of having it dictated to me by some inward voice than of working it out myself. I am quite sure that the whole work was completed in five minutes, and equally sure that it never received at my hands any retouching or correction. The Hymnal Committee of the Church of Scotland desired the change of one word. I had written originally “I climb the rainbow in the rain.” They objected to the word “climb” and I put in “trace.”

George W. Matheson, son of a wealthy merchant in Glasgow, was an able and greatly honored minister in the Presbyterian Church of Scotland. He was educated at Glasgow University and licensed to preach when 24 years old. During his University course, and all the rest of his life, he had to depend on the eyesight of others, which makes his accomplishments all the more remarkable. He was a brilliant student and became a distinguished preacher and pastor. At St. Bernard’s Church, Edinburgh, he served a membership of over 2,000, never neglecting his duties of pastoral calling in which he was invariably accompanied by his devoted sister. He was a scholar of distinction and was the author of 25 books, including such well-known works as _Representative Men of the Bible_, _Representative Women of the Bible_, _The Spiritual Development of St. Paul_, and a book of _Sacred Songs_. Of the many hymns he wrote, several have been used in hymn books but only this one has gained universal popularity.

_MUSIC._ ST. MARGARET was written one summer day as the composer was sitting by the sea on the island of Arran and reading over Matheson’s verses. The tune came to him suddenly and he hastened to the house where he was staying where (in his own words): “I wrote the music straight off, and I may say that the ink of the first note was hardly dry when I finished the tune.”

The composer, Albert Lister Peace, 1844-1912, was organist at Glasgow Cathedral and at the time he wrote this tune, he was music editor of the revised _Scottish Hymnal_ of 1885.

176. For common gifts we bless Thee, Lord _Charlotte M. Packard_

A hymn of gratitude for the common gifts too often taken for granted—the physical senses, the air, sun, darkness and sleep, the courtesies of friendship, etc. The last stanza is a prayer for unforgetful gratitude.

Information regarding the author, Charlotte M. Packard, has not been traced. The hymn was taken from _Hymns of the Spirit_, 1937, Boston.

_MUSIC._ ILLSLEY appeared in _A Sett of New Psalm Tunes in Four Parts by John Bishop_, c. 1700, where it is set to Psalm 100.

John Bishop, the composer, 1665-1737, was an English musician who became organist of Winchester College in 1695 and in 1729 was appointed organist of Winchester Chapel. He is buried in the Cloisters of the College with the following epitaph:

Vir singulari probitate, integerrima vita, moribus innocuis, musicaeque scientiae bene peritus, qui, postquam huic Collegio per XLII, annos sedulo inserviisset, ad Caelestam Choram placide migravit, decimo nono die Decembris, anno Dom. 1737, Aetat. 72. (A man of unexampled honesty, purest life, blameless morals, and of excellent skill in music, who, after serving this College diligently for 42 years, passed tranquilly to the Celestial Choir on the 19th of December A.D. 1737, aged 72.)

177. My God, I thank Thee, who hast made _Adelaide Anne Proctor_, 1825-64

A hymn of pure gratitude, expressing thankfulness even for the trials of life. It is equally useful for the sick and the well.

Adelaide Anne Proctor was born in London, the daughter of Bryan W. Proctor, known in literary circles as “Barry Cornwall.” She possessed extraordinary intellectual power and was specially gifted in music and language. Miss Proctor contributed lyrics to _Household Verses_, edited by Chas. Dickens, who wrote with admiration of her verse making, her mental resources, humor, and works of beneficence. At 38 years of age her physical strength weakened and then followed 15 weary months of helplessness during which, however, she maintained her old cheerfulness with never a trace of depression or regret. She was brought up in the Church of England, but at the age of 26 united with the Roman Catholics. Her broad sympathies and deep religious convictions placed her above the dogmas of any one communion and enabled her to express the aspirations of all God’s children. Besides her hymns, Miss Proctor is best known as the author of the popular song, “The Lost Chord,” set to music by Arthur Sullivan.

_MUSIC._ WENTWORTH was composed for this hymn in _The Bristol Tune Book_, 2d series; 1876. The middle section of the tune, lines 3 and 4, passes from the Key of C to A minor, D major and G major, making an effective contrast to the opening and closing lines, in the key of C.

For comments on the composer, Frederick C. Maker, see Hymn 112.

178-9. Love divine, all loves excelling _Charles Wesley_, 1707-88

The hymn appeared in the curiously named collection, _Hymns for those that seek and those that have Redemption in the Blood of Christ_, 1747, and was entitled “Jesu, show us Thy salvation.” It dwells upon the thought of God as love, an idea not too common in the early hymns. The thought of the hymn is complete without stanza 2 and many hymnals omit it. Some have objected to this stanza because of the line, “Take away our power of sinning.” Literally interpreted this would be a prayer to have taken away the power of free moral choice, which is hardly what Wesley intended. To obviate this difficulty, the line has been changed to “Take away the _love_ of sinning.”

For comments on Wesley see Hymn 6.

_MUSIC._ BEECHER was composed by John Zundel, 1815-82, German-American organist and composer who rendered distinguished service as minister of music in the Plymouth Congregation Church, Brooklyn, of which Henry Ward Beecher was pastor. He assisted Beecher in the production of the famous _Plymouth Collection_ of hymns published in 1855. The tune, now known throughout the world, was named after the great pulpiteer.

SONATA (179) is an adaptation of the theme-melody in Mozart’s piano Sonata No. 16, where it is marked, _Andantino grazioso_. Dudley Buck writes:

Wolfgang Amadeus Mozart, 1756-91, composed 972 pieces of which we know. He is considered the greatest composer the world has ever seen, judged by the versatility and power of his genius. In every sort and kind of composition he was equally excellent. Beside being a great composer he was also a great performer, being the most accomplished pianist of his day. He was also an excellent player on the violin.

PRAYER AND COMMUNION

180. Pray when the morn is breaking _Mrs. Jane Cross Simpson_, 1811-86 _and others_

A hymn setting forth the idea of prayer in a very simple way.

Jane Cross Simpson was the daughter of James Bell, a Glasgow attorney. In 1837, she married her cousin J. B. Simpson, of Glasgow. At the age of 20, she had written a poem, “Go when the morning shineth,” which, after some revision, had become popular. When _Songs of Praise_, an important English hymnbook, was in the making, this poem was again revised to make the present hymn. The “others” referred to are responsible for the revision and according to _Songs of Praise Discussed_ consisted of Percy Dearmer, Stephen Gwynn, Mabel Dearmer, and Jan Struther.

_MUSIC._ MEIRIONYDD is a vigorous tune of easy rhythm, on the pattern of many Welsh tunes except that the last two lines, instead of being simple repeats of the first two lines, as in the majority of such melodies, are varied imitations of them.

The composer, William Lloyd, 1786-1852, a Welshman, was a self-educated man. Though a cattle-dealing farmer, he possessed an excellent voice and had a considerable knowledge of music. He held singing meetings and conducted music classes in Wales.

181. Dear Lord and Father of mankind _John Greenleaf Whittier_, 1807-92

A song of quietude and peace, reflecting the inner life of the “Quaker Poet.”

The verses are from a poem called, “The Brewing of Soma,” in which Whittier tells of a certain sect of devotees in India who drank intoxicating liquor brewed from the Soma plant. The drinking of it brought them to a state of intoxicated excitement in which they imagined they were god-possessed. The poet then points out how among Christians emotional excitement is often mistaken for spiritual power.

“In sensual transports, wild as vain, We brew in many a Christian fane, The heathen Soma still.”

Then follow the beautiful verses of our hymn in praise of the higher life of restfulness in God. The poem was written in 1832, after a

## particularly noisy and distasteful revival in Whittier’s neighborhood.

For comments on John Greenleaf Whittier see Hymn 173.

_MUSIC._ WHITTIER, also called “Rest” and “Elton,” was written for this hymn.

For comments on the composer, Frederick C. Maker, see Hymn 112.

182. Sweet hour of prayer _William W. Walford_

One of the most popular of all modern prayer meeting hymns, sometimes erroneously ascribed to Fanny Crosby. It was composed in 1842 by Rev. William W. Walford, a blind minister of England, of whom little is known except that he recited the words of this hymn to Rev. Thos. Salmon, Congregational minister at Coleshill, England, who wrote them down and later sent them to the New York _Observer_, in which publication they were printed September 13, 1845. The original has four stanzas, the last two being omitted here.

_MUSIC._ CONSOLATION, a tune well suited to the words, was composed by Wm. B. Bradbury in 1859. It is also known as “Sweet Hour” and “Walford.”

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

183. Lord, what a change within us one short hour _Richard C. Trench_, 1807-86 _Arr. W. P. Merrill_, 1867—

A hymn of the peace and power available through the practice of prayer. It is an arrangement of Trench’s sonnet on “Prayer.”

Richard Chenevix Trench was born in Dublin, educated at Twyford School, Harrow, and Trinity College, Cambridge. He was preacher, poet, professor of divinity and later the Archbishop of Dublin. Trench, a scholar of distinction, is the author of valuable books, including _Notes on the Parables_, _Notes on the Miracles_, and _Study of Words_.

The poem came into the hymn books through the arrangement made of it by Dr. W. P. Merrill who first became acquainted with the sonnet through hearing it read about 1907 by President Charles Cuthbert Hall, of Union Theological Seminary in the course of a lecture at the University of Chicago. As sonnets each have fourteen lines, changes were necessary to make the poem suitable for singing. Dr. Merrill omitted two lines and arranged the rest to make three symmetrical four-line stanzas.

William Pearson Merrill was born in Orange, N. J., January 10, 1867. After graduating from Rutgers College, he trained for the Presbyterian ministry at Union Theological Seminary, New York. He served churches in Philadelphia and Chicago and then went, in 1911, to the Brick Presbyterian Church in New York City to begin a long and distinguished pastorate which ended with his retirement in 1938. He was president of the Church Peace Union, was long active in The American Hymn Society, and is the author of several books. His influence as preacher and religious leader extends beyond his own denomination.

_MUSIC._ FFIGYSBREN, known in Wales as “Clod” (Praise), is a tune of simple construction, but when sung rather slowly it is remarkably powerful and effective. It appeared in America in _The Harvard University Hymn Book_, edited by Archibald T. Davidson in 1926. It is one of an increasing number of Welsh tunes which are becoming available to enrich our hymnody with the element of unique beauty and fervor that is so characteristic of the singing of the Welsh people.

184. Prayer is the soul’s sincere desire _James Montgomery_, 1771-1854

A classic poem on prayer, written in 1818 at the request of the Rev. E. Bickersteth for his _Treatise on Prayer_. In 1825 it was published in _The Christian Psalmist_, headed, “What is Prayer?” The original has eight stanzas of which our hymn is a selection of 1, 2, 4, 5. Prayer is more, to be sure, than “the soul’s sincere desire,” for we sincerely desire many things that are in conflict with God’s will. But taken as a whole, the poem is an elaborate description of the nature of prayer and teaches its principles and practice with truth and power. The last stanza, unfortunately omitted in the _Hymnary_, is itself a beautiful, direct petition:

O Thou by whom we come to God, The Life, the Truth, the Way, The path of prayer Thyself hast trod,— Lord, teach us how to pray.

For comments on James Montgomery see Hymn 62.

_MUSIC._ ST. AGNES. For comments on this tune see Hymn 155. In some books the hymn is set to the tune “_Es Ist Ein Born_” (241).

185. Thou art the Way, to Thee alone _George W. Doane_, 1799-1859

Based on John 14:6: “I am the way, the truth, and the life; no man cometh unto the Father, but by me.”

The hymn was written by one of the most able and influential men in the Episcopal Church in America. It takes high rank among all the hymns America has produced, and is one of the few hymns of American origin included in the famous English book, _Hymns Ancient and Modern_. It is written in simple style, employing only twelve words of more than one syllable.

For further comments on Bishop Doane see Hymn 36.

_MUSIC._ LAMBETH was composed in 1871 by Wilhelm A. F. Schulthes. No information is at hand concerning the composer. The tune was taken from _The Hymnal_ (Protestant Episcopal, 1916).

186. What a friend we have in Jesus _Joseph Scriven_, 1820-86

A spiritual song of comfort and hope and the most popular Canadian contribution to the hymnody of the church.

The authorship of this hymn long remained a secret. In one publication it was erroneously attributed to Horatius Bonar. Scriven composed it for his mother to comfort her in time of special sorrow, not intending that anyone else should see it. This information was revealed to a friend who sat up with the author in his last illness.

Joseph Scriven, born in Dublin, came to Canada at the age of 25 and settled first at Rice Lake and later at Port Hope, Ontario. He was unmarried and lived with several families in succession. An eccentric person, he was always assisting others, and was known as “the man who sawed wood for widows and sick people who are unable to pay.” He was found drowned in a stream near Rice Lake. A monument to his memory was erected by the people who had been helped by him, and by others in the district.

_MUSIC._ ERIE was composed for this hymn by Charles Crozat Converse, 1832-1918, an American, trained in Germany for the musical profession. On returning to America, he studied law, graduating from Albany Law School in 1861, and from 1875 practicing the legal profession at Erie, Pa. He maintained his interest in music and published several compositions during his career as lawyer.

187. I need Thee every hour _Annie Sherwood Hawks_, 1835-1918

A song expressing the Christian believer’s ever-present sense of divine help and guidance. It first appeared in a small collection of gospel songs prepared for the National Baptist Sunday School Association which met in Cincinnati, Ohio, November, 1872, and was sung there.

Mrs. Annie Sherwood Hawks was an active member of the Baptist Church in Brooklyn of which Rev. Robert Lowry, who wrote the music to the words and added the refrain, was the pastor. Concerning the hymn, Mrs. Hawks wrote:

Whenever my attention is called to it I am conscious of great satisfaction in the thought that I was permitted to write the hymn, “I need Thee every hour,” and that it was wafted out to the world on the wings of love and joy, rather than under stress of a great personal sorrow, with which it has so often been associated in the minds of those who sing it.

I remember well the morning ... when in the midst of the daily cares of my home ... I was so filled with the sense of nearness to the Master that, wondering how one could live without Him either in joy or pain, these words, “I need Thee every hour,” were ushered into my mind, the thought at once taking full possession of me....

For myself the hymn was prophetic rather than expressive of my own experience at the time it was written, and I do not understand why it so touched the great throbbing heart of humanity. It was not until long years after, when the shadow fell over my way—the shadow of a great loss—that I understood something of the comforting in the words I had been permitted to write and give out to others in my hours of sweet security and peace.

_MUSIC._ NEED. The tune was written for this hymn. The composer, Rev. Robert Lowry, 1826-99, was born in Philadelphia and educated at Bucknell University. After a few years in the Baptist ministry he became Professor of Rhetoric at his alma mater. The University gave him his doctorate in 1875. He resigned his chair in 1875 and the following year resumed the work of the ministry at Plainfield, N. J., continuing until his death. Though he had no serious training in music, Lowry wrote many tunes and edited several popular collections of hymns. He did much to encourage the gospel song movement in America.

188. Father, in Thy mysterious presence kneeling _Samuel Johnson_, 1822-82

A beautiful hymn of contrition, and prayer for the “Presence.”

Samuel Johnson was born in Salem, Mass. After graduating from Harvard University and Harvard Divinity School, he became minister of the Independent Church at Lynn, Mass., where he served from 1853 to 1870. He was a fellow-student and close friend of Samuel Longfellow, the two “Sams” collaborating in the editing of _A Book of Hymns_ which passed through twelve editions and became the source of excellent hymnic material not published before. He was a Unitarian by faith. A competent scholar, he published _Oriental Religions_, the first adequate study of comparative religions by an American.

