an Englishman by birth. Coming to the United States in 1839, he served
as organist at Central Congregational Church, Hartford, Conn., in St.
Paul’s and Calvary Churches, New York City, and finally in an Episcopal
Church at Charleston, S. C. He edited the _Greatorex Collection_ of 1856
and did much to improve the standards of music used in the worship
service. He composed a widely used setting for the “Gloria Patri” (606).
Dr. Merrill’s hymn has been set to various tunes, the one generally used
and preferred by the author being “Festal Song,” by William H. Walter.
231. Go, labor on; spend and be spent _Horatius Bonar_, 1809-89
A hymn to encourage Christian workers. It was published in _Songs for
the Wilderness_, 1843, under the title, “Labour for Christ.” In _Hymns
of Faith and Hope_, 1867, it was entitled, “The Useful Life.”
Regarding the origin of the hymn, Rev. H. N. Bonar, son of the author
wrote:
It was probably in the year 1836 that my father first wrote a hymn not
primarily intended for the young. To encourage his faithful fellow
workers in his mission district, he wrote, to the tune of the “Old
Hundredth,” the now-familiar hymn, “Go, labour on.”
For comments on Horatius Bonar see Hymn 129.
_MUSIC._ ERNAN was written for _Cantica Laudis_, 1850, one of the books
which Mason published with the assistance of Geo. J. Webb. For comments
on the composer, Lowell Mason, see Hymn 12.
THE INNER LIFE
232. O have you not heard of that beautiful stream _R. Torrey, Jr._
Based on Rev. 22:1, 17: “And he showed me a pure river of water of life,
clear as crystal, proceeding out of the throne of God and of the Lamb.”
“And the Spirit and the bride say, Come. And let him that heareth say,
Come. And let him that is athirst come. And whosoever will, let him take
the water of life freely.”
It is reminiscent also of Ezek. 47:1-12, the vision of the healing
stream of water flowing from the house of God to the Dead Sea, causing
new life to flourish. “Everything shall live whither the river cometh.”
(v. 9).
An omitted stanza reads:
With murmuring sound doth it wander along
Through fields of eternal green;
Where songs of the blest, in their haven of rest
Float soft on the air serene.
The poem, with the present music, appeared in Asa Hull’s, _The Casket_,
published in Philadelphia, 1865, where it is credited to R. Torrey, Jr.
To date, no information has come to light concerning the author. He
lived a generation earlier than the well known preacher and teacher, R.
A. Torrey. In 1868, the hymn was published, anonymously, in _Spiritual
Harp_, Boston, a book of songs for congregational use dedicated by the
authors to “the Spiritualists and Reformers of the world, love of truth
and progress.” Two years later, in 1870, the words and music appeared in
England, in the _Sunday School Hymnary_, published by the National
Sunday School Union in London.
The German version is a free translation made by Ernst Heinrich
Gebhardt, 1832-99, a Methodist minister and evangelist, known in
Germany, the place of his birth, as the father of German revivalistic
and holiness songs. It is superior, in poetic quality and evangelistic
appeal, to the English original.
Gebhardt was born in Ludwigsburg, Württemberg, July 12, 1832. He
prepared to be an apothecary but later decided to go to Chile, South
America, to live with relatives. After spending five years on a farm in
Chile, he returned to Germany to visit his mother. A shipwreck on the
return voyage resulted in a deep spiritual awakening. Arriving in
Ludwigsburg, he accompanied his mother to the Sylvester service on New
Year’s night, 1859, in the Methodist Church, where he dedicated his life
to Christian work. Having decided to become an evangelist, he attended
the school for ministers in the Methodist Church at Bremen where his
zeal and musical gifts were quickly recognized. He was appointed
_Reiseprediger_ and in this capacity served in Ludwigsburg (1860-62),
Heilbronn (1862-66), Pforzheim (1866-68), Bremen (1868-71), Ludwigsburg
(1871-74), Zurich (1874-77), Strassburg i. E. (1877-81), Biel, Kt. Bern
(1880-84), Zwickau (1884-88) and finally in Karlsruhe (1888-99).
Gebhardt was married and had a family of nine children.
His activities included a trip to the United States, 1881-83, during
which he travelled through 30 States. In Brighton, England, he took part
in holiness meetings held there, and later travelled with R. Pearsall
Smith, of Philadelphia, through Germany and Switzerland, serving as song
leader in the evangelistic meetings conducted by Smith.
Gebhardt is the author of many original hymns and made over 50
translations from the English, most of them from the Moody and Sankey
songs. He compiled numerous song books where his works appeared. “Ich
weiss einen Strom” was published in his _Frohe Botschaft_, 1875, a
popular book of gospel songs drawn mostly from English sources, both
words and music. The third stanza, omitted here, reads:
Der Strom ist gar tief und sein Wasser ist klar,
Es schmecket so lieblich und fein;
Es heilet die Kranken und stärkt wunderbar,
Ja, machet die Unreinsten rein!
_MUSIC._ ICH WEISS EINEN STROM, originally entitled, “Beautiful Stream,”
and written in 6/8 time, first appeared in _Casket of Sunday School
Melodies_, 1865, published by the composer, Asa Hull, in Philadelphia.
The tune is wedded inseparably to Torrey’s words. It is very popular
among General Conference of Mennonites churches where it is usually sung
in the slow tempo and dignity of a chorale. Neither the words nor the
music, with its refrain, have the characteristics of a chorale. It is a
useful song, especially for evangelistic services.
Asa Hull was born January 18, 1828, in Keene, N. Y. He studied harmony
and composition with B. F. Baker and Geo. J. Webb in Boston, and at the
age of 20 became organist and choirmaster at Watertown, Mass. He
composed many church tunes. Hull, a pioneer publisher of Sunday school
and gospel song books, was also known as a shrewd business man. His
publications numbered 30 books and about 100 pamphlets. _Gem of Gems_,
published in 1881, sold over 300,000 copies. On the fly leaf of his
_Casket of Sunday School Melodies_ is found this advertisement:
Asa Hull, Philadelphia agent for the Hallett and Cumston Piano Fortes,
will keep a variety of styles and exhibits at his store, which he will
sell at lower prices for cash than any other first class instrument
can be bought in the city. 240 S. Eleventh Street, Philadelphia, Pa.
233. O holy Savior, Friend unseen _Charlotte Elliott_, 1789-1871
A hymn which is best understood by those who have had experience in
suffering and sorrow. Entitled, “Clinging to Christ,” it was written in
1834, shortly after the death of the author’s father and published in
the 1834 edition of her _Invalid’s Hymn Book_.
Charlotte Elliott, a member of the Church of England, was born and
reared amid refined, cultured, Christian surroundings. Her grandfather,
Rev. Henry Venn, was an “eminent Church of England divine of apostolic
character and labors,” and the author of _The Whole Duty of Man_.
Charlotte was a woman of keen intellect and was gifted in music and art.
Unfortunately, she became an invalid at 32 and remained so till the end
of her long life, oftentimes enduring great suffering. This may account
for the note of tenderness found in all her hymns. In spite of her
invalidism, she did a large amount of literary work, publishing four or
five volumes of poetry. She was a modest woman, publishing all her books
anonymously. A large number of her 150 hymns are still in use, the most
popular being “Just as I am, without one plea” (458).
_MUSIC._ INTEGER VITAE (FLEMMING). For comments on this tune see Hymn
59.
234. Thou true Vine, that heals the nations _T.S.N._
Based on John 15:1-5: “I am the true vine, and my Father is the
husbandman. Every branch in me that beareth not fruit he taketh away:
and every branch that beareth fruit, he purgeth it, that it may bring
forth more fruit. Now are ye clean through the work which I have spoken
unto you. Abide in me, and I in you. As the branch cannot bear fruit of
itself, except it abide in the vine; no more can ye, except ye abide in
me. I am the vine, ye are the branches; He that abideth in me and I in
him, the same bringeth forth much fruit: for without me ye can do
nothing.”
The hymn was composed for _Songs of Praise_, 1933, London. The author is
not identified except by the initials T.S.N.
_MUSIC._ PLEADING SAVIOUR, a folk-song type of tune, is from the
_Plymouth Collection of Hymns and Tunes_, New York, 1855, which Henry
Ward Beecher compiled for use in the Plymouth Congregational Church,
Brooklyn, of which he was pastor. The musical editors were John Zundel
(178) and the Rev. Charles Beecher.
235. God of my heart _Anonymous_
A hymn celebrating the believer’s life in God. It was taken from _St.
