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.