_MUSIC._ HENLEY is one of Mason’s most appreciated tunes. It appeared in _The Hallelujah_, 1854, by the composer, set to the hymn “Come unto me, when shadows darkly gather.”

For comments on Lowell Mason see Hymn 12.

189. Come, thou Fount of every blessing _Robert Robinson_, 1735-90

An old hymn that has been a “fount of blessing” itself to multitudes, written only three years after the author’s conversion. It sounds a note of anxiety lest the paths of sin lure the soul away from God. The Scripture reference in the second stanza is to I Sam. 7:12: “Then Samuel took a stone and set it between Mizpeh and Shen, and called the name of it Ebenezer, saying, Hitherto hath the Lord helped me.”

For comments on the author, Robert Robinson, see Hymn 46.

_MUSIC._ NETTLETON appeared in John Wyeth’s _Repository_, 1813, arranged with the melody in the treble. The authorship of the tune is unknown. It has been attributed to Wyeth and to Asahel Nettleton, 1783-1844, a New England evangelist and compiler of _Village Hymns_. It has been suggested that a friend of Nettleton composed the tune and named it in his honor.

John Wyeth was born in Cambridge, Mass., 1770, and followed the printing and publishing business all his life. He was postmaster at Harrisburg, Pa., under President Washington but was removed by President Adams because of “incompatibility of the office of post master and editor of a newspaper.” He died in Philadelphia, June 23, 1858.

LOYALTY AND STEADFASTNESS

190. Who is on the Lord’s side _Frances R. Havergal_, 1836-79

An impressive call to Christian service. The hymn is based on the incident in the life of David in I Chron. 12:18: “Then the spirit came upon Amasai who was the chief of the captains, and he said, ‘Thine are we, David, and on thy side’.... Then David received them and made them captains of the band.”

For comments on Frances Havergal see Hymn 126.

_MUSIC._ ARMAGEDDON. This stirring tune was first used to “Onward, Christian Soldiers,” and later with the above hymn. It is an arrangement by John Goss of a tune by Louise Reichardt which appeared in _Kern des Deutschen Kirchengesangs_, 1853.

Louise Reichardt, 1788-1826, was a teacher of vocal music in Berlin.

For comments on John Goss see Hymn 121.

191. When courage fails, and faith burns low _Frederick L. Hosmer_, 1840-1929

A triumphant song setting forth the ultimate victory of truth, and encouraging young people to stand loyally for the truth, even “though men deride.”

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

_MUSIC._ WINCHESTER OLD. For comments on this tune see Hymn 588.

192. Jesus, and shall it ever be _Joseph B. Grigg_, 1720-68

Entitled by the author “Ashamed of Me.” The hymn is based on Mark 8:38: “Whosoever therefore shall be ashamed of me and of my words in this adulterous and sinful generation; of him also shall the Son of man be ashamed, when he cometh in the glory of his Father with the holy angels.”

The original poem, composed when the author was only ten years of age, has been altered somewhat by Benjamin Francis, an English Baptist preacher who was born in Wales in 1734. Francis was an earnest and popular minister and received flattering calls to London and elsewhere but chose to remain with his flock at the Baptist Church at Shortwood where he ministered from 1757 until his death in 1799.

For comments on Joseph B. Grigg see Hymn 141.

_MUSIC._ FEDERAL STREET is the name of a street in Salem, Mass., where the composer lived and where his wife was born, lived, and died. The tune was written in 1832 to a child’s funeral hymn by Anne Steele, which began, “So fades the lovely, blooming flower.”

Henry Kemble Oliver, 1800-85, was a great lover of music even though his father disapproved of music and forbade the son having anything to do with it. After graduating from Dartmouth, he had a varied career as teacher, manager of cotton mills, adjutant-general of his state, treasurer of the State of Massachusetts, and mayor of Salem. He had acquired some musical education and found time to compose and publish a considerable amount of sacred music.

193. Stand up, stand up for Jesus _George Duffield, Jr._, 1818-88

A hymn of the Christian warfare, widely known, and found in nearly all English hymn books. The origin of it is best given in the author’s own words in a leaflet printed in Detroit, 1883, and quoted by his son, Samuel Duffield, in _English Hymns_, 1886:

“Stand up for Jesus” was the dying message of the Rev. Dudley A. Tyng, to the Young Men’s Christian Association, and the ministers associated with them in the Noon-Day Prayer Meeting, during the great revival of 1858, usually known as “The Work of God in Philadelphia.”

A very dear personal friend, I knew young Tyng as one of the noblest, bravest, manliest men I ever met; not inferior in eloquence to his honored father, and the acknowledged leader of a campaign for Christ that has become historical. The Sabbath before his death he preached in the immense edifice known as Jaynes’ Hall, one of the most successful sermons of modern times. Of the five thousand men there assembled, at least one thousand, it was believed, were “the slain of the Lord.” His text was Exodus 10:11, and hence the allusion in the third verse of the hymn.

The following Wednesday, leaving his study for a moment, he went to the barn floor, where a mule was at work on a horse-power, shelling corn. Patting him on the neck, the sleeve of his silk study gown caught in the cogs of the wheel, and his arm was torn out by the roots! His death occurred in a few hours. Never was there greater lamentation over a young man than over him, and when Gen. 50:26 was announced as the text for his funeral sermon, the place at once became a Bochim, and continued so for many minutes.

The following Sunday the author of the hymn preached from Eph. 6:14, and the above verses were written simply as the concluding exhortation. The superintendent of the Sabbath-school had a fly-leaf printed for the children—a stray copy found its way into a Baptist newspaper—and from that paper it has gone in English, and in German and Latin translations all over the world. The first time the author heard it sung outside of his own denomination, was in 1864, as the favorite song of the Christian soldiers in the Army of the James.

... George Duffield

Detroit, May 29, 1883.

George Duffield, Jr., 1818-88, son of Rev. George Duffield, was educated at Yale and Union Theological Seminary for the Presbyterian ministry and held pastorates in Brooklyn, Philadelphia, Galesburg, Ill., Adrian and Lansing, Michigan. His son, Samuel W. Duffield, was the author of _English Hymns_.

_MUSIC._ WEBB. For comments on this tune see Hymn 65.

194. God’s trumpet wakes the slumb’ring world _Samuel Longfellow_, 1819-92

A stirring call to a loyal stand for truth and witness against wrong. The hymn first appeared in _Hymns of the Spirit_, 1864.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ ALL SAINTS NEW was written for Bishop Heber’s hymn, “The Son of God goes forth to war.”

The composer, Henry Stephen Cutler, 1824-1902, received his education at Boston, his birthplace, and in Europe. He became a well-known organist and choir master, serving churches in Boston, New York, and other cities, and attracted attention by robing his choir members and seating them in the chancel, innovations in his day.

TRIALS AND TEMPTATIONS

195. In the hour of trial _James Montgomery_, 1771-1854 _Alt. Frances A. Hutton and Godfrey Thring_

The hymn is based on Luke 22:32: “I have prayed for thee, that thy faith fail not.” It was written October 13, 1834, with the title, “In trial and temptation,” and published in 1853 in Montgomery’s _Original Hymns_ under the title “Prayers on Pilgrimage.” The third and fourth stanzas have been altered considerably, not entirely for the better. Montgomery began the second stanza:

With its witching pleasures.

In the first stanza he had

Jesus _pray_ for me;

to which there was much objection on scriptural grounds, in spite of the words of Christ, “I pray for them” (John 17:9).

For comments on James Montgomery see Hymn 62.

_MUSIC._ PENITENCE was composed by Spencer Lane, 1843-1903, who received musical training in the Boston Conservatory of Music and became a teacher of vocal and instrumental music. He was in charge of music in various churches in Rhode Island, Massachusetts, Virginia, and Maryland. While choirmaster at St. James Church, Woonsocket, R. I., he wrote this tune one Sunday while his wife was preparing dinner. It was used at a parish choir festival on “Easter Tuesday, 1899, at 7:30 p.m.” and at the suggestion of the rector of the church, it was sent to Dr. Chas. L. Hutchins, who included it in the _Episcopal Hymnal_ of 1879. Of the various tunes composed by Lane, this is the only one in general use today.

196. Lord Jesus, think on me _Synesius_, _c._ 375-430 _Tr. Allen W. Chatfield_, 1808-96

A subjective and meditative hymn of trust, coming to us from the ancient Eastern Church.

Synesius, a native of Cyrene, came from an illustrious family. He studied at Alexandria and became a Christian in 401. Against his own wishes, but in response to the will of the people, he was elected bishop of Ptolemais. He is described in Chas. Kingsley’s _Hypatia_ as a distinguished churchman, philosopher, statesman, and patriot.

The translator, Rev. A. W. Chatfield, was an Anglican clergyman who had a distinguished career at Cambridge. He translated many of the hymns of the early Greek poets into English.

The original poem, of which this is a paraphrase rather than an exact translation, is as follows:

Μνώεο, Χριστέ, υἱὲ Θεοῖο ὑψιµέδοντος, οἰκέτω Σοῦ, Κῆρ’ ἀλιτροῖο Τάδε γράψαντος; Καί µοι ὄρασσον λύσιν παθέων κηριτρεφέων τά µοι ἐµφυῆ ψυχᾷ ῥυπαρᾷ; δὸς δὲ ἰδέσθαι, Σῶτερ Ἰησοῦ, ζαθέαν αἴγλαν Σάν, ἔνθα φανεὶς µέλψω ἀοιδὰν παίονι ψυχᾶν, παίονι γυίων, Πατρὶ σὺν µεγάλῳ Πνεύµατί Θ’ Ἁγνῷ.

_MUSIC._ SOUTHWELL, a characteristic psalm tune, was set to Psalm 45 in _Damon’s Psalms of David_, 1579, and was named “Southwell” in Ravencroft’s _Psalm Book_ of 1621. It was originally written in the Dorian mode (the first “authentic” Gregorian mode, D as keynote). A fuller explanation may be found in the _History of Music in the Western Church_, by Dickinson, pp. 113 ff.

For comments on _Damon’s Psalter_ see Hymn 589.

197. O for a closer walk with God _William Cowper_, 1731-1800

A tender, beautiful hymn, in use wherever English is spoken.

It was published in the _Olney Hymns_ (See 60) under the title “Walking with God.” It is based on Genesis 5:24: “Enoch walked with God.” The hymn was written December 9, 1769, during the serious illness of the poet’s dear friend, the wife of Rev. Morley Unwin, in whose home he stayed and found the tenderest of care during his own illness. Concerning her, Cowper wrote in a letter the day following the composition of this hymn:

She is the chief of blessings I have met with in my journey since the Lord was pleased to call me.... Her illness has been a sharp trial to me. Oh, that it may have a sanctified effect, that I may rejoice to surrender up to the Lord my dearest comforts, the moment He may require them.... I began to compose the verses yesterday morning before daybreak but fell asleep at the end of the first two lines: when I awaked again, the third and fourth were whispered to my heart in a way which I have so often experienced.

For comments on William Cowper see Hymn 60.

_MUSIC._ BELMONT is an adaptation from a melody in _Sacred Melodies ... adapted to the best English poets_, Vol. I; 1812, by William Gardiner. The _Sacred Melodies_ appeared in six volumes containing tunes by the best masters, adapted to English words.

The composer, William Gardiner, 1770-1853, was an English stocking manufacturer who travelled extensively at home and abroad, principally in the interests of his business, but also making acquaintance with musicians of all ranks and with their music. He published songs and duets of his own composition in his youth, over the _nom de plume_ of “W. G. Leicester.” His _Sacred Melodies_, referred to above, did valuable service in drawing attention to many fine compositions otherwise unknown.

198. Soldiers of Christ, arise _Charles Wesley_, 1707-88

For comments on Charles Wesley see Hymn 6.

“The Whole Armor of God” is the title of this hymn in Wesley’s _Hymns and Sacred Poems_, 1749. It is based on Ephesians 6:10-18: “Put on the whole armor of God, that ye may be able to stand against the wiles of the devil,” etc. The entire poem contains 16 double stanzas, of which our hymn is a selection of the first, second, and sixteenth.

_MUSIC._ DIADEMATA. For comments on this tune see Hymn 118.

ASPIRATION AND HOPE

199. While Thee I seek, protecting Power _Helen M. Williams_, 1762-1827

A hymn of faith and trust in God.

Helen Maria Williams, an English Unitarian, lived for some years with her sister who had married a French Protestant. It was during the period of the Revolution and the reign of terror. Being an outspoken republican, she was imprisoned by Robespierre, and was released only after his death in 1794. She was a woman of extraordinary intellectual strength and published many volumes on politics, religion, and literary questions, and finally her collected poems, entitled, _Poems on Various Occasions_. She lived in England and in France, and the closing years of her life were spent in Holland in the home of a nephew who was pastor of a Reformed Church in Amsterdam.

_MUSIC._ BRATTLE STREET. For comments on the composer of this tune, Ignace Pleyel, see Hymn 238.

200. Rise, my soul, and stretch thy wings _Robert Seagrave_, 1693-c. 1759

This hymn, entitled “The Pilgrim’s Song,” first appeared in _Hymns for Christian Worship_, by Robert Seagrave, London, 1742.

Robert Seagrave, son of Rev. Robert Seagrave, was educated at Cambridge and was ordained a clergyman in the Church of England. He became interested in the Wesleys and Whitefield and published pamphlets and sermons designed to reform the clergy and Church of England. He wrote 50 original hymns, of which this one is still in use. The exact year of Seagrave’s death is not certain.

_MUSIC._ AMSTERDAM is attributed to James Nares, 1715-1783, but most authorities believe the tune to be much older. It appears in what is known as the _Foundery Collection_, the first Methodist hymnal, by John Wesley, 1742, and is said to be one of the German chorale tunes which John Wesley acquired from the Moravian Brethren.

201. We would see Jesus _Anna B. Warner_, 1820-1915

Based on John 12:20-23: “There were certain Greeks among them that came up to worship at the feast: the same came therefore to Philip, which was of Bethsaida of Galilee, and desired him, saying, Sir, we would see Jesus.... And Jesus answered them saying, The hour is come, that the Son of man should be glorified.”

The hymn first appeared in six stanzas in _Hymns of the Church Militant_, compiled by Anna Warner, New York, 1858, and published in 1861. It is another example of a fine hymn contributed by a woman.

The third and fourth stanzas, omitted here, are of the same excellent quality as the others:

We would see Jesus: other lights are paling, Which for long years we have rejoiced to see; The blessings of our pilgrimage are failing; We would not mourn them for we go to Thee.

We would see Jesus: yet the spirit lingers Round the dear objects it has loved so long, And earth from earth can scarce unclose its fingers; Our love to Thee makes not this love less strong.

Anna Bartlett Warner, lived on Constitution Island in the Hudson River, near West Point, where she and her more famous sister, Susan Warner, conducted a Bible class for nearly two generations for the cadets of the United States Military Academy. Because of this service, she was buried with military honors upon her death in 1915. Miss Warner wrote novels under the pseudonym of “Amy Lothrop,” but she is best known for this hymn and the song beloved of all little children, “Jesus loves me: this I know.”

_MUSIC._ HENLEY. For comments on this tune see Hymn 188.