Basil’s Hymnal_ compiled by the Basilian Fathers, published in 1918. The
musical editors were Healey Willan and Jules Brazil. The authorship of
the hymn is anonymous.
_MUSIC._ CARMEN NATURAE is an arrangement from a melody in Donizetti’s
opera, _Carmen_.
Gaetano Donizetti, 1797-1848, son of an Italian weaver, studied music in
Naples. He composed 66 operas, 6 masses, 12 string quartets, a requiem,
songs, and other compositions.
236. Since Jesus is my Friend _Paul Gerhardt_, 1607-76
_Tr. by Catherine Winkworth_, 1829-78
A hymn of consolation and joy to give strength and courage to troubled
hearts. It is based on Romans 8:31: “If God be for us, who can be
against us?” The original has 15 stanzas. The lines translated here are
as follows:
Hab ich das Haupt zum Freunde
Und bin geliebt bei Gott,
Was kann mir tun der Feinde
Und Widersacher Rott’?
Sein Geist spricht meinem Geiste
Manch süsses Trostwort zu,
Wie Gott dem Hülfe leiste
Der bei ihm suchet Ruh.
Mein Herze geht in Sprüngen
Und kann nicht traurig sein,
Ist voller Freud’ und Singen,
Sieht lauter Sonnenschein.
Die Sonne, die mir lachet
Ist mein Herr Jesus Christ,
Das, was mich singen machet,
Ist, was im Himmel ist.
For comments on the author, Paul Gerhardt, see Hymn 134.
The translation by Miss Winkworth appeared in her _Lyra Germanica_,
first series, 1855.
Catherine Winkworth, an English poet, was the foremost translator of
German chorales. She made a special study of the German hymns and hymn
writers and is the author of _Lyra Germanica_, 1st. ser., 1855; 2d.
ser., 1858; _The Chorale Book for England_, 1863; and _Christian Singers
of Germany_, 1869. Twenty-five of her works are found in the _Hymnary_.
She was a member of the Church of England.
_MUSIC._ GREENWOOD was composed for the hymn beginning, “We lift our
hearts to Thee,” in a _Collection of Church Music_, 1849, by Root and
Sweetser.
The composer, Joseph Emerson Sweetser, 1825-73, was an English organist
and composer of vocal music. A part of his life was spent in New York
City as organist at the Church of the Puritans.
237. O heart of God! _F. Stanfield_
A hymn of confidence and trust resulting from the mystical repose in the
heart of God.
The words and tune are found in _St. Basil’s Hymnal_, compiled by the
Basilican Fathers, and published in Chicago, 1918.
The author, Francis Stanfield, a Roman Catholic priest, was born in
London, November 5, 1836, the son of Clarkson Stanfield, an artist. He
was educated at St. Edmund’s College, near Ware. After ordination, he
spent most of his time conducting missions and retreats, though he was
stationed for brief periods in several parishes. He is the author of
numerous hymns which were collected and published by the Benedictine
Fathers, at Ramsgate, England. The present hymn is an adaptation, made
by the editors of the _Hymnary_, of his “O Sacred Heart, our home lies
deep in Thee.” The original is too Catholic for Protestant use.
No information is at hand concerning the composer of the tune.
238. Life of all that lives below _Charles Wesley_, 1707-88
_Samuel Longfellow_, 1819-92
This hymn, a prayer for a fuller life nurtured by Christ, the living
Bread, is of composite authorship, but no information is at hand
concerning the part which Wesley and Longfellow, respectively, had in
it. It is not listed in Julian’s _Dictionary of Hymnology_.
For comments on Charles Wesley see Hymn 6.
For comments on Longfellow see Hymn 28.
_MUSIC._ PLEYEL is taken from the _Andante_ movement of the composer’s
_Fourth String Quartet, Op. 7_. It appeared as a long-meter tune in
_Arnold and Callcott’s Psalms_, 1791, set to Addison’s hymn, “The
spacious firmament on high.”
Ignace Josef Pleyel, 1757-1831, 24th child of an Austrian schoolmaster,
was a favorite pupil of Haydn and gained fame as a composer and
conductor. Mozart spoke highly of his quartets. Later in life he engaged
in business, publishing and selling music, and manufacturing pianos of
high quality. The manufacturing house of Pleyel and Company is still
well and favorably known in Europe.
239. There is a place of quiet rest _Cleland B. McAfee_, 1866-1944
The heart of the message of this popular devotional hymn, according to a
statement made by the author to the present writer, is in the second
stanza, “There is a place of comfort sweet, near to the heart of God.”
Cleland B. McAfee was a distinguished preacher, author, and teacher in
the Presbyterian Church. He was accustomed to write an original hymn for
the communion service in his church. It was in 1901, during his
pastorate in Chicago, that a great sorrow came into his life occasioned
by the death of his nephew. The communion was to be held the following
Sunday and the members of the congregation came to the church tense with
speculation about the service and the kind of hymn their pastor had
composed for the day. These simple words and tune were offered them and
seemed to fit the occasion perfectly. Since then the hymn has been
translated into many languages and gone all over the world. It was not
included in the new _Presbyterian Hymnal_, 1933, because the words and
music were considered to be more of the nature of a gospel song than a
hymn.
Cleland M. McAfee received his education at Park College and Union
Theological Seminary, New York. From 1888 to 1901, he was pastor and
professor at Park College; pastor of the First Presbyterian Church,
Chicago, 1901-04; and of the Lafayette Avenue Presbyterian Church,
Brooklyn, 1904-12. He later was connected with McCormick Theological
Seminary in Chicago, first as Professor of Systematic Theology and then
as president of the institution. He is the author of several books on
religious subjects, and also wrote extensively on foreign missions, a
subject in which he had a keen interest.
COURAGE AND COMFORT
240. Come unto Me, ye weary _William C. Dix_, 1837-98
Based on some of the precious promises of Christ, especially Matt.
11:28: “Come unto me, all ye that labor and are heavy-laden and I will
give you rest.” It may be compared with Bonar’s hymn, “I heard the voice
of Jesus say” (142) on the same text.
The author gives the story of the hymn as follows:
I was ill and depressed at the time, and it was almost to idle away
the hours that I wrote the hymn. I had been ill for many weeks, and
felt weary and faint, and the hymn really expresses the languidness of
body from which I was suffering at the time. Soon after its
composition I recovered, and I always look back to that hymn as the
turning point in my illness.
For comments on the author, William Chatterdon Dix, see Hymn 78.
_MUSIC._ ICH WEISS AN WEN ICH GLAUBE is taken from the _Gesangbuch mit
Noten_ (206) where it is used with a hymn by Ernst Moritz Arndt,
beginning with these words.
241. When in the madd’ning maze of things _John Greenleaf Whittier_,
1807-92
Preëminently an experienced person’s meditation on trust in God. The
hymn is taken from a poem of 22 stanzas entitled, “The Eternal
Goodness,” written apparently without any thought of their being sung.
In the first line the editors substituted the initial word “when” for
the original “yet.”
For comments on John Greenleaf Whittier see Hymn 173.
_MUSIC._ ES IST EIN BORN. For comments on this tune see Hymn 99.
242. Thy way is in the deep, O Lord _James Martineau_, 1805-1900
Based on Psalm 77:19: “Thy way is in the sea, and thy path in the great
waters.”
James Martineau, English Unitarian, was a man of letters, a philosopher,
a theologian, and the most eloquent and distinguished preacher of his
church in his time. He served churches in Liverpool and London and was
Professor of Mental and Moral Philosophy in Manchester New College. He
edited _Hymns for the Christian Church and Home_, 1840, a book widely
used among Unitarians in England.
_MUSIC._ GRÄFENBERG, sung somewhat slowly, is a tune of fine stateliness
and dignity. It is from the 5th edition of Crüger’s _Praxis Pietatis
Melica_, Berlin, 1653. It is also known as “_Nun Danket All_.”
Johann Crüger, 1598-1662, one of the most distinguished musicians of his
time, was born near Brandenburg. He received a thorough musical training
under Paulus Homberger in Regensburg and in 1622 he was appointed cantor
of the St. Nicholas Lutheran Church, in Berlin, and one of the masters
of the Greyfriars Gymnasium. He founded the noted choir of St. Nicholas
Church. Crüger was a tune-writer of the first rank and composed some of
the most famous and favorite chorales. He published various collections
of hymns, among them the celebrated _Praxis Pietas Melica_, 1644, which
passed through more than fifty editions. He died in Berlin, February 23,
1662.