202. Nearer, my God, to Thee _Sarah Flower Adams_, 1805-48

A hymn of high poetic quality which has preserved its popularity from generation to generation. It is based on the story of Jacob at Bethel in Gen. 28:10-22:

And Jacob went out from Beersheba, and went toward Haran. And he lighted upon a certain place, and tarried there all night, because the sun was set; and he took of the stones of that place, and put them for his pillows, and lay down in that place to sleep. And he dreamed, and behold a ladder set up on the earth, and the top of it reached to heaven: and behold the angels of God ascending and descending on it.... And Jacob rose up early in the morning, and took the stone that he had put for his pillows, and set it up for a pillar, and poured oil upon the top of it. And he called the name of that place Bethel.

Sarah Flower Adams was the daughter of Benjamin Flower, an editor; she married William B. Adams, an engineer and inventor, in 1834. She was a member of a Unitarian congregation in London. A woman of fine intellect, she wrote much prose and verse, and was a friend of Robert Browning. She died of tuberculosis, contracting the disease while caring for her sister, Eliza, who had fallen victim to the same disease two years earlier.

_MUSIC._ BETHANY was written by Lowell Mason for this hymn. Its resemblance to the tune of the well-known “Oft in the stilly night” has been noted. The tune to this hymn was played by the ship’s band on board the “Titanic” as the vessel sank on its maiden voyage, Sunday, April 14, 1912, after colliding with an iceberg in the Atlantic. 1635 passengers were lost, ending life’s voyage with the strains of the familiar and appropriate prayer resounding across the waters—“Nearer, my God, to Thee.”

For comments on Lowell Mason see Hymn 12.

203. When the weary, seeking rest _Horatius Bonar_, 1808-89

Entitled, “Intercession for All Conditions of Men,” in Bonar’s _Hymns of Faith and Hope_, 3d series, 1867.

The history of this hymn is given by the author’s son, Rev. H. N. Bonar, as follows:

My father was asked to provide words to the music, and was especially requested to furnish a fitting refrain to the two lovely lines of Mendelssohn’s with which Callcott’s tune, “Intercession,” ends. In searching for a Scripture theme containing some reiterated phrase almost of the nature of a refrain, he was struck with Solomon’s prayer at the dedication of the temple (2 Chron. 6) in which every separate petition concludes with substantially the same words.

This idea was taken for his starting point, and Solomon’s words, “Hear thou from heaven thy dwelling place and forgive,” became the familiar couplet:

“Hear then in love, O Lord, the cry In heaven, thy dwelling place on high.”

This foundation once provided, the rest of the hymn was built upon it.

For comments on Horatius Bonar see Hymn 129.

_MUSIC._ INTERCESSION was composed by William H. Callcott, 1807-82, an English musician. He was organist of Ely Chapel, Holborn, and afterwards of St. Barnabas’ Church, Kensington, and composed anthems and songs.

The refrain is from Mendelssohn’s oratorio, _Elijah_, part of the prayer for rain by the prophet and the people. Bonar’s hymn was written for this tune.

204. Lord, I hear of show’rs of blessing _Elizabeth Codner_, 1824-1919

Based on Gen. 27:34: “Bless me, even me also, O my Father,” and Ezek. 34:26: “There shall be showers of blessing.” It is an especially useful hymn at revival meetings.

Elizabeth Codner was the wife of Rev. David Codner, a clergyman of the Church of England. She engaged in some literary work and was much interested in the Mildmay Protestant Mission in North London.

The author has given the origin of the hymn as follows:

A party of young friends over whom I was watching with anxious hope attended a meeting in which details were given of a revival work in Ireland. They came back greatly impressed. My fear was lest they should be satisfied to let their own fleece remain dry, and I pressed upon them the privilege and responsibility of getting a share in the out-poured blessing. On the Sunday following, not being well enough to get out, I had a time of quiet communion. Those children were still on my heart, and I longed to press upon them an earnest individual appeal. Without effort words seemed to be given to me, and they took the form of a hymn. I had no thought of sending it beyond the limits of my own circle, but, passing it on to one and another, it became a word of power, and I then published it as a leaflet. Of its future history I can only say the Lord took it quite out of my own hands. It was read from pulpits, circulated by tens of thousands, and blessed in a remarkable degree. Every now and then some sweet token was sent to cheer me in a somewhat isolated life, of its influence upon souls. Now it would be tidings from afar of a young officer dying in India and sending home his Bible with the hymn pasted on the flyleaf as the precious memorial of that which brought him to the Lord. Then came the story of a poor outcast gathered into the fold by the same means. Then came to me a letter given me by Mr. E. P. Hammond, which he had received, and in which were the words: “Thank you for singing that hymn ‘Even Me,’ for it was the singing of that hymn that saved me. I was a lost woman, a wicked mother. I have stolen and lied and been so bad to my dear, innocent children. Friendless, I attended your inquiry meeting; but no one came to me because of the crowd. But on Saturday afternoon, at the First Presbyterian Church, when they all sang that hymn together, those beautiful words, ‘Let some drops now fall on me,’ and also those, ‘Blessing others, O bless me,’ it seemed to reach my very soul. I thought, ‘Jesus can accept me—“even me”’ and it brought me to his feet, and I feel the burden of sin removed. Can you wonder that I love those words and I love to hear them sung?”

The original rendering has in a variety of instances been departed from. To some alterations I have consented, but always prefer that the words remain unchanged from the form in which God so richly blessed them. The point of the hymn, in its close and individual application, is in the “Even me” at the end of the verse. I thankfully commit them to whoever desires to use them in the services of our blessed Master.

_MUSIC._ EVEN ME. For comments on the composer, Wm. B. Bradbury, see Hymn 103.

PURITY AND UPRIGHTNESS

205. Blest are the pure in heart _J. Keble_, 1792-1866 _and others_

A hymn of the simple, pure life. Purity of heart has a wider meaning than the specific virtue of chastity. Stanzas 1 and 3 are from Keble’s, _The Christian Year_, 1827. Stanzas 2 and 4 are from the _New Mitre Hymn Book_, 1836, and their authorship is uncertain. Some think they are from the pen of the editor of the book, W. J. Hall, or of the co-editor, Edward Osler.

For comments on John Keble see Hymn 22.

_MUSIC._ FRANCONIA is from a book compiled by Johann Balthasar König, _Harmonischer Lieder-Schatz_, Frankfurt-am-Main, 1738, where it is set to the hymn, _Was ist, das mich betrübt?_ The original melody may have been by König himself.

The present tune, arranged by Rev. W. H. Havergal, has become one of the best known Short-Meter (6.6.8.8.) tunes.

For comments on W. H. Havergal see Hymn 153.

206. How blest are they whose hearts are pure _W. H. Bathurst_, 1796-1877

Based on the beatitude in Matt. 5:8: “Blessed are the pure in heart: for they shall see God.”

For comments on the author, W. H. Bathurst, see Hymn 153.

_MUSIC._ GLENLUCE is one of the Common Tunes (See 20) in the _Scottish Psalter_ of 1635.

For comments on the _Scottish Psalter_ see Hymn 575.

207. I would be true _Howard Arnold Walter_, 1884-1918

A popular hymn at young people’s summer conferences and other youth gatherings. The words have often been reprinted in trade journals and newspapers and used on many a motto card. The ideals of youth—truth, purity, strength, bravery, friendship, generosity, humility, laughter, love, and helpfulness, encompassed in these few lines—were all revealed in the author’s brief life.

Howard Arnold Walter was graduated _cum laude_ in 1905 from Princeton University while Woodrow Wilson was president of the institution. He then entered Hartford Theological Seminary to prepare himself for the ministry, but after the first year went to Japan to teach English in Waseda University in Tokyo. After one year, he returned to Hartford where, upon graduation, he won the Two-Year Fellowship. In 1909 and 1910 he studied in Edinburgh and in German Universities. He chose the foreign mission field for life service but, owing to a weak heart, was unable to pass the required physical examination. In spite of his handicap, he volunteered for Y.M.C.A. work and was assigned by John R. Mott to India, where he worked among the Mohammedan students in Foreman Christian College, Lahore. He died there November 1, 1918, during the influenza epidemic, leaving a devoted wife and three small children. The words, “I would be true,” were inscribed on a memorial tablet erected in his home church in New Britain, Conn.

The hymn was written in 1907 in Japan when Walter was just 23 years old. Recalling the joys and friendships of his home, the words came to him on New Year’s morning as he was on his knees. He mailed the poem entitled, “My Creed,” to his mother who sent it to _Harper’s Magazine_ in order to share with others the beauty of its message. It appeared in the May, 1907, issue of that magazine and later found its way into a number of hymn books.

The third stanza, making the hymn more complete, was later written by the author and sent to Rev. Theodore A. Green, minister of the First Church of Christ, New Haven, Connecticut:

I would be prayerful through each busy moment; I would be constantly in touch with God; I would be tuned to hear the slightest whisper; I would have faith to keep the path Christ trod.

_MUSIC._ PEEK. No one seemed to know anything of the composer of this tune until very recently when Dr. Reginald L. McAll, secretary of the Hymn Society of America, assigned to the Hon. Edgar M. Doughty, Brooklyn, an official referee of the New York State Supreme Court, an accomplished musician and active member of the Baptist Church, the task of searching out in behalf of the Society the facts concerning Mr. Peek. The Hon. Mr. Doughty completed his research just before his death in 1947, at the age of 80 and the information presented here is based on a document compiled from his papers by his secretary. Miss Mildred Taylor Denisch:

Joseph Yates Peek, 1843-1911, born in Schenectady, N. Y., had very little formal musical training, but was endowed with a love for music and considerable native musical ability and became a proficient amateur performer on the violin and piano. In early life he was a carpenter and farmer but later established a business as florist and horticulturist. A deeply religious man, always interested in the church, he retired from business in 1904, and in spite of his advanced years, became a prominent lay preacher in the Methodist Church. In 1911 he was ordained, but his career as a regular minister was cut short when a heart attack, which occurred while preaching, resulted in his death. Peek was a humble Christian gentleman who sought no honors for himself, which may account for the fact that his identity as the composer of this tune remained hidden so long. Then, too, he may have felt that the credit for the tune did not belong entirely to himself, for he received considerable help from a friend, Dr. Tuller, an organist and composer, who jotted down the notes as Peek whistled the melody, and later added the harmonization.

Peek had received a copy of Walter’s poem which was printed on a New Year’s card and entitled, “My Creed.” He was greatly impressed with the words, and in a moment of inspiration gave them wings of song to carry them over the wide world.

The tune has become immensely popular in spite of its weak down-curve of melody. The hymn may also be sung to Barnby’s more sturdy tune, “Perfect Love” (312), which fits the words perfectly.

208. How happy is he born and taught _Henry Wotton_, 1568-1639

The original of this hymn was published in _Reliquiae Wottonianae_ with a memoir by Isaac Walton, 1651. The poem was altered somewhat to make it suitable for a congregational hymn.

Henry Wotton graduated from Oxford in 1588. He had a varied career, travelling on the continent, acting as agent to the Earl of Essex for collection of foreign intelligence, and then settling in Venice where he was ambassador at the court from 1604-24, with two intervals during which he was engaged in diplomatic missions to other countries and in parliamentary work in England. From 1624 until his death he was provost of Eton. Besides the above-named book, he published _The Elements of Architecture_, 1624, and _Ad Regem e Scotia reducem_ in 1633.

_MUSIC._ WAREHAM, by William Knapp, is from _A Sett of New Psalm Tunes and Anthems, in Four Parts by Wm. Knapp_, 1738, where it is set to Psalm 36:5-10 with the heading, “For the Holy Sacrament.” It is a deservedly popular melody, remarkably smooth, moving throughout by step except the perfect fourth interval between the fifth and sixth notes.

209. Walk in the light! so shalt thou know _Bernard Barton_, 1784-1849

A useful hymn, by a Quaker poet, setting forth the characteristic Quaker doctrine of the “Inner Light,” based on I John 1:7: “But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin.”

The hymn appeared in the author’s _Devotional Verses_, London, 1826.

Bernard Barton, known in England as the “Quaker Poet” (as was Whittier in America), was born in London and educated at a Quaker school at Ipswich. When 26 years old he became a Clerk in Alexander’s Bank at Woodbridge, Suffolk, and stayed there the remainder of his life. On Nov. 16, 1843, he wrote in a letter:

I took my seat on the identical stool I now occupy at the desk to the wood of which I have now well-nigh grown, in the third month of the year 1810, and there I have sat for three and thirty years beside the odd eight months without one month’s respite in all that time. I often wonder that my health has stood this sedentary probation as it has and that my mental facilities have survived three and thirty years of putting down figures in three rows, casting them up and carrying them forward, _ad infinitum_.

He might have given some of these years to literary pursuits had he not followed the good advice of Charles Lamb who wrote him:

Throw yourself on the world, without any rational plan of support beyond what the chance employ of booksellers would afford you! Throw yourself rather, my dear sir, from the steep Tarpeian rock, slap-dash headlong upon iron spikes. If you have but five consolatory minutes between the desk and the bed, make much of them, and live a century in them, rather than turn slave to the booksellers. They are Turks and Tartars when they have poor authors at their beck. Hitherto you have been at arm’s length from them—come not within their grasp. I have known many authors’ want for bread—some repining, others enjoying the blessed security of a counting-house—all agreeing they had rather have been tailors, weavers, what not? rather than the things they were. I have known some starved, some go mad, one dear friend literally dying in a workhouse. Oh, you know not—may you never know—the miseries of subsisting by authorship!

He published eight or ten volumes of verse. His writings show an extensive acquaintance with the Scriptures.

_MUSIC._ DEDHAM. For comments on the composer, William Gardiner, see Hymn 197.

210. Believe not those who say _Anne Brontë_, 1820-49

A hymn of courage. The original is in 10 stanzas, of which this hymn is a selection of stanzas 1, 2, 8, 9, 10.

Anne Brontë, one of three illustrious sisters, the other two being Charlotte and Emily, was born near Bradford, England, the daughter of the Rev. Patrick Brontë, Vicar of Haworth, Yorkshire. She was joint author with her sisters of a book of _Poems_, 1846, and wrote other volumes under the pseudonym, “Acton Bell.”

_MUSIC._ The tune, VIGIL, is by the Italian composer, Giovanni Paisiello, 1741-1816, whose works include 100 operas, a Passion oratorio, 30 masses, a requiem, 40 motets, and 8 symphonies. From 1776 to 1784, he was in the service of Empress Catherine of Russia, who a few years later was receiving Mennonites from Danzig and West Prussia to settle her crown lands at Chortitz. Paisiello was called to Paris to organize the music of the First Consul, meanwhile composing some church music. His last years were spent in Naples, where he was choirmaster to Joseph Bonaparte and Murat.

211. Go forth to life _Samuel Longfellow_, 1819-92

A challenge to live life bravely and true. The hymn is from _Hymns of the Spirit_, 1864, prepared by Samuel Longfellow and Samuel Johnson. It is one of the lyrics which helped establish Longfellow’s reputation as a hymn writer.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ MENDON is a variation of a “German Air” introduced into American hymn books by Samuel Dyer. The original had an additional note in each line and a different last line. The change to the present form and its name is attributed to Lowell Mason.

Samuel Dyer, 1785-1835, born in England, came to America when 26 years old and became a choir leader and teacher of sacred music in New York, Philadelphia, and Baltimore. He published several collections of sacred music, one of which, _Philadelphia Collection of Sacred Music_, 1828, gives valuable sketches of composers, and information about Dyer himself.