243. Come, ye disconsolate _Thomas Moore_, 1779-1852
_Thomas Hastings_, v. 3
A hymn of consolation by an author whose life was far from exemplary. It
may be the hymn should on this account have been omitted; but something
in his heart enabled the author, through his lyrics, to touch the heart
of humanity, and his songs have been widely used and admired in spite of
the strange chapters and romantic incidents in his life.
Thomas Moore, Irish poet, was born in Dublin, studied at Trinity
College, and then moved to London and began the study of law. He held a
government position in Bermuda for some time and during his life
published many volumes of prose and poetry. He will always be remembered
by his songs, “Believe me if all those endearing young charms,” “The
last rose of summer,” and “Oft in the stilly night.”
The third stanza is by Thomas Hastings, coeditor with Lowell Mason of
_Spiritual Songs for Social Worship_, in which the hymn first appeared.
Moore’s third stanza, omitted in all hymn books, reads:
Go ask the infidel what boon he brings us,
What charm for aching hearts he can reveal,
Sweet as that heavenly promise Hope sings us—
Earth has no sorrow that God cannot heal.
It is a good stanza, but, then, good hymns do not argue.
For comments on Thomas Hastings see Hymn 120.
_MUSIC._ CONSOLATOR, also known as “Consolation,” “Webbe,” “Alma” or
“Alma Redemptor,” is an adaptation of a tune by Samuel Webbe.
For comments on Samuel Webbe see Hymn 22.
244. I look to Thee in every need _Samuel Longfellow_, 1819-92
A hymn, much-needed, to express the effect of religious faith and trust
upon mental and bodily health. The idea, so essential to the Gospel, has
been too largely neglected in most Protestant Churches. The hymn is
representative of the fine literary and devotional quality of the
author’s poetry. Though an American hymn, it was introduced into the
church’s worship in England before it was used in this country.
For comments on Samuel Longfellow see Hymn 28.
_MUSIC._ O JESU appeared in _J. B. Reimanns Org. v. Hirschb. alter und
neuer Melodien Evangel. Lieder_, etc., 1747, where it was set to the
hymn, “_O Jesu, warum legst du mir_.” In the original, the first and
last notes of each line were half-notes. It is a tune “of a simple,
familiar pattern but with a certain quiet dignity.”
The composer, Johann Balthaser Reimann, 1702-47, was a German cantor and
organist in churches in Neustadt, Breslau, and Hirschberg, Schleswig.
245. My God and Father, while I stray _Charlotte Elliott_, 1789-1871
A hymn written by one who had disciplined herself to accept with
patience and resignation the bitter cross of ill health which was laid
upon her.
She writes of her experience:
Oh, many struggles and apparently fruitless ones it has cost me to
become resigned to the appointments of my Heavenly Father. But the
struggle is now over. He knows, and he alone, what it is, day after
day, hour after hour, to fight against bodily feelings of almost
overpowering weakness, languor, and exhaustion; to resolve not to
yield to slothfulness, depression, and instability, such as the body
causes me to long to indulge, but to rise every morning determined to
take for my motto: “If any man will come after Me, let him deny
himself, take up his cross daily and follow Me.”
The hymn is based on Matt. 26:42: “O my Father, if this cup may not pass
away from me, except I drink it, thy will be done.” It is a hymn of
humble resignation. Another hymn, setting forth the will of God as
demanding active co-operation, is found at No. 342. Some fine stanzas
have been omitted here:
Though Thou hast called me to resign
What most I prized, it ne’er was mine;
I have but yielded what was Thine—
“Thy will be done.”
Should grief or sickness waste away
My life in premature decay,
My Father, still I strive to say,
“Thy will be done.”
Let but my fainting heart be blest
With Thy sweet Spirit for its Guest;
My God, to Thee I leave the rest—
“Thy will be done.”
For comments on Charlotte Elliott see Hymn 233.
_MUSIC._ HANFORD was written for “Jesus, my Saviour, look on me,”
another of Miss Elliott’s hymns. The composer, who often stayed in the
home of Mrs. Gertrude Clay-Ker-Seymer at Hanford, in Dorsetshire, wrote
the tune there, hence its name.
For comments on the composer, Arthur Sullivan, see Hymn 113.
246. Give to the winds thy fears _Paul Gerhardt_, 1607-76
_Tr. by John Wesley_, 1703-91
A hymn of comfort to the afflicted and courage to the dying. It is a
part of Paul Gerhardt’s poem, “_Befiehl du deine Wege_” (558). These are
stanzas 9, 10, 12, 13, unaltered, of Wesley’s translation, which
contains 16 four-line stanzas. Gerhardt passed through the agonies of
the Thirty Years’ War, and suffered, in addition, the loss of his wife
and four children. He gives expression in this hymn to his own deep
feelings of trust and assurance. His words have helped many anxious
souls maintain faith in God who “sitteth on the throne, and ruleth all
things well.”
For comments on Paul Gerhardt see Hymn 134.
For comments on John Wesley, who translated the hymn, see No. 170.
_MUSIC._ STATE STREET is a popular tune, scarcely any hymn book missing
it, but it is not wedded to any single hymn. The composer, J. C.
Woodman, 1813-94, born at Newbury, Mass., became one of Lowell Mason’s
assistants in introducing music into the public schools of Boston. He
was one of the first soloists of the Boston Academy of Music and served
for a time as organist of the First Presbyterian Church of Brooklyn. In
1858, Woodman compiled _The Musical Casket_, which contained many of his
songs, sacred and secular. “State Street” is the last tune in the book,
set to Watts’ lyric, “Blessed are the sons of peace.”
247. Day by day the manna fell _Josiah Conder_, 1789-1855
A hymn of confidence that God will supply daily strength for daily
needs, based on Exodus 16:12-21 and the petition in the Lord’s Prayer,
“Give us this day our daily bread.”
The hymn suggests a Jewish story quoted by W. F. Tillett in _The Hymns
and Hymn Writers of the Church_:
The pupils of Rabbi Ben Jochai once asked him with regard to the manna
sent to the Israelite host in the wilderness: “Why did not the Lord
furnish enough manna to Israel for a year all at one time?” “I will
answer you with a parable,” responded the teacher. “Once there was a
king who had a son to whom he gave a yearly allowance, paying him the
entire sum on a fixed day. It soon happened that the day on which the
allowance was due was the only day in the year when the father ever
saw the son. So the king changed his plan and gave his son day by day
that which sufficed for the day. And now the son visited his father
every morning. Thus God dealt with Israel.”
The author, Josiah Conder, born in London, was an editor and publisher.
His friends included a large number of eminent literary and church men
of the early 19th century. He was a member of the Congregationalist
Church. A devout and earnest believer who knew what it was to struggle
for daily bread, he had the occasion to practice the gospel of daily
trust. He wrote many hymns, published more than a dozen scholarly books,
and edited _The Congregational Hymn Book_ in 1836, a work which attained
wide popularity in England.
_MUSIC._ SEYMOUR. For comments on this tune see Hymn No. 36.
248. One thought I have, my ample creed _Frederick L. Hosmer_,
1840-1929
Several of Hosmer’s hymns express his “thought of God,” this being one
of the finest. It relates all of life and its needs to the thought of
God.
For comments on Frederick L. Hosmer see Hymn 72.
_MUSIC._ PRAETORIUS is from _Harmoniae Hymnorum Scholae Gorlicensis_,
Görlitz, 1599. It is supposed to have been written by M. Praetorius, for
it appeared in his _Musae Sionae_, Pt. VI, 1609, and hence its name.
Michael Praetorius, 1571-1621, was born in Kreuzburg, Thuringia. He was
educated at the University of Frankfurt-an-der-Oder and became
Kapellmeister at Lüneburg. Praetorius was a prolific composer, but his
fame rests chiefly on a four-volume work on musical theory entitled,
_Syntagma musicum_.
249. Father, to Thee we look in all our sorrow _Frederick L. Hosmer_,
1840-1929
A hymn of comfort written in 1881 on the death of a member of the
author’s congregation. The hymn was published in Hosmer’s _Thought of
God_, 1st series, 1885. The last lines are particularly striking:
“Yet shalt thou praise Him when these darkened furrows,
Where now He ploweth, wave with golden grain.”
_MUSIC._ STRENGTH AND STAY. For comments on J. B. Dykes, the composer of
this tune, see Hymn 1.
250. My Jesus, as Thou wilt _Benjamin Schmolck_, 1672-1737
_Tr. Jane Borthwick_, 1813-97
Based on Mark 14:36: “Abba, Father, all things are possible unto Thee;
take away this cup from me: nevertheless not what I will, but what thou
wilt.” The hymn was originally published in eleven stanzas in his
_Heilige Flammen_, 1704. We give here five stanzas of the original, our
hymn being the usual selection of 1, 3, and 5.