CONSECRATION AND STEWARDSHIP

212. O Jesus, I have promised _John Ernest Bode_, 1816-74

A hymn of consecration which the author wrote on the occasion of the confirmation of his daughter and two sons as “O Jesus, _we_ have promised.” It is frequently, and appropriately, used at baptismal services.

John Ernest Bode graduated with high honors from Oxford, where he was a fellow and tutor for six years; then became rector of Westwall, Oxfordshire, and later of Castle Campus, Cambridgeshire. He was a man of considerable attainments and was Bampton Lecturer in 1855. He wrote a number of hymns and is the author of several volumes of poetry.

_MUSIC._ ANGEL’S STORY, also known as “Supplication” and “Watermouth,” was written for Emily H. Miller’s hymn, “I love to hear the story which angel voices tell,” from which it derives its name. It first appeared in the _Methodist Sunday School Hymn Book_, 1881, but has since come into wide usage set to “O Jesus, I have promised.”

The composer, Arthur H. Mann, 1850-1930, was a distinguished English organist, and musical editor of _The Church of England Hymnal_. He was an authority on the music of Handel, and composed much church music. Oxford University gave him the degrees of Bachelor of Music and Doctor of Music.

213. We give Thee but thine own _W. W. How_, 1823-97

Based on Prov. 19:17: “He that hath pity on the poor lendeth to the Lord.” It is a hymn on Christian giving and liberality, sounding the real humanitarian note, a side of religion which an effective and virile hymnology cannot ignore. It may appropriately be sung by choir or congregation in the dedication of the offering. (See comments at 611.)

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

_MUSIC._ SCHUMANN, a fine short-meter tune, is ascribed to Robert Schumann but it seems as if no one has ever found anything among his musical writings from which the tune could have been derived. It appeared in Lowell Mason’s _Cantica Laudis_ in 1850.

For comments on Schumann see Hymn 296.

214. A charge to keep I have _Charles Wesley_, 1707-88

One of the greatest of Wesley’s short hymns taken from _Short Hymns on Select Passages of the Holy Scriptures_, 1762, where it is headed, “Keep the charge of the Lord, that ye die not” (Lev. 8:35).

The hymn strikes a much-needed note regarding the serious significance of this life. Thomas Carlyle expressed the same thought in his old age when he said: “The older I grow, and now I stand upon the brink of eternity, the more comes back to me the sentence in the catechism which I learned when a child, and the fuller and deeper its meaning becomes: ‘What is the chief end of man? To glorify God and enjoy Him forever.’”

For comments on Charles Wesley see Hymn 6.

_MUSIC._ BOYLSTON was composed by Lowell Mason and named after one of the towns in his native state. It appeared in _The Choir_, 1832, set to “Our days are as the grass.” The tune is widely used with “Blest be the tie that binds.”

For comments on Lowell Mason, see Hymn 12.

215. Take my life and let it be _Frances R. Havergal_, 1836-79

One of the finest hymns of consecration and service. It has been translated into many languages, including Russian, and many of Africa and Asia.

The author’s own story of how this hymn was written after her visit in a certain home throws a vivid light on her evangelical zeal:

There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. He gave me the prayer, “Lord give me ALL in this house.” And He just did. Before I left the house everyone had got a blessing. The night of my visit, after I had retired, the governess asked me to go to the two daughters. They were crying. Then and there both of them trusted and rejoiced. I was too happy to sleep, and passed most of the night in praise and renewal of my own consecration; and these little couplets formed themselves and chimed in my heart one after the other, till they finished with “Ever, ONLY, ALL for Thee!”

The hymn appears here unaltered from the original.

For further comments on Frances Havergal see Hymn 126.

_MUSIC._ HENDON. This tune appeared first in America in _Carmina Sacra_, 1841, edited by Lowell Mason. The composer, Henri Abraham César Malan, 1787-1864, born in Geneva, Switzerland, was a man of many interests. He was a well educated minister, a blacksmith, carpenter, printer, and artist. He had a burning zeal for the conversion of souls. Convinced that the national church stood in need of reform, he aroused much opposition. After preaching an unorthodox sermon at the College of Geneva, he was dismissed from his regentship at the college and was finally driven from the state church. He then built a chapel in his own garden and preached there for 43 years, attracting overflowing crowds and becoming widely known throughout Belgium, France, England, and Scotland for his evangelism. He wrote more than 1,000 hymns and set tunes to them, a remarkable achievement. As the originator of the modern hymn movement in the French Reformed Church, Malan has a permanent place in French Hymnody.

216. My Jesus, I love Thee _William Rolf Featherstone_, 1842-78

The authorship of this hymn was unknown until recently when Robert McCutchan, author of _Our Hymnody_, discovered that it was written by William Rolf Featherstone, a Canadian by birth, when he was only sixteen years of age. The author sent the hymn to an aunt, Mrs. E. Featherstone Wilson, living in Los Angeles, who suggested to her nephew that it be published. No further information concerning Featherstone is at hand.

_MUSIC._ GORDON. The tune was written for this hymn which the composer, Dr. Gordon, found in the _London Hymn Book_, 1864. This combination of hymn and tune became popular and is widely known in America.

Adoniram Judson Gordon, 1836-1895, was born at New Hampton, New Hampshire, educated at Brown University and Newton Theological Seminary, and became the distinguished pastor of the Clarendon Street Baptist Church, Boston. He at one time was editor of _The Watchword_, and is author of a series of books called _Quiet Talks_.

217. Have Thine own way, Lord _Adelaide Pollard_, 1862-1934

A hymn of the believer’s humble resignation to God, as the clay to the potter.

The author, Adelaide Addison Pollard, was a modest poet. She signed her writings for many years with only her initials, but in recent times her publishers have used her full name. Miss Pollard was born in Iowa, but died in New York City. She was buried in the family plot at Ft. Madison, Iowa. While a teacher of elocution and expression, she became interested in deeper spiritual things through the ministry of R. A. Torrey and James M. Gray, and enrolled for further Bible training at the Moody Bible Institute, Chicago. She became a teacher in the Missionary Alliance Bible School at Nyack, N. Y., and also did missionary work in South Africa. Miss Pollard wrote numerous hymns and devotional poems. Her two best-known hymns are: “Have Thine own way, Lord,” and “Shepherd of Israel.” Her mother was Rebecca Pollard who wrote the song poem, “I surrender all,” for which D. B. Towner wrote the music.

_MUSIC._ ADELAIDE. The name of the tune is obviously derived from the name of the author of the words for which it was composed. For comments on the composer, Geo. C. Stebbins, see Hymn 38.

218. Fountain of good, to own thy love _Philip Doddridge_, 1702-51

An appealing hymn on fellowship and service as well as consecration.

The author entitled the hymn, “On Relieving Christ in the Poor.” The original first line began “Jesus, my Lord, how rich thy grace.” The hymn was rewritten by Edward Osler, 1798-1863, for Hall’s _Mitre Hymn Book_, 1836, in which form it is found in modern hymnals, including the _Hymnary_.

For comments on Philip Doddridge see Hymn 56.

_MUSIC._ DALEHURST was composed by Arthur Cottman, 1842-79, an Englishman trained for the law but interested keenly in sacred music. It was first published in Cottman’s _Ten Original Tunes_, 1874, and has since been introduced into the hymnals and set to various texts. It is a tune of simple pattern, contemplative in mood, and should be sung in an even, moderate tempo.

219. Master, speak! thy servant heareth _Frances R. Havergal_, 1836-79

Based on the conversation between Samuel and Eli, I Sam. 3:1-10.

Miss Havergal’s favorite name for Christ was “Master,” because, she said, “it implies rule and submission, and this is what love craves. Men may feel differently, but a true woman’s submission is inseparable from deep love.”

For comments on Frances Havergal see Hymn 126.

_MUSIC._ AMEN, JESUS HAN SKAL RAADE (“Amen, Jesus, He shall reign”) comes from Denmark. The composer, Anton Peter Berggreen, 1801-80, was born in Copenhagen and lived there all his life. He studied music and became a composer of many works, the most popular being his _National Songs_ in eleven volumes. His collection of _Psalm Tunes_ are widely used in Danish churches. He was organist at Trinity Church, Copenhagen, and organized musical associations among laboring people which are still popular. For a number of years he was Professor of Singing at the Metropolitan School and inspector of the public schools in his native city.

220. Savior, thy dying love _Sylvanus D. Phelps_, 1816-95

Phelps gave this hymn to be published in _Pure Gold,_ a Sunday school songbook which Robert Lowry, composer of music, was then editing and of which more than a million copies were sold. The hymn was given the heading, “Lord, what wilt Thou have me to do?” (Acts 9:6.)

Sylvanus Dryden Phelps, Baptist minister, was born in Suffolk, Conn.; received his education at Brown University; and in 1846 became pastor of the First Baptist Church, New Haven, Conn., where he remained for 28 years. He published three volumes of poetry. His son, William Lyon Phelps, was the distinguished Professor of English Literature at Yale and a lay preacher.

_MUSIC._ SOMETHING FOR JESUS was written for this hymn. At the time he composed this tune, Lowry was pastor of a Baptist Church in Lewisburg, Pa., and Professor of Literature in Bucknell University.

For further comments on Robert Lowry see Hymn 187.

SERVICE AND BROTHERHOOD

221. Work, for the night is coming _Anna Louisa Coghill_, 1836-1907

Based on John 9:4: “I must work the works of him that sent me, while it is day: the night cometh, when no man can work.” The hymn was written when the author, eighteen years old, lived in Canada. It was published in a Canadian newspaper and later in her small volume of poems, _Leaves from the Backwoods_, Montreal, 1864.

Anna Louisa Walker was born in England but went in her teens with her parents to Sania, Canada, where her brothers were railway engineers. Returning to England, she became a governess for a time, then she reviewed books, making her home with her second cousin, a Mrs. Oliphant, for some years. In 1883 she married Harry Coghill, a wealthy merchant. She published six novels and a book of poems, _Oak and Maple_, and edited the _Autobiography and Letters_ of Mrs. Oliphant.

_MUSIC._ WORK SONG, known in England as “Diligence,” was written for this hymn. To fit the tune it became necessary to drop a syllable in the fourth line of each verse, an alteration which the author disliked extremely and which she never sanctioned.

For comments on Lowell Mason see Hymn 12.

222. Where cross the crowded ways of life _Frank Mason North_, 1850-1935

An unexcelled “Hymn for the City.” The following account of it is given in _The Churchman_, July, 1938, in an article by Eloise R. Griffith, on “Our Great Hymns”:

Frank Mason North, D.D., a well-known clergyman of the Methodist Church, is the author of this well-loved hymn. It is sometimes called “A Prayer for the City,” or “A Prayer for the Multitudes,” and has the distinction of appearing in more standard hymnals today than any other hymn written in this century. To those of us who are concerned about “how the other half lives,” and who know either from our own experiences or those of friends about the darker side of life in a great city and particularly in our own country during the last nine years,—this beautiful hymn never fails to find a heartfelt response. It paints a picture with which many city dwellers are all too familiar.

In 1903, Dr. North was editor of _The Christian City_, the organ of the Methodist City Missionary Society. His office was in the Fifth Avenue building of the Methodist Book Concern. One day one of the professors of Wesleyan University (who was on the committee to prepare and revise the new Methodist hymnal, and who knew North’s ability to write hymns), met him in one of the halls. “Why don’t you write a missionary hymn for us, Dr. North?” asked the professor. “We need more missionary hymns in our new hymnal.” Dr. North modestly answered that he did not feel he would be able to write a hymn worthy of the proposed new hymnal, but that he would try.

Soon after this incident occurred, Dr. North was preaching a sermon from the text in St. Matthew 22:9: “Go ye therefore into the highways,” etc. During his preparation for this sermon, he was again especially impressed by the rendering of the Greek text in the Revised Version, which reads “Go ye therefore into the partings of the highways.” Dr. North thought of and described in his sermon the appealing challenge made by great crowds of people thronging the crossroads of the city—places like Madison Square and Union Square in the New York of 1903. Dr. North knew New York City very thoroughly, and his heart yearned over the sick, the lonely, the destitute, the troubled. So, while he preached, the first line of this great hymn came to him—“Where cross the crowded ways of life.” It did not take him long to compose the words which followed, and after the publication of the hymn in _The Christian City_, it was at once accepted for the new Methodist hymnal of 1905. The hymn is widely used in Canada and throughout Great Britain, and has been translated into several foreign languages, including some of the Far East ones.

_MUSIC._ GERMANY is a fine long-meter tune found in a book, _Sacred Melodies_, in which the compiler, William Gardiner, 1770-1853, an English stocking manufacturer interested in music, collected compositions by the best foreign composers, adapting them to English words. The tune is also known by the name “Walton,” especially in England. As to its origin, Gardiner says in his book, _Music and Friends_, that it “is somewhere in the works of Beethoven, but where I cannot now point out.” This may be a mistake, for no one else has ever found it in a Beethoven collection.

223. O Master, let me walk with Thee _Washington Gladden_, 1836-1918

A greatly loved service hymn which the author entitled, “Walking with God.” In a note dated June 15, 1907, Gladden says:

This hymn was written in 1879 for a magazine, _Sunday Afternoon_, which I was then editing. There were three eight-line stanzas. Dr. Charles H. Richards found the poem, which was not intended for a hymn, and made a hymn of it by omitting the second stanza, which was not suitable for devotional purposes.

The omitted stanza reads as follows:

O Master, let me walk with Thee Before the taunting Pharisee; Help me to bear the sting of spite, The hate of men who hide thy light, The sore distrust of souls sincere Who cannot read thy judgments clear, The dullness of the multitude Who dimly guess that thou art good.

Washington Gladden, distinguished Congregational minister and author, was reared on a farm near Oswego, N. Y., attending country school and Oswego Academy and later entering Williams College, from which he graduated in 1859. He was licensed to preach in 1860; then held pastorates in Congregational churches in New York and Massachusetts, and finally in 1882 began his widely known and influential work as pastor of the First Congregational Church in Columbus, Ohio, which was to last for 28 years. His lectures and writings on social questions were prophetic messages of the time. After 50 years in the ministry, he wrote: “If the church would dare to preach and practice the things which Jesus Christ has commanded, she would soon regain her lost power.” He is the author of thirty or more volumes but is remembered best by this poem which has come into such wide use in the worship services of all the churches.

_MUSIC._ MARYTON was written for the words, “Sun of my soul, Thou Savior dear,” in _Church Hymns and Tunes_, 1874; but it has become inseparably associated with Gladden’s hymn. Permission to use this hymn was granted by the author only on condition that it be used with this tune.

The composer, Henry Percy Smith, 1825-98, was a minister in the Church of England, deeply interested in church music. After graduating from Balliol College, Oxford, he served various churches as curate and vicar and finally became chaplain at Cannes and Canon of Gibraltar.

224. O Thou great Friend to all the sons of men _Theodore Parker_, 1810-60

Based on the Scriptural passages, John 15:14: “Ye are my friends if ye do the things which I command you” and John 14:6: “I am the way, the truth, and the life.”

The author, Rev. Theodore Parker, an outstanding abolitionist and a leader in New England Unitarianism, was educated at Harvard and spent most of his ministry in Boston. While travelling abroad in the hope of restoring his health, he became ill and died at Florence, Italy, where he was buried.