Mein Jesu, wie du willt,
So lass mich allzeit wollen;
Wenn Trübsal, Angst und Leid
Mich hier betreffen sollen,
So gib, dass allezeit
Dein Wille werd’ erfüllt,
Ich leb’ und sterbe dir;
Mein Jesu, wie du willt!
Mein Jesu, wie du willt!
Soll ich in Armut leben,
So mach hingegen du
Die Seele reich, daneben
Gib, dass dein Wort mir nur
Den Hunger allzeit stillt,
Und nimm sonst alles hin:
Mein Jesu, wie du willt!
Mein Jesu, wie du willt!
Soll ich in Tränen schwimmen,
So lass mein Fünklein Trost
Nicht ganz und gar verglimmen.
Hast du doch selbst geweint;
Drum, wenn’s nicht anders gilt,
So wein’ ich auch mit dir.
Mein Jesu, wie du willt!
Mein Jesu, wie du willt!
Soll ich denn endlich sterben,
Ich weiss, du lässt mich auch
Im Sterben nicht verderben,
Wenn meine Seele sich
In deine Wunden hüllt;
Drum soll’s gestorben sein,
Mein Jesu, wie du willt!
Mein Jesu, wie du willt!
So bin ich auch zufrieden;
Hast du mir Lieb’ und Leid,
Not oder Tod beschieden,
So nehm’ ich’s auf dein Wort,
Dein Wille werd’ erfüllt.
Drum sag’ ich noch einmal:
Mein Jesu, wie du willt!
Schmolck was known all over Germany for his many hymns and spiritual
songs. A number of them have been translated into English. This one
reflects his fervent love for Christ and bears a message of trust and
comfort which grew out of his own exhausting labors and physical
suffering.
For further comments on Benjamin Schmolck see Hymn 505.
The translation is by Jane Borthwick in her _Hymns from the Land of
Luther_, 1854. For comments on Jane Borthwick see Hymn 54.
_MUSIC._ JEWETT is from a melody in Weber’s opera _Der Freischütz_. The
present arrangement was made by Joseph Holbrook, in 1862. The tune has
become associated almost exclusively with this hymn in America.
Joseph Holbrook, 1822-88, born near Boston, was a tune writer of the
school of Mason, Hastings, and Bradbury. He compiled several hymn books
and was musical editor of _Songs of the Sanctuary_, a popular Methodist
book under the editorship of the eminent hymnologist, Charles S.
Robinson.
251. Father, whate’er of earthly bliss _Anne Steele_, 1716-78
Based on I Tim. 6:6-8: “But godliness with contentment is great gain.
For we brought nothing into this world, and it is certain we can carry
nothing out. And having food and raiment let us be therewith content.”
Anne Steele was the first woman writer of English hymns. Her father was
a timber merchant who for 30 years was deacon and occasional preacher in
the Baptist Church in Hampshire, England, and then for 30 years more he
was pastor, without salary, of the same church. On the day before Miss
Steele was to be married, at the age of 21, her fiance met accidental
death through drowning. Out of this bitter experience in her early life
and a succession of other trials, came this lyric of resignation and
hope. The original has 10 stanzas, the last three of which have been
edited by Augustus Toplady to make this her best hymn. Miss Steele is
the foremost of Baptist hymn writers.
_MUSIC._ NAOMI, a tune brought to America by Lowell Mason, was set to
this hymn in his _Modern Psalmist_, 1839. It at once gained popularity
and was included in many hymn books.
For comments on the composer, Hans Nägeli, see Hymn 41.
252. Thy way, not mine, O Lord _Horatius Bonar_, 1808-89
An admirable hymn of submission, faith, and love, based on Matt. 26:39:
“Not as I will, but as Thou wilt.”
It was published in 7 stanzas in the author’s _Hymns of Faith and Hope_,
1st series, 1857 under the title, “Thy way, not Mine.”
The omitted stanza (No. 6) reads:
Choose Thou for me my friends,
My sickness or my health:
Choose Thou my cares for me,
My poverty or my wealth.
For comments on Horatius Bonar see Hymn 129.
_MUSIC._ O LEIDE, LEIDE GERN is from the _Gesangbuch mit Noten_, where
it appears anonymously set to the words, “_O leide, leide, gern! Es ist
der Will’ des Herrn_.”
253. Lord, it belongs not to my care _Richard Baxter_, 1615-91
A hymn of love, trust, and hope, based on Phil. 1:21: “For me to live is
Christ, and to die is gain.”
Richard Baxter, English Presbyterian, was born in Shropshire, England.
He took holy orders in the Church of England, but withdrew from this
church to become one of the outstanding Nonconformists of his time.
Though he never attended university, he published over 250 volumes,
among them several classics, _The Reformed Pastor_ and _The Saints’
Everlasting Rest_. A fearless man and willing to suffer for what he
believed to be right, Baxter did not hesitate to rebuke Cromwell for his
assumption of supreme power of the State. Once, when falsely charged of
libeling the Church, Chief Justice George Jeffreys taunted him by,
“Richard, I see the rogue in thy face.” Baxter replied, “I had not known
before that my face was a mirror.” After an infamous trial, Baxter was
condemned and thrown into prison where he remained for 18 months.
As to music in the church, he did not share the views of the large
number of his fellow Puritan clergymen who disapproved of it. “I have
made a psalm of praise in the holy assembly the chief delightful
exercise of my religion and my life, and have helped to bear down all
the objection which I have heard against church music.” He also took a
stand for the use of original hymns to supplement psalm singing, and
favored the use of the organ, though he did not introduce the latter
where it led to disputes.
_MUSIC._ EVAN. For comments on this tune and its composer, William H.
Havergal, see Hymn 153.
254. Holy Father, cheer our way _Richard H. Robinson_, 1842-92
Based on Zech. 14:7: “But it shall come to pass, at evening time it
shall be light.” The hymn was written in 1869 for the author’s
congregation, to be sung at evening prayer. It appeared in _Church
Hymns_, 1871, published by the Society for Propagating Christian
Knowledge, London.
Richard Hayes Robinson, a clergyman of the Church of England, was born
in London. He was educated at King’s College, London, and served as
minister in various churches. On the day of his second wedding, he was
taken ill on the train and died the next day. He published several
volumes of sermons.
_MUSIC._ MÜDE BIN ICH, GEH ZUR RUH is a well-known German melody in the
_Gesangbuch mit Noten_, where it appears anonymously, set to Louise
Hensel’s hymn from which the tune derives its name. The melody, in
slightly different form, appeared in 1842 in _Lieder-Buch für
Kleinkinder-Schulen ... con Theodor Fliedner_. It is used in the
_Methodist Hymnal_ (1935) set to the words, “Jesus, tender Shepherd,
hear.”
255. O Lord, how happy should we be _Joseph Anstice_, 1808-36
Based on I Peter 5:7: “Casting all your care upon Him; for He careth for
you,” and on the Scripture lesson in Matthew 6:24-34. The original poem
was in five stanzas. The hymn was written out of experiences of
sickness, pain, and trial.
Joseph Anstice, a friend of Gladstone during student days at Oxford, was
appointed Professor of Classical Literature at King’s College, London,
at the age of 22. Within three years his health failed, and he died at
the age of 28, whereupon Gladstone, who had been deeply influenced by
him at Oxford, wrote in his _Diary_, “Read to my deep sorrow of
Anstice’s death on Monday. His friends, his young widow, the world can
spare him ill.” This and 53 other hymns were dictated to his wife in the
afternoons during his last illness.
_MUSIC._ MERIBAH. For comments on the composer, Lowell Mason, see Hymn
12.
256. Peace, perfect peace _Edward H. Bickersteth_, 1825-1906
This hymn on perfect peace is based on Isaiah 26:3: “Thou wilt keep him
in perfect peace whose mind is stayed on Thee: because he trusteth in
Thee.”
The origin of the hymn was furnished Dr. Julian by Rev. S. Bickersteth,
a son of the author:
This hymn was written by Bishop Edward Henry Bickersteth while he was
spending his summer holiday in Harrogate in the year 1875. On a Sunday
morning in August the Vicar of Harrogate, Canon Gibbon, happened to
preach from the text, “Thou wilt keep him in perfect peace, whose mind
is stayed on thee,” and alluded to the fact that in the Hebrew the
words are “peace, peace,” twice repeated and happily rendered in the
1611 translations by the phrase “perfect peace.” This sermon set my
father’s mind working on the subject. He always found it easiest to
express in verse whatever subject was uppermost in his mind, so that
when on the afternoon of that Sunday he visited an aged and dying
relative, Archdeacon Hill, of Liverpool, and found him somewhat
troubled in mind, it was natural to him to express in verse the
spiritual comfort which he desired to convey. Taking up a sheet of
paper, he then and there wrote down the hymn just exactly as it now
stands and read it to this dying Christian.
It is not always noticed that the first line in each verse is in the
form of a question referring to some one or other of the disturbing
experiences of life, and the second line in each verse endeavors to
give the answer.... The hymn has been translated into many tongues,
and for years I doubt if my father went many days without receiving
from different people assurances of the comfort which the words had
been allowed to bring to them. The most touching occasion on which,
personally, I ever heard it sung was round the grave of my eldest
brother, Bishop Edward Bickersteth, of South Tokyo, at Chiselden in
1897, when my father himself was chief mourner.
_MUSIC._ PAX TECUM was written for this hymn by George Thomas Caldbeck,
1852-?, concerning whose life one reads contradictory statements. Some
writers say he was a missionary in China when he wrote this tune;
others, including James Moffatt, give the account essentially as
follows: that Caldbeck, while a student in London, was compelled through
ill health to give up his purpose of becoming a missionary, went to
Ireland to teach school and engage in independent missionary work. Later
he returned to London where he did much open-air preaching, making a
meagre living by selling Scripture text-cards from door to door. For
selling without a license, he was arrested one day but dismissed by the
judge on being informed that the defendant was the composer of this
well-known hymn tune.
The tune was arranged by Charles John Vincent, born 1852, English
organist, composer and editor of much church music.
257. God is the refuge of His saints _Isaac Watts_, 1674-1748
Based on Psalm 46:1-5: “God is our refuge and our strength; a very
present help in time of trouble,” etc., and was entitled by Watts, “The
Church’s Safety and Triumph.” It is interesting to compare this free
rendering of the Psalm with that of the _Scotch Psalter_, 1650, (588),
where the thought of the psalm and the stately King James version
combine to make up the greatest metrical form of the psalm. Martin
Luther’s version of the same Psalm is found in his great hymn “_Ein
feste Burg ist unser Gott_” (549).
For comments on Isaac Watts see Hymn 11.
_MUSIC._ WARRINGTON was composed by Ralph Harrison, 1748-1810, an
Englishman and son of a Presbyterian minister. Educated at Warrington
Academy, he became a noted teacher of ancient languages, but maintained
a keen interest in sacred music. He compiled _Sacred Harmony_, 2 vols.,
1784-1791, a collection of psalm tunes, ancient and modern, in which
were found some of his own compositions, including this tune.
258. Awake, our souls! away, our fears _Isaac Watts_, 1674-1748
A free rendering of Isaiah 40:28-31.
The hymn is from Watts’ _Hymns and Spiritual Songs_, 1707, where it is
headed, “The Christian Race.”
For comments on Isaac Watts see Hymn 11.
_MUSIC._ SAMSON. This tune is an adaptation, a very considerable one,
from Chorus 31: “Then round about the starry throne,” in Handel’s
oratorio, _Samson_. The tune is taken from various parts of the chorus.
For comments on Handel see Hymn 70.
259. There is no sorrow, Lord, too light _Jane Crewdson_, 1809-63
Another of the “songs in the night,” written by one who, like Charlotte
Elliott (See 245), was an invalid the greater part of her life and
suffered much pain.
Jane Fox was born in Cornwall, England. In 1836 she married Thomas D.
Crewdson, a Manchester manufacturer. Always delicate, she became a
confirmed invalid, but her sufferings served to deepen her spiritual
life. She was a woman of fine intellectual power and poetic gifts and
through her writings testified gloriously to the all-sufficiency of her
Savior’s love. Her attitude toward her suffering is well expressed in
the beautiful third verse of the hymn:
There is no secret sigh we breathe
But meets Thine ear divine:
And every cross grows light beneath
The shadow, Lord, of thine.
This was the favorite hymn of Dr. John Henry Jowett, at one time
minister of the Fifth Avenue Presbyterian Church, New York City.
_MUSIC._ COOLING first appeared in _The American Choir_, 1858. No
information has been obtained concerning the composer, Alonzo Judson
Abbey, 1825-87.
ETERNAL LIFE
260. Hark, hark, my soul! angelic songs are swelling _Frederick W.
Faber_, 1814-63
A lovely song of the journey of life—the Christian’s pilgrimage to
heaven, the heart’s true home. “The Pilgrims of the Night” was the title
given this hymn by its author, F. W. Faber, the warm-hearted Roman
Catholic hymn writer. The phrases of the poem are wrapped in mystery and
loveliness. Their meaning is not always clear but the rhythm and musical
ring of the hymn are effective and its popularity is genuine and
wide-spread.
For comments on F. W. Faber see Hymn 44.
_MUSIC._ PILGRIMS was written for this hymn for the appendix to the
original edition of _Hymns Ancient and Modern_.
For comments on the composer, Henry Smart, see Hymn 46.
261. Forever, with the Lord! _James Montgomery_, 1771-1854
From Montgomery’s poem of twenty-two 4-line stanzas, in two parts,
published in the _Amethyst_, 1835. It is based on I Thess. 4:17: “Then
we which are alive and remain shall be caught up together with them in
the clouds, to meet the Lord in the air: and so shall we ever be with
the Lord.” Canon Farrar once said, “I can scarcely ever join in singing
‘Forever with the Lord’ without tears.”
The hymn voices the aspirations of multitudes of Christians. In time of
sorrow and death it points to the life beyond as the true goal of all
our earthly striving.
For comments on James Montgomery see Hymn 62.
_MUSIC._ NEARER HOME, also called “Montgomery,” was composed for this
hymn and was published in _The Choral Advocate_, 1852. The composer,
Isaac Baker Woodbury, 1819-58, was an American singer, teacher of music,
composer of hymn tunes and sacred songs, and editor of _Musical Review_.
His career was cut short by his death at the early age of thirty-nine.
262. Jerusalem the golden _Bernard of Cluny_, 12th century
_Tr. John M. Neale_, 1818-66
“And the city was pure gold” Rev. 21:21.
This hymn is from a Latin manuscript of 3,000 lines entitled “_De
Contemptu Mundi_” (On Contempt of the World), written by Bernard of
Cluny while he was a monk at the famous monastery of Cluny, France, _c._
1145. Practically nothing is known of him except his authorship of this
poem. Two other hymns, “Brief life is here our portion,” and “For thee,
O dear, dear country,” not in the _Hymnary_, are taken from the same
poem. The original was not written as a hymn at all but as a “bitter
satire on the fearful corruption of the age,” especially of the Church
of Rome, in contrast to which the author paints the joys of the new
Jerusalem. The author employed throughout the unusually difficult meter
known as “dactylic hexameter with tailed rhymes,” of which Bernard
himself says: “Unless the Spirit of wisdom and understanding had flowed
in upon me, I could not have put together so long a work in so difficult
a meter.” The reading of the Latin stanzas best reveal the rhythm and
music of the original:
1.
Urbs Sion aurea, patria lactea,
Cive decora,
Omne cor obruis, omnibus obstruis
Et cor et ora.
2.
Nescio, nescio, quae iubilatio,
Lux tibi qualis,
Quam socialia gaudia, gloria
Quam specialis.
3.
Sunt Sion atria coniubilantia,
Martyre plena,
Cive micantia, principe stantia,
Luce serena.
4.
Sunt ibi pascua mentibus afflua
Praestita sanctis;
Regis ibi thronus, agminis et sonus
Est epulantis.
5.
Gens duce splendida, contio candida
Vestibus albis,
Sunt sine fletibus in Sion aedibus,
Aedibus almis. Amen.
For comments on the translator, John M. Neale, see Hymn 67.
_MUSIC._ EWING, composed for “For thee, O dear, dear country” (see
above), was originally in triple time and named, “St. Bedes.” In _Hymns
Ancient and Modern_, 1861, it was set to the present words and the tune
changed to common time without the consent of the composer. Ewing
disliked the change and expressed himself thus: “In my opinion the
alteration of the rhythm has very much vulgarized my little tune. It now
seems to be a good deal like a polka. I hate to hear it.” In spite of
the composer’s opinion, the tune is generally accepted in its revised
form and considered preferable to the original.
Alexander Ewing, 1830-95, of Aberdeen, Scotland, was a skilled musician.
One evening after choir practice, he modestly introduced what he called
his first effort at writing a hymn tune, offering copies of the voice
parts, and asking the choir to sing it over. This was done, the choir
liked it, and the tune EWING was launched on its long and popular
career.