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

225. Onward, Christian soldiers _S. Baring-Gould_, 1834-1924

A hymn of the Christian warfare, written by a Church of England clergyman for a children’s processional, but now having a much wider use. The author gave the following account of the writing of the hymn:

Whitmonday is a great day for school festivals in Yorkshire. One Whitmonday, thirty years ago, it was arranged that our school should join forces with a neighboring village. I wanted the children to sing when marching from one village to another; so I sat up at night, resolved that I would write something myself. “Onward, Christian soldiers” was the result. It was written in great haste, and I am afraid some of the rhymes are faulty. Certainly nothing has surprised me more than its popularity.

An omitted stanza reads:

What the saints established, That I hold for true; What the saints believed, That believe I too. Long as earth endureth Men that faith will hold, Kingdoms, nations, empires In destruction rolled.

For comments on the author, S. Baring-Gould, see Hymn 29.

_MUSIC._ ST. GERTRUDE was written for these words by Sir Arthur Sullivan and dedicated to Mrs. Gertrude Clay-Ker-Seymer, in whose house the composer often stayed. The hymn derived a great part of its popularity from its use with this stirring tune.

For comments on Sullivan see Hymn 113.

226. Teach me, my God and King _George Herbert_, 1593-1633 _Adapted by John Wesley_

A hymn of consecration and heavenly-mindedness that marks the Christian life. Verses 2 and 4 are by John Wesley, and the third verse was altered by him. For comments on John Wesley see Hymn 170.

George Herbert, noted English poet and minister in the Church of England, was born in Wales; educated at Cambridge; and became a great pastor and preacher, serving, during his all too brief career, churches at Layton Ecclesia in 1626, and at Bemerton from 1630 to his death in 1632. His spare moments were given to the cultivation of sacred music. His principal work is _The Temple_, a book of poems. His popularity was greatly increased through the publication of his _Life_, written by Isaak Walton.

_MUSIC._ MORNINGTON is an arrangement of a chant written about 1760 by the Earl of Mornington, whose name was Garret Wellesley (or Wesley), 1735-81. He was the father of the Duke of Wellington. The name was changed from Wesley to Wellesley about 1790. A composer of much secular and sacred music, he lived most of his life in Dublin, and was the first Professor of Music at Dublin University.

227. When thy heart with joy o’erflowing _Theodore C. Williams_

A hymn setting forth the spirit of brotherhood in terms of sharing. Information regarding the author, Rev. Theodore C. Williams, has not been traced.

_MUSIC._ BULLINGER was written in 1874 by Ethelbert William Bullinger, 1837-1913, an English clergyman who made the study of music his avocation. He is remembered principally as the composer of this tune with its last phrase somewhat awkward due to the long, tied initial note.

228. Who is thy neighbor? _William Cutter_, 1801-87

Based on the parable of the Good Samaritan. The hymn first appeared in _The Christian Mirror_, Portland, Me., 1838, in seven stanzas. One of the omitted stanzas reads:

Thy neighbor? Yonder toiling slave, Fettered in thought and limb; Whose hopes are all beyond the grave, Go thou, and ransom him.

The author, William Cutter, was an editor and publisher, born at Yarmouth, Me., a graduate of Bowdoin College, and member of the Congregational Church. He was in business in Portland, Me., for several years and then in Brooklyn, N. Y. He has been described as “a deserving writer who has hitherto missed his due meed of acknowledgement.”

_MUSIC._ BURFORD, a very good tune in triple time, written in the minor mode, is of uncertain authorship, though it is credited in some books to Henry Purcell, _c._ 1658-95, one of England’s great composers and organists. It is set to Psalm 42 in _A Book of Psalmody_, 1718, by John Chetham, and appears in a large number of other 18th century psalmodies, invariably without composer’s name.

229. O brother man, fold to thy heart thy brother _John Greenleaf Whittier_, 1807-92

A hymn of brotherly love and service, taken from a poem of 15 stanzas, entitled, “Worship,” to which was affixed the scriptural reference, James 1:27: “Pure religion and undefiled before God the Father is this, To visit the fatherless and widows in their affliction, and to keep himself unspotted from the world.” A concern for the well being of his fellow man was to Whittier a vital part of the Christian faith, as witness his championship of the cause of the slaves.

For comments on John Greenleaf Whittier see Hymn 173.

_MUSIC._ COMFORT. The tune appears anonymously in the “Supplement” to _Hymns of the Spirit_, 1937.

230. Rise up, O men of God _William P. Merrill_, 1867—

A hymn challenging the _men_ of the church to loyal service to Christ. It is widely used in America and has found a place in English and Canadian hymnals. Concerning the origin of the hymn, Dr. Merrill says, in a letter to the writer, dated, April 18, 1947:

I was asked back in 1911 to write a hymn to be used in the “Brotherhood Movement,” then going strong. I had come upon an article by Gerald Stanley Lee, entitled, “The Church of the Strong Men”; and that gave me a start. I can give no interesting details as to how I wrote it; I just did it.

Highchurchmen have objected to the hymn, because they have said that only God can make the church great. To that I have answered that if anyone can show me a single instance in history where God has made the church great without using MEN OF GOD to do it, I should be interested. No answer has ever come. I heard that hymn sung in Europe, in India, China, and Japan.

For comments on the author, William P. Merrill, see Hymn 183.

_MUSIC._ LEIGHTON was composed by Henry Wellington Greatorex, 1811-58, an Englishman by birth. Coming to the United States in 1839, he served as organist at Central Congregational Church, Hartford, Conn., in St. Paul’s and Calvary Churches, New York City, and finally in an Episcopal Church at Charleston, S. C. He edited the _Greatorex Collection_ of 1856 and did much to improve the standards of music used in the worship service. He composed a widely used setting for the “Gloria Patri” (606). Dr. Merrill’s hymn has been set to various tunes, the one generally used and preferred by the author being “Festal Song,” by William H. Walter.

231. Go, labor on; spend and be spent _Horatius Bonar_, 1809-89

A hymn to encourage Christian workers. It was published in _Songs for the Wilderness_, 1843, under the title, “Labour for Christ.” In _Hymns of Faith and Hope_, 1867, it was entitled, “The Useful Life.”

Regarding the origin of the hymn, Rev. H. N. Bonar, son of the author wrote:

It was probably in the year 1836 that my father first wrote a hymn not primarily intended for the young. To encourage his faithful fellow workers in his mission district, he wrote, to the tune of the “Old Hundredth,” the now-familiar hymn, “Go, labour on.”

For comments on Horatius Bonar see Hymn 129.

_MUSIC._ ERNAN was written for _Cantica Laudis_, 1850, one of the books which Mason published with the assistance of Geo. J. Webb. For comments on the composer, Lowell Mason, see Hymn 12.

THE INNER LIFE

232. O have you not heard of that beautiful stream _R. Torrey, Jr._

Based on Rev. 22:1, 17: “And he showed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb.”

“And the Spirit and the bride say, Come. And let him that heareth say, Come. And let him that is athirst come. And whosoever will, let him take the water of life freely.”

It is reminiscent also of Ezek. 47:1-12, the vision of the healing stream of water flowing from the house of God to the Dead Sea, causing new life to flourish. “Everything shall live whither the river cometh.” (v. 9).

An omitted stanza reads:

With murmuring sound doth it wander along Through fields of eternal green; Where songs of the blest, in their haven of rest Float soft on the air serene.

The poem, with the present music, appeared in Asa Hull’s, _The Casket_, published in Philadelphia, 1865, where it is credited to R. Torrey, Jr. To date, no information has come to light concerning the author. He lived a generation earlier than the well known preacher and teacher, R. A. Torrey. In 1868, the hymn was published, anonymously, in _Spiritual Harp_, Boston, a book of songs for congregational use dedicated by the authors to “the Spiritualists and Reformers of the world, love of truth and progress.” Two years later, in 1870, the words and music appeared in England, in the _Sunday School Hymnary_, published by the National Sunday School Union in London.

The German version is a free translation made by Ernst Heinrich Gebhardt, 1832-99, a Methodist minister and evangelist, known in Germany, the place of his birth, as the father of German revivalistic and holiness songs. It is superior, in poetic quality and evangelistic appeal, to the English original.

Gebhardt was born in Ludwigsburg, Württemberg, July 12, 1832. He prepared to be an apothecary but later decided to go to Chile, South America, to live with relatives. After spending five years on a farm in Chile, he returned to Germany to visit his mother. A shipwreck on the return voyage resulted in a deep spiritual awakening. Arriving in Ludwigsburg, he accompanied his mother to the Sylvester service on New Year’s night, 1859, in the Methodist Church, where he dedicated his life to Christian work. Having decided to become an evangelist, he attended the school for ministers in the Methodist Church at Bremen where his zeal and musical gifts were quickly recognized. He was appointed _Reiseprediger_ and in this capacity served in Ludwigsburg (1860-62), Heilbronn (1862-66), Pforzheim (1866-68), Bremen (1868-71), Ludwigsburg (1871-74), Zurich (1874-77), Strassburg i. E. (1877-81), Biel, Kt. Bern (1880-84), Zwickau (1884-88) and finally in Karlsruhe (1888-99). Gebhardt was married and had a family of nine children.

His activities included a trip to the United States, 1881-83, during which he travelled through 30 States. In Brighton, England, he took part in holiness meetings held there, and later travelled with R. Pearsall Smith, of Philadelphia, through Germany and Switzerland, serving as song leader in the evangelistic meetings conducted by Smith.

Gebhardt is the author of many original hymns and made over 50 translations from the English, most of them from the Moody and Sankey songs. He compiled numerous song books where his works appeared. “Ich weiss einen Strom” was published in his _Frohe Botschaft_, 1875, a popular book of gospel songs drawn mostly from English sources, both words and music. The third stanza, omitted here, reads:

Der Strom ist gar tief und sein Wasser ist klar, Es schmecket so lieblich und fein; Es heilet die Kranken und stärkt wunderbar, Ja, machet die Unreinsten rein!

_MUSIC._ ICH WEISS EINEN STROM, originally entitled, “Beautiful Stream,” and written in 6/8 time, first appeared in _Casket of Sunday School Melodies_, 1865, published by the composer, Asa Hull, in Philadelphia. The tune is wedded inseparably to Torrey’s words. It is very popular among General Conference of Mennonites churches where it is usually sung in the slow tempo and dignity of a chorale. Neither the words nor the music, with its refrain, have the characteristics of a chorale. It is a useful song, especially for evangelistic services.

Asa Hull was born January 18, 1828, in Keene, N. Y. He studied harmony and composition with B. F. Baker and Geo. J. Webb in Boston, and at the age of 20 became organist and choirmaster at Watertown, Mass. He composed many church tunes. Hull, a pioneer publisher of Sunday school and gospel song books, was also known as a shrewd business man. His publications numbered 30 books and about 100 pamphlets. _Gem of Gems_, published in 1881, sold over 300,000 copies. On the fly leaf of his _Casket of Sunday School Melodies_ is found this advertisement:

Asa Hull, Philadelphia agent for the Hallett and Cumston Piano Fortes, will keep a variety of styles and exhibits at his store, which he will sell at lower prices for cash than any other first class instrument can be bought in the city. 240 S. Eleventh Street, Philadelphia, Pa.

233. O holy Savior, Friend unseen _Charlotte Elliott_, 1789-1871

A hymn which is best understood by those who have had experience in suffering and sorrow. Entitled, “Clinging to Christ,” it was written in 1834, shortly after the death of the author’s father and published in the 1834 edition of her _Invalid’s Hymn Book_.

Charlotte Elliott, a member of the Church of England, was born and reared amid refined, cultured, Christian surroundings. Her grandfather, Rev. Henry Venn, was an “eminent Church of England divine of apostolic character and labors,” and the author of _The Whole Duty of Man_. Charlotte was a woman of keen intellect and was gifted in music and art. Unfortunately, she became an invalid at 32 and remained so till the end of her long life, oftentimes enduring great suffering. This may account for the note of tenderness found in all her hymns. In spite of her invalidism, she did a large amount of literary work, publishing four or five volumes of poetry. She was a modest woman, publishing all her books anonymously. A large number of her 150 hymns are still in use, the most popular being “Just as I am, without one plea” (458).

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

234. Thou true Vine, that heals the nations _T.S.N._

Based on John 15:1-5: “I am the true vine, and my Father is the husbandman. Every branch in me that beareth not fruit he taketh away: and every branch that beareth fruit, he purgeth it, that it may bring forth more fruit. Now are ye clean through the work which I have spoken unto you. Abide in me, and I in you. As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me. I am the vine, ye are the branches; He that abideth in me and I in him, the same bringeth forth much fruit: for without me ye can do nothing.”

The hymn was composed for _Songs of Praise_, 1933, London. The author is not identified except by the initials T.S.N.

_MUSIC._ PLEADING SAVIOUR, a folk-song type of tune, is from the _Plymouth Collection of Hymns and Tunes_, New York, 1855, which Henry Ward Beecher compiled for use in the Plymouth Congregational Church, Brooklyn, of which he was pastor. The musical editors were John Zundel (178) and the Rev. Charles Beecher.

235. God of my heart _Anonymous_

A hymn celebrating the believer’s life in God. It was taken from _St. Basil’s Hymnal_ compiled by the Basilian Fathers, published in 1918. The musical editors were Healey Willan and Jules Brazil. The authorship of the hymn is anonymous.

_MUSIC._ CARMEN NATURAE is an arrangement from a melody in Donizetti’s opera, _Carmen_.

Gaetano Donizetti, 1797-1848, son of an Italian weaver, studied music in Naples. He composed 66 operas, 6 masses, 12 string quartets, a requiem, songs, and other compositions.

236. Since Jesus is my Friend _Paul Gerhardt_, 1607-76 _Tr. by Catherine Winkworth_, 1829-78

A hymn of consolation and joy to give strength and courage to troubled hearts. It is based on Romans 8:31: “If God be for us, who can be against us?” The original has 15 stanzas. The lines translated here are as follows:

Hab ich das Haupt zum Freunde Und bin geliebt bei Gott, Was kann mir tun der Feinde Und Widersacher Rott’?

Sein Geist spricht meinem Geiste Manch süsses Trostwort zu, Wie Gott dem Hülfe leiste Der bei ihm suchet Ruh.

Mein Herze geht in Sprüngen Und kann nicht traurig sein, Ist voller Freud’ und Singen, Sieht lauter Sonnenschein.

Die Sonne, die mir lachet Ist mein Herr Jesus Christ, Das, was mich singen machet, Ist, was im Himmel ist.

For comments on the author, Paul Gerhardt, see Hymn 134.

The translation by Miss Winkworth appeared in her _Lyra Germanica_, first series, 1855.

Catherine Winkworth, an English poet, was the foremost translator of German chorales. She made a special study of the German hymns and hymn writers and is the author of _Lyra Germanica_, 1st. ser., 1855; 2d. ser., 1858; _The Chorale Book for England_, 1863; and _Christian Singers of Germany_, 1869. Twenty-five of her works are found in the _Hymnary_. She was a member of the Church of England.

_MUSIC._ GREENWOOD was composed for the hymn beginning, “We lift our hearts to Thee,” in a _Collection of Church Music_, 1849, by Root and Sweetser.

The composer, Joseph Emerson Sweetser, 1825-73, was an English organist and composer of vocal music. A part of his life was spent in New York City as organist at the Church of the Puritans.

237. O heart of God! _F. Stanfield_

A hymn of confidence and trust resulting from the mystical repose in the heart of God.

The words and tune are found in _St. Basil’s Hymnal_, compiled by the Basilican Fathers, and published in Chicago, 1918.

The author, Francis Stanfield, a Roman Catholic priest, was born in London, November 5, 1836, the son of Clarkson Stanfield, an artist. He was educated at St. Edmund’s College, near Ware. After ordination, he spent most of his time conducting missions and retreats, though he was stationed for brief periods in several parishes. He is the author of numerous hymns which were collected and published by the Benedictine Fathers, at Ramsgate, England. The present hymn is an adaptation, made by the editors of the _Hymnary_, of his “O Sacred Heart, our home lies deep in Thee.” The original is too Catholic for Protestant use.

No information is at hand concerning the composer of the tune.

238. Life of all that lives below _Charles Wesley_, 1707-88 _Samuel Longfellow_, 1819-92

This hymn, a prayer for a fuller life nurtured by Christ, the living Bread, is of composite authorship, but no information is at hand concerning the part which Wesley and Longfellow, respectively, had in it. It is not listed in Julian’s _Dictionary of Hymnology_.

For comments on Charles Wesley see Hymn 6.

For comments on Longfellow see Hymn 28.

_MUSIC._ PLEYEL is taken from the _Andante_ movement of the composer’s _Fourth String Quartet, Op. 7_. It appeared as a long-meter tune in _Arnold and Callcott’s Psalms_, 1791, set to Addison’s hymn, “The spacious firmament on high.”

Ignace Josef Pleyel, 1757-1831, 24th child of an Austrian schoolmaster, was a favorite pupil of Haydn and gained fame as a composer and conductor. Mozart spoke highly of his quartets. Later in life he engaged in business, publishing and selling music, and manufacturing pianos of high quality. The manufacturing house of Pleyel and Company is still well and favorably known in Europe.

239. There is a place of quiet rest _Cleland B. McAfee_, 1866-1944

The heart of the message of this popular devotional hymn, according to a statement made by the author to the present writer, is in the second stanza, “There is a place of comfort sweet, near to the heart of God.” Cleland B. McAfee was a distinguished preacher, author, and teacher in the Presbyterian Church. He was accustomed to write an original hymn for the communion service in his church. It was in 1901, during his pastorate in Chicago, that a great sorrow came into his life occasioned by the death of his nephew. The communion was to be held the following Sunday and the members of the congregation came to the church tense with speculation about the service and the kind of hymn their pastor had composed for the day. These simple words and tune were offered them and seemed to fit the occasion perfectly. Since then the hymn has been translated into many languages and gone all over the world. It was not included in the new _Presbyterian Hymnal_, 1933, because the words and music were considered to be more of the nature of a gospel song than a hymn.

Cleland M. McAfee received his education at Park College and Union Theological Seminary, New York. From 1888 to 1901, he was pastor and professor at Park College; pastor of the First Presbyterian Church, Chicago, 1901-04; and of the Lafayette Avenue Presbyterian Church, Brooklyn, 1904-12. He later was connected with McCormick Theological Seminary in Chicago, first as Professor of Systematic Theology and then as president of the institution. He is the author of several books on religious subjects, and also wrote extensively on foreign missions, a subject in which he had a keen interest.

COURAGE AND COMFORT

240. Come unto Me, ye weary _William C. Dix_, 1837-98

Based on some of the precious promises of Christ, especially Matt. 11:28: “Come unto me, all ye that labor and are heavy-laden and I will give you rest.” It may be compared with Bonar’s hymn, “I heard the voice of Jesus say” (142) on the same text.

The author gives the story of the hymn as follows:

I was ill and depressed at the time, and it was almost to idle away the hours that I wrote the hymn. I had been ill for many weeks, and felt weary and faint, and the hymn really expresses the languidness of body from which I was suffering at the time. Soon after its composition I recovered, and I always look back to that hymn as the turning point in my illness.

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

_MUSIC._ ICH WEISS AN WEN ICH GLAUBE is taken from the _Gesangbuch mit Noten_ (206) where it is used with a hymn by Ernst Moritz Arndt, beginning with these words.

241. When in the madd’ning maze of things _John Greenleaf Whittier_, 1807-92

Preëminently an experienced person’s meditation on trust in God. The hymn is taken from a poem of 22 stanzas entitled, “The Eternal Goodness,” written apparently without any thought of their being sung. In the first line the editors substituted the initial word “when” for the original “yet.”

For comments on John Greenleaf Whittier see Hymn 173.

_MUSIC._ ES IST EIN BORN. For comments on this tune see Hymn 99.

242. Thy way is in the deep, O Lord _James Martineau_, 1805-1900

Based on Psalm 77:19: “Thy way is in the sea, and thy path in the great waters.”

James Martineau, English Unitarian, was a man of letters, a philosopher, a theologian, and the most eloquent and distinguished preacher of his church in his time. He served churches in Liverpool and London and was Professor of Mental and Moral Philosophy in Manchester New College. He edited _Hymns for the Christian Church and Home_, 1840, a book widely used among Unitarians in England.

_MUSIC._ GRÄFENBERG, sung somewhat slowly, is a tune of fine stateliness and dignity. It is from the 5th edition of Crüger’s _Praxis Pietatis Melica_, Berlin, 1653. It is also known as “_Nun Danket All_.”

Johann Crüger, 1598-1662, one of the most distinguished musicians of his time, was born near Brandenburg. He received a thorough musical training under Paulus Homberger in Regensburg and in 1622 he was appointed cantor of the St. Nicholas Lutheran Church, in Berlin, and one of the masters of the Greyfriars Gymnasium. He founded the noted choir of St. Nicholas Church. Crüger was a tune-writer of the first rank and composed some of the most famous and favorite chorales. He published various collections of hymns, among them the celebrated _Praxis Pietas Melica_, 1644, which passed through more than fifty editions. He died in Berlin, February 23, 1662.

243. Come, ye disconsolate _Thomas Moore_, 1779-1852 _Thomas Hastings_, v. 3

A hymn of consolation by an author whose life was far from exemplary. It may be the hymn should on this account have been omitted; but something in his heart enabled the author, through his lyrics, to touch the heart of humanity, and his songs have been widely used and admired in spite of the strange chapters and romantic incidents in his life.

Thomas Moore, Irish poet, was born in Dublin, studied at Trinity College, and then moved to London and began the study of law. He held a government position in Bermuda for some time and during his life published many volumes of prose and poetry. He will always be remembered by his songs, “Believe me if all those endearing young charms,” “The last rose of summer,” and “Oft in the stilly night.”

The third stanza is by Thomas Hastings, coeditor with Lowell Mason of _Spiritual Songs for Social Worship_, in which the hymn first appeared. Moore’s third stanza, omitted in all hymn books, reads:

Go ask the infidel what boon he brings us, What charm for aching hearts he can reveal, Sweet as that heavenly promise Hope sings us— Earth has no sorrow that God cannot heal.

It is a good stanza, but, then, good hymns do not argue.

For comments on Thomas Hastings see Hymn 120.

_MUSIC._ CONSOLATOR, also known as “Consolation,” “Webbe,” “Alma” or “Alma Redemptor,” is an adaptation of a tune by Samuel Webbe.

For comments on Samuel Webbe see Hymn 22.

244. I look to Thee in every need _Samuel Longfellow_, 1819-92

A hymn, much-needed, to express the effect of religious faith and trust upon mental and bodily health. The idea, so essential to the Gospel, has been too largely neglected in most Protestant Churches. The hymn is representative of the fine literary and devotional quality of the author’s poetry. Though an American hymn, it was introduced into the church’s worship in England before it was used in this country.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ O JESU appeared in _J. B. Reimanns Org. v. Hirschb. alter und neuer Melodien Evangel. Lieder_, etc., 1747, where it was set to the hymn, “_O Jesu, warum legst du mir_.” In the original, the first and last notes of each line were half-notes. It is a tune “of a simple, familiar pattern but with a certain quiet dignity.”

The composer, Johann Balthaser Reimann, 1702-47, was a German cantor and organist in churches in Neustadt, Breslau, and Hirschberg, Schleswig.

245. My God and Father, while I stray _Charlotte Elliott_, 1789-1871

A hymn written by one who had disciplined herself to accept with patience and resignation the bitter cross of ill health which was laid upon her.

She writes of her experience:

Oh, many struggles and apparently fruitless ones it has cost me to become resigned to the appointments of my Heavenly Father. But the struggle is now over. He knows, and he alone, what it is, day after day, hour after hour, to fight against bodily feelings of almost overpowering weakness, languor, and exhaustion; to resolve not to yield to slothfulness, depression, and instability, such as the body causes me to long to indulge, but to rise every morning determined to take for my motto: “If any man will come after Me, let him deny himself, take up his cross daily and follow Me.”

The hymn is based on Matt. 26:42: “O my Father, if this cup may not pass away from me, except I drink it, thy will be done.” It is a hymn of humble resignation. Another hymn, setting forth the will of God as demanding active co-operation, is found at No. 342. Some fine stanzas have been omitted here:

Though Thou hast called me to resign What most I prized, it ne’er was mine; I have but yielded what was Thine— “Thy will be done.”

Should grief or sickness waste away My life in premature decay, My Father, still I strive to say, “Thy will be done.”

Let but my fainting heart be blest With Thy sweet Spirit for its Guest; My God, to Thee I leave the rest— “Thy will be done.”

For comments on Charlotte Elliott see Hymn 233.

_MUSIC._ HANFORD was written for “Jesus, my Saviour, look on me,” another of Miss Elliott’s hymns. The composer, who often stayed in the home of Mrs. Gertrude Clay-Ker-Seymer at Hanford, in Dorsetshire, wrote the tune there, hence its name.

For comments on the composer, Arthur Sullivan, see Hymn 113.

246. Give to the winds thy fears _Paul Gerhardt_, 1607-76 _Tr. by John Wesley_, 1703-91

A hymn of comfort to the afflicted and courage to the dying. It is a part of Paul Gerhardt’s poem, “_Befiehl du deine Wege_” (558). These are stanzas 9, 10, 12, 13, unaltered, of Wesley’s translation, which contains 16 four-line stanzas. Gerhardt passed through the agonies of the Thirty Years’ War, and suffered, in addition, the loss of his wife and four children. He gives expression in this hymn to his own deep feelings of trust and assurance. His words have helped many anxious souls maintain faith in God who “sitteth on the throne, and ruleth all things well.”

For comments on Paul Gerhardt see Hymn 134.

For comments on John Wesley, who translated the hymn, see No. 170.

_MUSIC._ STATE STREET is a popular tune, scarcely any hymn book missing it, but it is not wedded to any single hymn. The composer, J. C. Woodman, 1813-94, born at Newbury, Mass., became one of Lowell Mason’s assistants in introducing music into the public schools of Boston. He was one of the first soloists of the Boston Academy of Music and served for a time as organist of the First Presbyterian Church of Brooklyn. In 1858, Woodman compiled _The Musical Casket_, which contained many of his songs, sacred and secular. “State Street” is the last tune in the book, set to Watts’ lyric, “Blessed are the sons of peace.”

247. Day by day the manna fell _Josiah Conder_, 1789-1855

A hymn of confidence that God will supply daily strength for daily needs, based on Exodus 16:12-21 and the petition in the Lord’s Prayer, “Give us this day our daily bread.”

The hymn suggests a Jewish story quoted by W. F. Tillett in _The Hymns and Hymn Writers of the Church_:

The pupils of Rabbi Ben Jochai once asked him with regard to the manna sent to the Israelite host in the wilderness: “Why did not the Lord furnish enough manna to Israel for a year all at one time?” “I will answer you with a parable,” responded the teacher. “Once there was a king who had a son to whom he gave a yearly allowance, paying him the entire sum on a fixed day. It soon happened that the day on which the allowance was due was the only day in the year when the father ever saw the son. So the king changed his plan and gave his son day by day that which sufficed for the day. And now the son visited his father every morning. Thus God dealt with Israel.”

The author, Josiah Conder, born in London, was an editor and publisher. His friends included a large number of eminent literary and church men of the early 19th century. He was a member of the Congregationalist Church. A devout and earnest believer who knew what it was to struggle for daily bread, he had the occasion to practice the gospel of daily trust. He wrote many hymns, published more than a dozen scholarly books, and edited _The Congregational Hymn Book_ in 1836, a work which attained wide popularity in England.

_MUSIC._ SEYMOUR. For comments on this tune see Hymn No. 36.

248. One thought I have, my ample creed _Frederick L. Hosmer_, 1840-1929

Several of Hosmer’s hymns express his “thought of God,” this being one of the finest. It relates all of life and its needs to the thought of God.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ PRAETORIUS is from _Harmoniae Hymnorum Scholae Gorlicensis_, Görlitz, 1599. It is supposed to have been written by M. Praetorius, for it appeared in his _Musae Sionae_, Pt. VI, 1609, and hence its name.

Michael Praetorius, 1571-1621, was born in Kreuzburg, Thuringia. He was educated at the University of Frankfurt-an-der-Oder and became Kapellmeister at Lüneburg. Praetorius was a prolific composer, but his fame rests chiefly on a four-volume work on musical theory entitled, _Syntagma musicum_.

249. Father, to Thee we look in all our sorrow _Frederick L. Hosmer_, 1840-1929

A hymn of comfort written in 1881 on the death of a member of the author’s congregation. The hymn was published in Hosmer’s _Thought of God_, 1st series, 1885. The last lines are particularly striking:

“Yet shalt thou praise Him when these darkened furrows, Where now He ploweth, wave with golden grain.”

_MUSIC._ STRENGTH AND STAY. For comments on J. B. Dykes, the composer of this tune, see Hymn 1.

250. My Jesus, as Thou wilt _Benjamin Schmolck_, 1672-1737 _Tr. Jane Borthwick_, 1813-97

Based on Mark 14:36: “Abba, Father, all things are possible unto Thee; take away this cup from me: nevertheless not what I will, but what thou wilt.” The hymn was originally published in eleven stanzas in his _Heilige Flammen_, 1704. We give here five stanzas of the original, our hymn being the usual selection of 1, 3, and 5.

Mein Jesu, wie du willt, So lass mich allzeit wollen; Wenn Trübsal, Angst und Leid Mich hier betreffen sollen, So gib, dass allezeit Dein Wille werd’ erfüllt, Ich leb’ und sterbe dir; Mein Jesu, wie du willt!

Mein Jesu, wie du willt! Soll ich in Armut leben, So mach hingegen du Die Seele reich, daneben Gib, dass dein Wort mir nur Den Hunger allzeit stillt, Und nimm sonst alles hin: Mein Jesu, wie du willt!

Mein Jesu, wie du willt! Soll ich in Tränen schwimmen, So lass mein Fünklein Trost Nicht ganz und gar verglimmen. Hast du doch selbst geweint; Drum, wenn’s nicht anders gilt, So wein’ ich auch mit dir. Mein Jesu, wie du willt!

Mein Jesu, wie du willt! Soll ich denn endlich sterben, Ich weiss, du lässt mich auch Im Sterben nicht verderben, Wenn meine Seele sich In deine Wunden hüllt; Drum soll’s gestorben sein, Mein Jesu, wie du willt!

Mein Jesu, wie du willt! So bin ich auch zufrieden; Hast du mir Lieb’ und Leid, Not oder Tod beschieden, So nehm’ ich’s auf dein Wort, Dein Wille werd’ erfüllt. Drum sag’ ich noch einmal: Mein Jesu, wie du willt!

Schmolck was known all over Germany for his many hymns and spiritual songs. A number of them have been translated into English. This one reflects his fervent love for Christ and bears a message of trust and comfort which grew out of his own exhausting labors and physical suffering.