263. Jerusalem the golden _Bernard of Cluny_, 12th century
_Tr. John M. Neale_, 1818-66
For comments on this hymn see No. 262.
_MUSIC._ URBS BEATA (The City Beautiful) was composed in 1887 for these
words. The composer found words for the refrain by repeating lines 1, 6,
7, and 8 of the first stanza. It makes a first-rate choir number. To
keep up the proper tempo it should be sung with two beats to the
measure. When the tune is used for congregational singing, the high
notes in the refrain are intended to be sung by the sopranos in the
choir.
The composer, George LeJeune, 1842-1904, was the son of a well-known
musical family in London. He began his musical career in Canada; later
he studied with Joseph Barnby. His great work was done as church
organist and organ recitalist at St. John’s Chapel of Trinity Parish,
New York City, where he served 28 years.
264. One sweetly solemn thought _Phoebe Cary_, 1824-71
A poem in contemplation of heaven, written in 1852, entitled, “Nearer
Home,” with no thought of its being used as a hymn. In fact its original
irregular rhythm hardly permitted it to be sung. The words have been
changed to fit the short-meter tune, and have become popular as a hymn.
Upon reading the story of how the hymn was instrumental in the
conversion of two gamblers in China, who, after betting and drinking and
card playing, decided upon a change of life and consecrated themselves
to Christian work, Miss Cary wrote to a friend:
I enclose the hymn and story for you, not because I am vain of the
notice, but because I thought you would feel a peculiar interest in
them when you knew the hymn was written eighteen years ago (1852) in
your house. I composed it in the little, back, third-story bedroom on
Sunday morning after coming from church, and it makes me happy to
think that any word I could say has done a little good in the world.
Phoebe Cary was born on a farm near Cincinnati, Ohio. Her early days
were a struggle with hardship and poverty. “I have cried in the street
because I was poor,” she wrote in her later and more prosperous years,
“and the poor always seem nearer to me than the rich.” With her sister
Alice Carey, she published a small volume of verse in 1849, then the two
moved to New York City where they became quiet but influential leaders
in literary society. Their friendship with Whittier was a noted factor
in the lives of the Carey sisters. Phoebe was a member of the Church of
the Pilgrims in New York, and later attended the Church of the Stranger
in the same city.
_MUSIC._ DULCE DOMUM is an arrangement from the composer’s popular song,
“One sweetly solemn song,” later published as an anthem.
Robert Steele Ambrose, 1824-1908, born in England, came with his parents
to Canada in his first year. He prepared himself for the musical
profession and became organist successively in churches in Guelph,
Kingston, and Hamilton, Ontario. He is known best by the above-mentioned
song.
265. Sunset and evening star _Alfred Tennyson_, 1809-92
A song of immortality, written in ten minutes in the author’s
eighty-first year. It is always printed at the end of Tennyson’s poems.
Tennyson once said: “I can hardly understand how any great, imaginative
man, who has lived, suffered, thought and wrought, can doubt of the
soul’s continuous progress in the after life.”
The poem was written on an October day in 1889, as the poet was crossing
from Aldworth to Farringford. Tennyson’s son wrote in his _Memoir_ of
his father, concerning its origin:
Before he reached Farringford he had the moaning of the bar in his
mind, and after dinner he showed me this poem written out. I said:
“That is the crown of your life’s work.” He answered: “It came in a
moment.” He explained the “Pilot” as “that Divine and Unseen who is
always guiding us.” A few days before my father’s death, in 1892, he
said to me: “Mind you put ‘Crossing the Bar,’ at the end of all
editions of my poems.” My father considered Edmund Lushington’s
translation into Greek of “Crossing the Bar” one of the finest
translations he had ever read.
_MUSIC._ CROSSING THE BAR was composed for these words. The tune, in the
nature of an unaccompanied quartet anthem, may be sung with freedom in
regard to time and shading.
For comments on the composer, Joseph Barnby, see Hymn 21.
266. Blest be the everlasting God _Isaac Watts_, 1674-1748
A paraphrase of I Peter 1:3-5.
The original by Watts was published in his _Hymns and Spiritual Songs_,
1707, from which it was taken over unchanged into the _Scottish
Paraphrases_ of 1745 and of 1751. In the final 1781 edition, the third
stanza was omitted and the fourth altered from
There’s an inheritance divine
Reserved against that day;
’Tis incorrupted, undefiled,
And cannot waste away.
The improvements are attributed to William Cameron, 1751-1811, who, as a
young licentiate, was entrusted with the final revision of the _Scottish
Paraphrases_.
For comments on Isaac Watts see Hymn 11.
_MUSIC._ ST. STEPHEN (ABRIDGE) is described by Archibald Jacob as a
“beautifully fluent and graceful melody ... in the best 18th-century
style of this class of tune.” It appeared originally in _A Collection of
Psalm Tunes in Three Parts_ ... by Isaac Smith, _c._ 1770, under the
name ABRIDGE, by which it continues to be known in England. In _Sacred
Harmony for Use in St. George’s_, Edinburgh, 1820, it appeared under the
name ST. STEPHEN, with slight modification of the last line.
Isaac Smith, _c._ 1725-_c._ 1800, was a London linen-draper with a taste
for music. He composed and published a number of Psalm-tunes which long
remained popular, though ABRIDGE is almost the only one now left of his
compositions. Smith named his tunes after localities in and about
London. ABRIDGE was the name of a small village near Epping Forest, in
Essex.
THE KINGDOM OF GOD
267. Forward through the ages _Frederick L. Hosmer_, 1840-1929
A hymn expressing the unity of God’s people in their labor for the
Kingdom through the ages. “The goodly fellowship of the prophets” is set
forth here with power and poetic beauty.
For comments on Frederick L. Hosmer see Hymn 72.
_MUSIC._ ONWARD, with its strong rhythm and moving power, lends itself
well for processional use, resembling in this respect the tune “St.
Gertrude” (225), for which the present hymn was written.
No information is at hand concerning the composer, J. W. Barrington.
268. Thy Kingdom come, on bended knee _Frederick L. Hosmer_, 1840-1929
One of the few hymns written on the petition, “Thy Kingdom come,” in the
Lord’s Prayer. Canon Percy Dearmer speaks of this as “one of the noblest
hymns in the language.” It is a fervent prayer for the day when there
shall be more justice, knowledge, peace, and righteousness on the earth.
The hymn was written June 21, 1891, for the commencement of the
Meadville Theological School, Pennsylvania.
For comments on Frederick L. Hosmer see Hymn 72.
_MUSIC._ IRISH, also called “Dublin,” appeared first in _Hymns and
Sacred Poems_, published in Dublin in 1749. The composer is not known.
It is a smooth, triple-time tune which young people love to sing. Its
name is misleading, for there is no indication of an Irish origin other
than, as stated, its appearance in a book published in Dublin.
269. Come, Kingdom of our God _John Johns_, 1801-47
A prayer for the coming of the Kingdom of God on earth, based on the
petition in the Lord’s Prayer, “Thy Kingdom come, thy will be done.”
Rev. John Johns, English Presbyterian minister, was known for many years
in Liverpool as the “minister to the poor.” He was a man of fine poetic
gifts and published several volumes of poetry but is remembered for his
life of service among the poor.
_MUSIC._ ST. THOMAS is one of the oldest and best tunes of the church.
It has good rhythm, graceful form, and a strong forward movement to give
it unusual singing merit.
The composer, Aaron Williams, of Welsh descent, was born in London in
1731, and died there in 1776. He was composer, engineer, publisher,
music teacher, and clerk of the Scotch Church, London Wall. He published
a number of important collections of tunes: _The Universal Psalmodist_,
1763, and _New Universal Psalmodist_, 1770, in which the above tune
appeared.
270. Thy Kingdom come, O Lord _Frederick L. Hosmer_, 1840-1929
Another hymn on the petition, “Thy Kingdom come,” in the Lord’s Prayer,
setting forth its coming in relation to the unity of nations. Compare
Hosmer’s other hymn on the Kingdom (268) where the emphasis is on
righteousness and justice. This is an appropriate hymn for use in
gatherings concerned with Christian unity and world friendship.
For comments on Frederick L. Hosmer see Hymn 72.
_MUSIC._ INVITATION. For comments on the composer of this tune see Hymn
112.
271. Thy Kingdom come, O God _Lewis Hensley_, 1824-1905
Another of the few hymns that have been written on the petition in the
Lord’s Prayer, “Thy Kingdom come.” See Hymns 268, 269, 270.