For further comments on Benjamin Schmolck see Hymn 505.

The translation is by Jane Borthwick in her _Hymns from the Land of Luther_, 1854. For comments on Jane Borthwick see Hymn 54.

_MUSIC._ JEWETT is from a melody in Weber’s opera _Der Freischütz_. The present arrangement was made by Joseph Holbrook, in 1862. The tune has become associated almost exclusively with this hymn in America.

Joseph Holbrook, 1822-88, born near Boston, was a tune writer of the school of Mason, Hastings, and Bradbury. He compiled several hymn books and was musical editor of _Songs of the Sanctuary_, a popular Methodist book under the editorship of the eminent hymnologist, Charles S. Robinson.

251. Father, whate’er of earthly bliss _Anne Steele_, 1716-78

Based on I Tim. 6:6-8: “But godliness with contentment is great gain. For we brought nothing into this world, and it is certain we can carry nothing out. And having food and raiment let us be therewith content.”

Anne Steele was the first woman writer of English hymns. Her father was a timber merchant who for 30 years was deacon and occasional preacher in the Baptist Church in Hampshire, England, and then for 30 years more he was pastor, without salary, of the same church. On the day before Miss Steele was to be married, at the age of 21, her fiance met accidental death through drowning. Out of this bitter experience in her early life and a succession of other trials, came this lyric of resignation and hope. The original has 10 stanzas, the last three of which have been edited by Augustus Toplady to make this her best hymn. Miss Steele is the foremost of Baptist hymn writers.

_MUSIC._ NAOMI, a tune brought to America by Lowell Mason, was set to this hymn in his _Modern Psalmist_, 1839. It at once gained popularity and was included in many hymn books.

For comments on the composer, Hans Nägeli, see Hymn 41.

252. Thy way, not mine, O Lord _Horatius Bonar_, 1808-89

An admirable hymn of submission, faith, and love, based on Matt. 26:39: “Not as I will, but as Thou wilt.”

It was published in 7 stanzas in the author’s _Hymns of Faith and Hope_, 1st series, 1857 under the title, “Thy way, not Mine.”

The omitted stanza (No. 6) reads:

Choose Thou for me my friends, My sickness or my health: Choose Thou my cares for me, My poverty or my wealth.

For comments on Horatius Bonar see Hymn 129.

_MUSIC._ O LEIDE, LEIDE GERN is from the _Gesangbuch mit Noten_, where it appears anonymously set to the words, “_O leide, leide, gern! Es ist der Will’ des Herrn_.”

253. Lord, it belongs not to my care _Richard Baxter_, 1615-91

A hymn of love, trust, and hope, based on Phil. 1:21: “For me to live is Christ, and to die is gain.”

Richard Baxter, English Presbyterian, was born in Shropshire, England. He took holy orders in the Church of England, but withdrew from this church to become one of the outstanding Nonconformists of his time. Though he never attended university, he published over 250 volumes, among them several classics, _The Reformed Pastor_ and _The Saints’ Everlasting Rest_. A fearless man and willing to suffer for what he believed to be right, Baxter did not hesitate to rebuke Cromwell for his assumption of supreme power of the State. Once, when falsely charged of libeling the Church, Chief Justice George Jeffreys taunted him by, “Richard, I see the rogue in thy face.” Baxter replied, “I had not known before that my face was a mirror.” After an infamous trial, Baxter was condemned and thrown into prison where he remained for 18 months.

As to music in the church, he did not share the views of the large number of his fellow Puritan clergymen who disapproved of it. “I have made a psalm of praise in the holy assembly the chief delightful exercise of my religion and my life, and have helped to bear down all the objection which I have heard against church music.” He also took a stand for the use of original hymns to supplement psalm singing, and favored the use of the organ, though he did not introduce the latter where it led to disputes.

_MUSIC._ EVAN. For comments on this tune and its composer, William H. Havergal, see Hymn 153.

254. Holy Father, cheer our way _Richard H. Robinson_, 1842-92

Based on Zech. 14:7: “But it shall come to pass, at evening time it shall be light.” The hymn was written in 1869 for the author’s congregation, to be sung at evening prayer. It appeared in _Church Hymns_, 1871, published by the Society for Propagating Christian Knowledge, London.

Richard Hayes Robinson, a clergyman of the Church of England, was born in London. He was educated at King’s College, London, and served as minister in various churches. On the day of his second wedding, he was taken ill on the train and died the next day. He published several volumes of sermons.

_MUSIC._ MÜDE BIN ICH, GEH ZUR RUH is a well-known German melody in the _Gesangbuch mit Noten_, where it appears anonymously, set to Louise Hensel’s hymn from which the tune derives its name. The melody, in slightly different form, appeared in 1842 in _Lieder-Buch für Kleinkinder-Schulen ... con Theodor Fliedner_. It is used in the _Methodist Hymnal_ (1935) set to the words, “Jesus, tender Shepherd, hear.”

255. O Lord, how happy should we be _Joseph Anstice_, 1808-36

Based on I Peter 5:7: “Casting all your care upon Him; for He careth for you,” and on the Scripture lesson in Matthew 6:24-34. The original poem was in five stanzas. The hymn was written out of experiences of sickness, pain, and trial.

Joseph Anstice, a friend of Gladstone during student days at Oxford, was appointed Professor of Classical Literature at King’s College, London, at the age of 22. Within three years his health failed, and he died at the age of 28, whereupon Gladstone, who had been deeply influenced by him at Oxford, wrote in his _Diary_, “Read to my deep sorrow of Anstice’s death on Monday. His friends, his young widow, the world can spare him ill.” This and 53 other hymns were dictated to his wife in the afternoons during his last illness.

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

256. Peace, perfect peace _Edward H. Bickersteth_, 1825-1906

This hymn on perfect peace is based on Isaiah 26:3: “Thou wilt keep him in perfect peace whose mind is stayed on Thee: because he trusteth in Thee.”

The origin of the hymn was furnished Dr. Julian by Rev. S. Bickersteth, a son of the author:

This hymn was written by Bishop Edward Henry Bickersteth while he was spending his summer holiday in Harrogate in the year 1875. On a Sunday morning in August the Vicar of Harrogate, Canon Gibbon, happened to preach from the text, “Thou wilt keep him in perfect peace, whose mind is stayed on thee,” and alluded to the fact that in the Hebrew the words are “peace, peace,” twice repeated and happily rendered in the 1611 translations by the phrase “perfect peace.” This sermon set my father’s mind working on the subject. He always found it easiest to express in verse whatever subject was uppermost in his mind, so that when on the afternoon of that Sunday he visited an aged and dying relative, Archdeacon Hill, of Liverpool, and found him somewhat troubled in mind, it was natural to him to express in verse the spiritual comfort which he desired to convey. Taking up a sheet of paper, he then and there wrote down the hymn just exactly as it now stands and read it to this dying Christian.

It is not always noticed that the first line in each verse is in the form of a question referring to some one or other of the disturbing experiences of life, and the second line in each verse endeavors to give the answer.... The hymn has been translated into many tongues, and for years I doubt if my father went many days without receiving from different people assurances of the comfort which the words had been allowed to bring to them. The most touching occasion on which, personally, I ever heard it sung was round the grave of my eldest brother, Bishop Edward Bickersteth, of South Tokyo, at Chiselden in 1897, when my father himself was chief mourner.

_MUSIC._ PAX TECUM was written for this hymn by George Thomas Caldbeck, 1852-?, concerning whose life one reads contradictory statements. Some writers say he was a missionary in China when he wrote this tune; others, including James Moffatt, give the account essentially as follows: that Caldbeck, while a student in London, was compelled through ill health to give up his purpose of becoming a missionary, went to Ireland to teach school and engage in independent missionary work. Later he returned to London where he did much open-air preaching, making a meagre living by selling Scripture text-cards from door to door. For selling without a license, he was arrested one day but dismissed by the judge on being informed that the defendant was the composer of this well-known hymn tune.

The tune was arranged by Charles John Vincent, born 1852, English organist, composer and editor of much church music.

257. God is the refuge of His saints _Isaac Watts_, 1674-1748

Based on Psalm 46:1-5: “God is our refuge and our strength; a very present help in time of trouble,” etc., and was entitled by Watts, “The Church’s Safety and Triumph.” It is interesting to compare this free rendering of the Psalm with that of the _Scotch Psalter_, 1650, (588), where the thought of the psalm and the stately King James version combine to make up the greatest metrical form of the psalm. Martin Luther’s version of the same Psalm is found in his great hymn “_Ein feste Burg ist unser Gott_” (549).

For comments on Isaac Watts see Hymn 11.

_MUSIC._ WARRINGTON was composed by Ralph Harrison, 1748-1810, an Englishman and son of a Presbyterian minister. Educated at Warrington Academy, he became a noted teacher of ancient languages, but maintained a keen interest in sacred music. He compiled _Sacred Harmony_, 2 vols., 1784-1791, a collection of psalm tunes, ancient and modern, in which were found some of his own compositions, including this tune.

258. Awake, our souls! away, our fears _Isaac Watts_, 1674-1748

A free rendering of Isaiah 40:28-31.

The hymn is from Watts’ _Hymns and Spiritual Songs_, 1707, where it is headed, “The Christian Race.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ SAMSON. This tune is an adaptation, a very considerable one, from Chorus 31: “Then round about the starry throne,” in Handel’s oratorio, _Samson_. The tune is taken from various parts of the chorus.

For comments on Handel see Hymn 70.

259. There is no sorrow, Lord, too light _Jane Crewdson_, 1809-63

Another of the “songs in the night,” written by one who, like Charlotte Elliott (See 245), was an invalid the greater part of her life and suffered much pain.

Jane Fox was born in Cornwall, England. In 1836 she married Thomas D. Crewdson, a Manchester manufacturer. Always delicate, she became a confirmed invalid, but her sufferings served to deepen her spiritual life. She was a woman of fine intellectual power and poetic gifts and through her writings testified gloriously to the all-sufficiency of her Savior’s love. Her attitude toward her suffering is well expressed in the beautiful third verse of the hymn:

There is no secret sigh we breathe But meets Thine ear divine: And every cross grows light beneath The shadow, Lord, of thine.

This was the favorite hymn of Dr. John Henry Jowett, at one time minister of the Fifth Avenue Presbyterian Church, New York City.

_MUSIC._ COOLING first appeared in _The American Choir_, 1858. No information has been obtained concerning the composer, Alonzo Judson Abbey, 1825-87.

ETERNAL LIFE

260. Hark, hark, my soul! angelic songs are swelling _Frederick W. Faber_, 1814-63

A lovely song of the journey of life—the Christian’s pilgrimage to heaven, the heart’s true home. “The Pilgrims of the Night” was the title given this hymn by its author, F. W. Faber, the warm-hearted Roman Catholic hymn writer. The phrases of the poem are wrapped in mystery and loveliness. Their meaning is not always clear but the rhythm and musical ring of the hymn are effective and its popularity is genuine and wide-spread.

For comments on F. W. Faber see Hymn 44.

_MUSIC._ PILGRIMS was written for this hymn for the appendix to the original edition of _Hymns Ancient and Modern_.

For comments on the composer, Henry Smart, see Hymn 46.

261. Forever, with the Lord! _James Montgomery_, 1771-1854

From Montgomery’s poem of twenty-two 4-line stanzas, in two parts, published in the _Amethyst_, 1835. It is based on I Thess. 4:17: “Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.” Canon Farrar once said, “I can scarcely ever join in singing ‘Forever with the Lord’ without tears.”

The hymn voices the aspirations of multitudes of Christians. In time of sorrow and death it points to the life beyond as the true goal of all our earthly striving.

For comments on James Montgomery see Hymn 62.

_MUSIC._ NEARER HOME, also called “Montgomery,” was composed for this hymn and was published in _The Choral Advocate_, 1852. The composer, Isaac Baker Woodbury, 1819-58, was an American singer, teacher of music, composer of hymn tunes and sacred songs, and editor of _Musical Review_. His career was cut short by his death at the early age of thirty-nine.

262. Jerusalem the golden _Bernard of Cluny_, 12th century _Tr. John M. Neale_, 1818-66

“And the city was pure gold” Rev. 21:21.

This hymn is from a Latin manuscript of 3,000 lines entitled “_De Contemptu Mundi_” (On Contempt of the World), written by Bernard of Cluny while he was a monk at the famous monastery of Cluny, France, _c._ 1145. Practically nothing is known of him except his authorship of this poem. Two other hymns, “Brief life is here our portion,” and “For thee, O dear, dear country,” not in the _Hymnary_, are taken from the same poem. The original was not written as a hymn at all but as a “bitter satire on the fearful corruption of the age,” especially of the Church of Rome, in contrast to which the author paints the joys of the new Jerusalem. The author employed throughout the unusually difficult meter known as “dactylic hexameter with tailed rhymes,” of which Bernard himself says: “Unless the Spirit of wisdom and understanding had flowed in upon me, I could not have put together so long a work in so difficult a meter.” The reading of the Latin stanzas best reveal the rhythm and music of the original:

1. Urbs Sion aurea, patria lactea, Cive decora, Omne cor obruis, omnibus obstruis Et cor et ora.

2. Nescio, nescio, quae iubilatio, Lux tibi qualis, Quam socialia gaudia, gloria Quam specialis.

3. Sunt Sion atria coniubilantia, Martyre plena, Cive micantia, principe stantia, Luce serena.

4. Sunt ibi pascua mentibus afflua Praestita sanctis; Regis ibi thronus, agminis et sonus Est epulantis.

5. Gens duce splendida, contio candida Vestibus albis, Sunt sine fletibus in Sion aedibus, Aedibus almis. Amen.

For comments on the translator, John M. Neale, see Hymn 67.

_MUSIC._ EWING, composed for “For thee, O dear, dear country” (see above), was originally in triple time and named, “St. Bedes.” In _Hymns Ancient and Modern_, 1861, it was set to the present words and the tune changed to common time without the consent of the composer. Ewing disliked the change and expressed himself thus: “In my opinion the alteration of the rhythm has very much vulgarized my little tune. It now seems to be a good deal like a polka. I hate to hear it.” In spite of the composer’s opinion, the tune is generally accepted in its revised form and considered preferable to the original.

Alexander Ewing, 1830-95, of Aberdeen, Scotland, was a skilled musician. One evening after choir practice, he modestly introduced what he called his first effort at writing a hymn tune, offering copies of the voice parts, and asking the choir to sing it over. This was done, the choir liked it, and the tune EWING was launched on its long and popular career.

263. Jerusalem the golden _Bernard of Cluny_, 12th century _Tr. John M. Neale_, 1818-66

For comments on this hymn see No. 262.

_MUSIC._ URBS BEATA (The City Beautiful) was composed in 1887 for these words. The composer found words for the refrain by repeating lines 1, 6, 7, and 8 of the first stanza. It makes a first-rate choir number. To keep up the proper tempo it should be sung with two beats to the measure. When the tune is used for congregational singing, the high notes in the refrain are intended to be sung by the sopranos in the choir.

The composer, George LeJeune, 1842-1904, was the son of a well-known musical family in London. He began his musical career in Canada; later he studied with Joseph Barnby. His great work was done as church organist and organ recitalist at St. John’s Chapel of Trinity Parish, New York City, where he served 28 years.