Lewis Hensley had a distinguished career at Trinity College, Cambridge,
England, as student and then six years as fellow and tutor. He became a
minister in the Church of England and for a time was Rural Dean.
_MUSIC._ ST. CECILIA was composed for Dr. Bonar’s hymn, “Thy way, not
mine, O Lord” (252), appearing with these words in _The Merton Tune
Book_, Oxford, 1863.
The composer, Rev. Leighton George Hayne, 1836-83, was educated at
Oxford, took holy orders in 1861, was appointed conductor of the chorus
of the University and public examiner in the School of Music, and then
served for a time as organist of Eton College. The last 12 years of his
life were spent as minister in various churches. He wrote many hymn
tunes and edited, with Rev. H. W. Sargeant, _The Merton Tune Book_.
272. Before Jehovah’s awful throne _Isaac Watts_, 1674-1748
A paraphrase of Psalm 100, revised by John Wesley.
The original text by Watts began:
Sing to the Lord with joyful voice;
Let every land his name adore;
The British Isles shall sound the noise
Across the ocean to the shore.
Wesley, considering this an unpromising initial stanza, omitted it, and
changed the second stanza, lines 1 and 2, from
Nations attend before his throne
With solemn fear, with sacred joy
to
Before Jehovah’s awful throne
Ye nations bow with sacred joy.
Wesley severely condemned the practice of changing another’s hymns, but
in this case his own “transgression” resulted in a greatly improved
hymn.
The word “awful” in the first line is spelled “awe-full” in some hymnals
in order to convey more nearly its original meaning.
For comments on Isaac Watts, see Hymn 11.
_MUSIC._ PARK STREET was composed by Frederick M. A. Venua, 1788-1872,
an eminent French organist, a native of Paris. It is a favorite tune in
America where it is invariably associated with this hymn by Watts.
THE CHURCH
273. The Church’s one foundation _Samuel J. Stone_, 1839-1900
A truly great hymn, honoring the church of Christ and longing for its
prosperity. The author, then a young curate of 27 years in the Church of
England, was so stirred by the attacks made on the church in his time
that he determined to write a series of twelve hymns on the Apostles’
Creed. This one is based on the article, “I believe in the holy Catholic
Church, the communion of saints.” The controversy which then raged in
England concerning the nature of the inspiration of the Scriptures is
reflected in the third stanza, the author leaning strongly on the
conservative side.
Samuel J. Stone was a clergyman of the Church of England, born in
Staffordshire, and educated at Oxford. He served various churches,
finally succeeding his father at St. Paul’s, Haggerston, London. For
twenty years he had a fruitful ministry in this East End parish among
the poor and depraved, before moving to another part of the city to
another church. He is the author of many hymns and translations and
published several volumes of poetry.
_MUSIC._ AURELIA (signifying “golden”) one of our most stately tunes,
combining ease of singing with churchly dignity, was written for the
hymn, “Jerusalem the golden” (262). It was set to the present hymn in
_Hymns Ancient and Modern_ and did much to carry the hymn into the
churches. It has become one of the great processional hymns of the
church.
Samuel Sebastian Wesley, 1810-76, grandson of Charles Wesley, was like
his father, Samuel Wesley, a great English composer and organist. He had
a consuming love of the outdoors, as well as of music, and was
passionately fond of fishing. He was outspoken in his demands for reform
in the music of the church and was, consequently, frequently at odds
with his superiors. Wesley received inadequate recognition for the
contributions he made to the music of his time.
274. Glorious things of thee are spoken _John Newton_, 1725-1807
Based on Psalm 87:3: “Glorious things are spoken of thee, O city of
God,” and other passages, especially Isaiah 33:20, 21, and Exodus 13:22.
It is one of our best hymns on the Church and, says Julian, “It ranks
with the first hymns in the language.” In ordinary use the omission of
the third stanza is desirable. Augustine Smith suggests in _Lyric
Religion_ that “the last score should always be repeated, the second
time sung broader and fuller, building into a superb climax.”
John Newton is remembered among the hymn writers because of the radical
change that took place in his life at conversion. Born in London, his
only schooling was from his eighth to his tenth year. He went to sea at
eleven, his godly mother following the profligate youth with her
prayers. As a midshipman in the navy he deserted his post, was captured,
and reduced to a common seaman, and later became a servant of a slave
dealer in Africa. He was converted at 23 after an awful night steering a
water-logged ship in the face of death. Though converted, he retained
certain blind spots in his social outlook and he continued as a slave
dealer. This hymn was written when he was on a voyage from Sierra Leone,
Africa, with a load of slaves shackled closely together and being taken
to London or America to be sold. “I have never had such sweet communion
with Jesus as I had on that voyage,” he wrote. This may seem like
hypocrisy, but it must be remembered that slavery was a common practice
and that only a few people of the time understood clearly its complete
denial of the spirit of Christ. It may be that future generations will
see in our times evils that flourished unchallenged while we prayed and
sang according to the light we had. In 1750, Newton married Mary
Catlett, a noble and pious woman, and a godsend in his life. In 1755, he
settled down as customs officer in Liverpool, becoming at the same time
greatly interested in Wesley and Whitefield and other evangelical
leaders. Three years later he became a minister in the Church of
England, and in 1764, he began a distinguished career as curate at
Olney, where he was associated with his friend, William Cowper, the
poet. The two were joint authors of the _Olney Hymns_, 1779. After
sixteen years in Olney, he moved to London where for 28 years he did
faithful and successful work as rector of St. Mary Woolnoth. He wrote
his own epitaph which is found on a plain marble tablet near the vestry
door of his church in London:
John Newton, Clerk
Once an Infidel and Libertine,
A servant of slaves in Africa,
Was, by the rich mercy of our Lord and Saviour
Jesus Christ
Preserved, restored, and pardoned,
And appointed to preach the Faith
He had long labored to destroy,
Near 16 years at Olney in Bucks
And ... years in this church
On Feb. 1, 1750, he married
Mary,
Daughter of the late George Catlett
Of Catham, Kent.
He resigned her to the Lord who gave her
On 15th of December, 1790
_MUSIC._ AUSTRIAN HYMN is founded on a Croatian melody. It was used in
Germany as the tune of “Deutschland über alles.” Joseph Haydn,
1732-1809, made a setting of it to be sung at the Emperor’s birthday,
Feb. 12, 1797, to the words, “Gott erhalte Franz der Kaiser.” The tune
was a great favorite of Haydn and he used it as a theme in one of the
movements in his famous “_Emperor Quartet_,” No. 76.
For comments on Franz Joseph Haydn, see Hymn 27.
275. I love Thy Kingdom, Lord _Timothy Dwight_, 1752-1817
Based on Psalm 137:5, 6: “If I forget thee, O Jerusalem, let my right
hand forget her cunning. If I do not remember thee, let my tongue cleave
to the roof of my mouth; if I prefer not Jerusalem above my chief joy.”
It is rated high among all the hymns on the church and is probably the
earliest American hymn in use today.
Timothy Dwight, the great president of Yale, was the grandson of
Jonathan Edwards and shared in a large measure the intellectual
brilliance of the Edwards family. A precocious youth, he entered Yale
College at 13 and graduated at 17. An outstanding personality of his
time, he was honored for his sound scholarship, elected a member of the
Massachusetts legislature, and served as minister of the Congregational
Church at Greenfield, Conn. From 1795 until his death in 1817, he was
President of Yale, simultaneously holding the Chair of Theology. His
presence at Yale changed the whole moral and religious attitude of the
campus, there having been only four or five professed Christians at the
college, according to Prof. W. W. Sweet, when he became president. At
the request of the General Association of Congregational Churches in
Connecticut and with the concurrence of the Presbyterian General
Assembly, he revised _The Psalms of David_, by I. Watts, a work which
was used in the Presbyterian and Congregational Churches of Connecticut
for over 30 years.
Dwight did a prodigious amount of work in spite of a serious physical
handicap. His eyesight, for the greater part of forty years, was so poor
that his reading was done only with the greatest of difficulty and with
frequent and agonizing pain behind the eyeballs.
_MUSIC._ STATE STREET. For comments on this tune see Hymn 246.
276. O where are kings and empires now _Arthur C. Coxe_, 1818-96
From a larger poem by Coxe, entitled “Chelsea,” containing ten stanzas
of eight lines each. It is a hymn of confidence that the church, built
on a solid foundation, will survive all earthly kings and empires and
will be able to withstand every earthly foe.