264. One sweetly solemn thought _Phoebe Cary_, 1824-71

A poem in contemplation of heaven, written in 1852, entitled, “Nearer Home,” with no thought of its being used as a hymn. In fact its original irregular rhythm hardly permitted it to be sung. The words have been changed to fit the short-meter tune, and have become popular as a hymn. Upon reading the story of how the hymn was instrumental in the conversion of two gamblers in China, who, after betting and drinking and card playing, decided upon a change of life and consecrated themselves to Christian work, Miss Cary wrote to a friend:

I enclose the hymn and story for you, not because I am vain of the notice, but because I thought you would feel a peculiar interest in them when you knew the hymn was written eighteen years ago (1852) in your house. I composed it in the little, back, third-story bedroom on Sunday morning after coming from church, and it makes me happy to think that any word I could say has done a little good in the world.

Phoebe Cary was born on a farm near Cincinnati, Ohio. Her early days were a struggle with hardship and poverty. “I have cried in the street because I was poor,” she wrote in her later and more prosperous years, “and the poor always seem nearer to me than the rich.” With her sister Alice Carey, she published a small volume of verse in 1849, then the two moved to New York City where they became quiet but influential leaders in literary society. Their friendship with Whittier was a noted factor in the lives of the Carey sisters. Phoebe was a member of the Church of the Pilgrims in New York, and later attended the Church of the Stranger in the same city.

_MUSIC._ DULCE DOMUM is an arrangement from the composer’s popular song, “One sweetly solemn song,” later published as an anthem.

Robert Steele Ambrose, 1824-1908, born in England, came with his parents to Canada in his first year. He prepared himself for the musical profession and became organist successively in churches in Guelph, Kingston, and Hamilton, Ontario. He is known best by the above-mentioned song.

265. Sunset and evening star _Alfred Tennyson_, 1809-92

A song of immortality, written in ten minutes in the author’s eighty-first year. It is always printed at the end of Tennyson’s poems. Tennyson once said: “I can hardly understand how any great, imaginative man, who has lived, suffered, thought and wrought, can doubt of the soul’s continuous progress in the after life.”

The poem was written on an October day in 1889, as the poet was crossing from Aldworth to Farringford. Tennyson’s son wrote in his _Memoir_ of his father, concerning its origin:

Before he reached Farringford he had the moaning of the bar in his mind, and after dinner he showed me this poem written out. I said: “That is the crown of your life’s work.” He answered: “It came in a moment.” He explained the “Pilot” as “that Divine and Unseen who is always guiding us.” A few days before my father’s death, in 1892, he said to me: “Mind you put ‘Crossing the Bar,’ at the end of all editions of my poems.” My father considered Edmund Lushington’s translation into Greek of “Crossing the Bar” one of the finest translations he had ever read.

_MUSIC._ CROSSING THE BAR was composed for these words. The tune, in the nature of an unaccompanied quartet anthem, may be sung with freedom in regard to time and shading.

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

266. Blest be the everlasting God _Isaac Watts_, 1674-1748

A paraphrase of I Peter 1:3-5.

The original by Watts was published in his _Hymns and Spiritual Songs_, 1707, from which it was taken over unchanged into the _Scottish Paraphrases_ of 1745 and of 1751. In the final 1781 edition, the third stanza was omitted and the fourth altered from

There’s an inheritance divine Reserved against that day; ’Tis incorrupted, undefiled, And cannot waste away.

The improvements are attributed to William Cameron, 1751-1811, who, as a young licentiate, was entrusted with the final revision of the _Scottish Paraphrases_.

For comments on Isaac Watts see Hymn 11.

_MUSIC._ ST. STEPHEN (ABRIDGE) is described by Archibald Jacob as a “beautifully fluent and graceful melody ... in the best 18th-century style of this class of tune.” It appeared originally in _A Collection of Psalm Tunes in Three Parts_ ... by Isaac Smith, _c._ 1770, under the name ABRIDGE, by which it continues to be known in England. In _Sacred Harmony for Use in St. George’s_, Edinburgh, 1820, it appeared under the name ST. STEPHEN, with slight modification of the last line.

Isaac Smith, _c._ 1725-_c._ 1800, was a London linen-draper with a taste for music. He composed and published a number of Psalm-tunes which long remained popular, though ABRIDGE is almost the only one now left of his compositions. Smith named his tunes after localities in and about London. ABRIDGE was the name of a small village near Epping Forest, in Essex.

THE KINGDOM OF GOD

267. Forward through the ages _Frederick L. Hosmer_, 1840-1929

A hymn expressing the unity of God’s people in their labor for the Kingdom through the ages. “The goodly fellowship of the prophets” is set forth here with power and poetic beauty.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ ONWARD, with its strong rhythm and moving power, lends itself well for processional use, resembling in this respect the tune “St. Gertrude” (225), for which the present hymn was written.

No information is at hand concerning the composer, J. W. Barrington.

268. Thy Kingdom come, on bended knee _Frederick L. Hosmer_, 1840-1929

One of the few hymns written on the petition, “Thy Kingdom come,” in the Lord’s Prayer. Canon Percy Dearmer speaks of this as “one of the noblest hymns in the language.” It is a fervent prayer for the day when there shall be more justice, knowledge, peace, and righteousness on the earth.

The hymn was written June 21, 1891, for the commencement of the Meadville Theological School, Pennsylvania.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ IRISH, also called “Dublin,” appeared first in _Hymns and Sacred Poems_, published in Dublin in 1749. The composer is not known. It is a smooth, triple-time tune which young people love to sing. Its name is misleading, for there is no indication of an Irish origin other than, as stated, its appearance in a book published in Dublin.

269. Come, Kingdom of our God _John Johns_, 1801-47

A prayer for the coming of the Kingdom of God on earth, based on the petition in the Lord’s Prayer, “Thy Kingdom come, thy will be done.”

Rev. John Johns, English Presbyterian minister, was known for many years in Liverpool as the “minister to the poor.” He was a man of fine poetic gifts and published several volumes of poetry but is remembered for his life of service among the poor.

_MUSIC._ ST. THOMAS is one of the oldest and best tunes of the church. It has good rhythm, graceful form, and a strong forward movement to give it unusual singing merit.

The composer, Aaron Williams, of Welsh descent, was born in London in 1731, and died there in 1776. He was composer, engineer, publisher, music teacher, and clerk of the Scotch Church, London Wall. He published a number of important collections of tunes: _The Universal Psalmodist_, 1763, and _New Universal Psalmodist_, 1770, in which the above tune appeared.

270. Thy Kingdom come, O Lord _Frederick L. Hosmer_, 1840-1929

Another hymn on the petition, “Thy Kingdom come,” in the Lord’s Prayer, setting forth its coming in relation to the unity of nations. Compare Hosmer’s other hymn on the Kingdom (268) where the emphasis is on righteousness and justice. This is an appropriate hymn for use in gatherings concerned with Christian unity and world friendship.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ INVITATION. For comments on the composer of this tune see Hymn 112.

271. Thy Kingdom come, O God _Lewis Hensley_, 1824-1905

Another of the few hymns that have been written on the petition in the Lord’s Prayer, “Thy Kingdom come.” See Hymns 268, 269, 270.

Lewis Hensley had a distinguished career at Trinity College, Cambridge, England, as student and then six years as fellow and tutor. He became a minister in the Church of England and for a time was Rural Dean.

_MUSIC._ ST. CECILIA was composed for Dr. Bonar’s hymn, “Thy way, not mine, O Lord” (252), appearing with these words in _The Merton Tune Book_, Oxford, 1863.

The composer, Rev. Leighton George Hayne, 1836-83, was educated at Oxford, took holy orders in 1861, was appointed conductor of the chorus of the University and public examiner in the School of Music, and then served for a time as organist of Eton College. The last 12 years of his life were spent as minister in various churches. He wrote many hymn tunes and edited, with Rev. H. W. Sargeant, _The Merton Tune Book_.

272. Before Jehovah’s awful throne _Isaac Watts_, 1674-1748

A paraphrase of Psalm 100, revised by John Wesley.

The original text by Watts began:

Sing to the Lord with joyful voice; Let every land his name adore; The British Isles shall sound the noise Across the ocean to the shore.

Wesley, considering this an unpromising initial stanza, omitted it, and changed the second stanza, lines 1 and 2, from

Nations attend before his throne With solemn fear, with sacred joy

to

Before Jehovah’s awful throne Ye nations bow with sacred joy.

Wesley severely condemned the practice of changing another’s hymns, but in this case his own “transgression” resulted in a greatly improved hymn.

The word “awful” in the first line is spelled “awe-full” in some hymnals in order to convey more nearly its original meaning.

For comments on Isaac Watts, see Hymn 11.

_MUSIC._ PARK STREET was composed by Frederick M. A. Venua, 1788-1872, an eminent French organist, a native of Paris. It is a favorite tune in America where it is invariably associated with this hymn by Watts.

THE CHURCH

273. The Church’s one foundation _Samuel J. Stone_, 1839-1900

A truly great hymn, honoring the church of Christ and longing for its prosperity. The author, then a young curate of 27 years in the Church of England, was so stirred by the attacks made on the church in his time that he determined to write a series of twelve hymns on the Apostles’ Creed. This one is based on the article, “I believe in the holy Catholic Church, the communion of saints.” The controversy which then raged in England concerning the nature of the inspiration of the Scriptures is reflected in the third stanza, the author leaning strongly on the conservative side.

Samuel J. Stone was a clergyman of the Church of England, born in Staffordshire, and educated at Oxford. He served various churches, finally succeeding his father at St. Paul’s, Haggerston, London. For twenty years he had a fruitful ministry in this East End parish among the poor and depraved, before moving to another part of the city to another church. He is the author of many hymns and translations and published several volumes of poetry.

_MUSIC._ AURELIA (signifying “golden”) one of our most stately tunes, combining ease of singing with churchly dignity, was written for the hymn, “Jerusalem the golden” (262). It was set to the present hymn in _Hymns Ancient and Modern_ and did much to carry the hymn into the churches. It has become one of the great processional hymns of the church.

Samuel Sebastian Wesley, 1810-76, grandson of Charles Wesley, was like his father, Samuel Wesley, a great English composer and organist. He had a consuming love of the outdoors, as well as of music, and was passionately fond of fishing. He was outspoken in his demands for reform in the music of the church and was, consequently, frequently at odds with his superiors. Wesley received inadequate recognition for the contributions he made to the music of his time.

274. Glorious things of thee are spoken _John Newton_, 1725-1807

Based on Psalm 87:3: “Glorious things are spoken of thee, O city of God,” and other passages, especially Isaiah 33:20, 21, and Exodus 13:22.

It is one of our best hymns on the Church and, says Julian, “It ranks with the first hymns in the language.” In ordinary use the omission of the third stanza is desirable. Augustine Smith suggests in _Lyric Religion_ that “the last score should always be repeated, the second time sung broader and fuller, building into a superb climax.”

John Newton is remembered among the hymn writers because of the radical change that took place in his life at conversion. Born in London, his only schooling was from his eighth to his tenth year. He went to sea at eleven, his godly mother following the profligate youth with her prayers. As a midshipman in the navy he deserted his post, was captured, and reduced to a common seaman, and later became a servant of a slave dealer in Africa. He was converted at 23 after an awful night steering a water-logged ship in the face of death. Though converted, he retained certain blind spots in his social outlook and he continued as a slave dealer. This hymn was written when he was on a voyage from Sierra Leone, Africa, with a load of slaves shackled closely together and being taken to London or America to be sold. “I have never had such sweet communion with Jesus as I had on that voyage,” he wrote. This may seem like hypocrisy, but it must be remembered that slavery was a common practice and that only a few people of the time understood clearly its complete denial of the spirit of Christ. It may be that future generations will see in our times evils that flourished unchallenged while we prayed and sang according to the light we had. In 1750, Newton married Mary Catlett, a noble and pious woman, and a godsend in his life. In 1755, he settled down as customs officer in Liverpool, becoming at the same time greatly interested in Wesley and Whitefield and other evangelical leaders. Three years later he became a minister in the Church of England, and in 1764, he began a distinguished career as curate at Olney, where he was associated with his friend, William Cowper, the poet. The two were joint authors of the _Olney Hymns_, 1779. After sixteen years in Olney, he moved to London where for 28 years he did faithful and successful work as rector of St. Mary Woolnoth. He wrote his own epitaph which is found on a plain marble tablet near the vestry door of his church in London:

John Newton, Clerk Once an Infidel and Libertine, A servant of slaves in Africa, Was, by the rich mercy of our Lord and Saviour Jesus Christ Preserved, restored, and pardoned, And appointed to preach the Faith He had long labored to destroy, Near 16 years at Olney in Bucks And ... years in this church On Feb. 1, 1750, he married Mary, Daughter of the late George Catlett Of Catham, Kent. He resigned her to the Lord who gave her On 15th of December, 1790

_MUSIC._ AUSTRIAN HYMN is founded on a Croatian melody. It was used in Germany as the tune of “Deutschland über alles.” Joseph Haydn, 1732-1809, made a setting of it to be sung at the Emperor’s birthday, Feb. 12, 1797, to the words, “Gott erhalte Franz der Kaiser.” The tune was a great favorite of Haydn and he used it as a theme in one of the movements in his famous “_Emperor Quartet_,” No. 76.

For comments on Franz Joseph Haydn, see Hymn 27.

275. I love Thy Kingdom, Lord _Timothy Dwight_, 1752-1817

Based on Psalm 137:5, 6: “If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.” It is rated high among all the hymns on the church and is probably the earliest American hymn in use today.

Timothy Dwight, the great president of Yale, was the grandson of Jonathan Edwards and shared in a large measure the intellectual brilliance of the Edwards family. A precocious youth, he entered Yale College at 13 and graduated at 17. An outstanding personality of his time, he was honored for his sound scholarship, elected a member of the Massachusetts legislature, and served as minister of the Congregational Church at Greenfield, Conn. From 1795 until his death in 1817, he was President of Yale, simultaneously holding the Chair of Theology. His presence at Yale changed the whole moral and religious attitude of the campus, there having been only four or five professed Christians at the college, according to Prof. W. W. Sweet, when he became president. At the request of the General Association of Congregational Churches in Connecticut and with the concurrence of the Presbyterian General Assembly, he revised _The Psalms of David_, by I. Watts, a work which was used in the Presbyterian and Congregational Churches of Connecticut for over 30 years.

Dwight did a prodigious amount of work in spite of a serious physical handicap. His eyesight, for the greater part of forty years, was so poor that his reading was done only with the greatest of difficulty and with frequent and agonizing pain behind the eyeballs.

_MUSIC._ STATE STREET. For comments on this tune see Hymn 246.

276. O where are kings and empires now _Arthur C. Coxe_, 1818-96

From a larger poem by Coxe, entitled “Chelsea,” containing ten stanzas of eight lines each. It is a hymn of confidence that the church, built on a solid foundation, will survive all earthly kings and empires and will be able to withstand every earthly foe.

Arthur Cleveland Coxe was born at Clifton Springs, N. Y.; graduated from the University of New York and General Theological Seminary; and then became the rector successively of St. John’s Church, Hartford, Conn.; Grace Church, Baltimore; and Calvary Church, New York City. In 1865, he was elected Bishop of Western New York. He was a member of the Hymnal Commission for the Protestant Episcopal Church, which compiled the _Hymnal_ of 1872, but refused, out of modesty, permission to include in that work any of his own hymns.

_MUSIC._ ST. ANNE. For comments on this tune see Hymn 61.

277. Christ is made the sure foundation _Latin, 6th or 7th century_ _Tr. John M. Neale_, 1818-66

From