Arthur Cleveland Coxe was born at Clifton Springs, N. Y.; graduated from
the University of New York and General Theological Seminary; and then
became the rector successively of St. John’s Church, Hartford, Conn.;
Grace Church, Baltimore; and Calvary Church, New York City. In 1865, he
was elected Bishop of Western New York. He was a member of the Hymnal
Commission for the Protestant Episcopal Church, which compiled the
_Hymnal_ of 1872, but refused, out of modesty, permission to include in
that work any of his own hymns.
_MUSIC._ ST. ANNE. For comments on this tune see Hymn 61.
277. Christ is made the sure foundation _Latin, 6th or 7th century_
_Tr. John M. Neale_, 1818-66
From Part II of an ancient Latin hymn of the 6th or 7th century
beginning: “_Urbs beata Hierusalem_.” The author is not known. The first
verse reflects Ephesians 2:20-21: “And are built upon the foundation of
the apostles and prophets, Jesus Christ himself being the chief
cornerstone; in whom all the building fitly framed together groweth unto
an holy temple in the Lord.”
The hymn is often used at the dedication of churches, stanzas 3 and 4
being especially appropriate for that purpose.
Dr. Neale’s translation of the hymn, in nine stanzas, appeared in his
_Medieval Hymns_, 1851. Our hymn is a selection of stanzas 5, 6, 7, and
8, of his translation, with some changes in the words. The Latin of our
first three stanzas is as follows:
Angularis fundamentum
lapis Christus missus est
Qui compage parietis
in utroque nectitur,
Quem Sion sancta suscepit,
In quo credens permanet.
Hoc in templo, summe Deus,
exoratus adveni,
Et clementi bonitate
precum vota suscipe;
Largam benedictionem
his infunde iugiter.
Hic promereantur omnes
petita adquirere
Et adepta possidere
cum sanctis perenniter,
Paradisum introire,
translati in requiem.
For comments on John M. Neale see Hymn 67.
_MUSIC._ REGENT SQUARE. For comments on this tune see Hymn 81.
THE HOUSE OF GOD
278. Lord of our life, and God of our salvation _Philip Pusey_,
1799-1855
_Based on Matthäus von Löwenstern_, 1594-1648
One of the “songs of the night,” the original of which was written out
of the bitter experiences of the Thirty Years’ War in Germany. It tells
of the peril to which the Reformed Church was then exposed but expresses
confidence that the church, founded upon the Rock, will prevail against
evil.
Matthäus Apelles von Löwenstern, son of a saddler, had musical and
business ability which won him recognition and employment by the Duke of
Münsterberg and the Emperors Ferdinand II and his son Ferdinand III. He
wrote about 30 hymns and set them to melodies of his own composition.
His hymn, named “Sapphic Ode. For Spiritual and Temporal Peace,” in
1644, is as follows:
Christe, du Beistand deiner Kreuzgemeine,
Eile, mit Hilf’ und Rettung uns erscheine;
Steure den Feinden, ihre Blutgerichte
Mache zunichte!
Streite doch selber für uns arme Kinder,
Wehre dem Teufel, seine Macht verhinder’;
Alles, was kämpfet wider deine Glieder,
Stürze danieder!
Frieden bei Kirch’ und Schulen uns beschere,
Frieden zugleich der Obrigkeit gewähre,
Frieden dem Herzen, Frieden dem Gewissen
Gib zu geniessen!
Also wird zeitlich deine Güt’ erhoben,
Also wird ewig und ohn’ Ende loben
Dich, o du Wächter deiner armen Herde,
Himmel und Erde.
The English version by Pusey is not a translation of the German but
rather a free paraphrase. Philip Pusey, brother of Edward Pusey, the
famous leader in the Oxford Movement, was educated at Oxford. After
graduating he settled on his estate and devoted himself largely to
agriculture. He wrote extensively on agricultural subjects and was one
of the founders of the Royal Agriculture Society. Later he became a
member of Parliament. He wrote this hymn to portray the state of the
Church of England at the time, which he described as being “assailed
from without, enfeebled and detracted from within, but on the eve of a
great awakening.”
_MUSIC._ INTEGER VITAE. For comments on this tune see Hymn 59.
279. Dear Shepherd of Thy people _John Newton_, 1725-1807
A hymn composed for a prayer meeting.
John Newton and William Cowper, the English poet, instituted prayer
meetings at Olney where the two labored together in a famous ministry,
Newton as minister of the church, and Cowper as his voluntary assistant.
The prayer meetings were attended in such large numbers that it became
necessary to move the services into a large room. For the first meeting
in this new room, each of the men prepared a special hymn, the one by
Newton being our hymn, with his first, third, and seventh stanzas
omitted.
For further comments on John Newton see Hymn 274.
_MUSIC._ DURHAM appeared in _Ravenscroft’s Psalter_, 1621, set to Psalms
28 and 76, and marked as a “Northern Tune.” The _Scottish Psalter_ of
1635 includes it among the Common Tunes.
280. Again, as evening’s shadow falls _Samuel Longfellow_, 1819-92
“Vesper Hymn” is the title which this hymn bears in the author’s volume,
_Vespers_, 1859, a small book of songs prepared for use in evening
services. In a letter dated Feb. 11, 1890, Longfellow wrote, “My two
favorites among my hymns are the vesper hymn, ‘Again, as evening’s
shadow falls,’ and the one beginning, ‘I look to Thee in every need’”
(244).
For comments on Samuel Longfellow see Hymn 28.
_MUSIC._ GERMANY. For comments on this tune see Hymn 222.
281. We love the place, O God _William Bullock_, 1798-1874
_Henry W. Baker_, 1821-77
Based on Psalm 26:8: “Lord, I have loved the habitation of thy house,
and the place where thine honor dwelleth.” The hymn was written by
William Bullock, then a young sailor-missionary, for the dedication of a
mission chapel at Trinity Bay, Newfoundland, in 1827. Seventy years
later, when a new church located on the same site was dedicated, this
hymn as revised by H. W. Baker, was once more sung. The sermon preached
by Bullock at the opening of the chapel was read to the people.
Wm. Bullock was educated at Christ’s Hospital and then entered the Royal
Navy. While on a survey of the coast of Newfoundland, he decided to
devote himself to missionary work in that colony. He did this and served
32 years under the Society for Propagating the Gospel. He became Dean of
Nova Scotia at Halifax. In 1854, he published _Songs of the Church_
which, he said, were “written amid the various scenes of missionary
life, and are intended for the private and domestic use of Christians in
new countries deprived of all public worship.”
For comments on Henry W. Baker, reviser of the hymn see Hymn 143.
_MUSIC._ QUAM DILECTA was composed for this hymn in _Hymns Ancient and
Modern_, 1861.
The composer, Henry L. Jenner, 1820-98, was a curate in the Anglican
Church. After serving various churches in England, he was consecrated
first Bishop of Dunedin, New Zealand, 1866. He was one of the Cambridge
group which revived interest in ecclesiology, ancient hymnology,
plainsong, etc.
282. Unto Thy temple, Lord, we come _Robert Collyer_, 1823-1912
A hymn describing the church as the home of “rich and poor, bond and
free, great and small.” It is suitable for the general worship service
and especially for the dedication of a church.
Information concerning the author, Robert Collyer, has not been traced.
_Julian’s Dictionary_ notes a William Collyer, 1782-1854, eminent
English evangelical preacher who was ordained for a small church of ten
communicant members. He is described as a man of “amiable disposition,
polished manners, Christian courtesy, and popular with rich and poor
alike; who labored in the church with great success and honor until his
death.” He wrote numerous hymns. Was our hymn written by a son brought
up with his father’s noble conception of the church?
_MUSIC._ MENDON. For comments on this tune see Hymn 211.
THE LORD’S DAY
283. The dawn of God’s dear Sabbath _Ada Cross_, 1844-?
A hymn on the Sabbath, picturing the day as a time when weary souls may
turn from daily toil to refresh themselves with the water of life drawn
from the wells of salvation.
Ada Cross was born in England, November 21, 1844, the daughter of Henry
Cambridge. She married an Australian, the Rev. George F. Cross, and
spent most of her life in Australia where her husband was minister of
the Anglican Church in Coleraine, Victoria. She was interested in the
liturgy of the Church and issued several collections of hymns.
_MUSIC._ ENDSLEIGH is credited to Salvatore Ferretti, 1817-74,
concerning whom no information has been traced. The arrangement was made
by James Turle, 1802-82, an English teacher of music, a distinguished
organist, and composer of hymn tunes, chants, and anthems. For
sixty-three years he was connected with Westminster Abbey in London. He
was endowed, it is said, with unusually large hands so that he could
easily span an octave and a half with one hand. His sole musical
interest was in serving the church.
284. Safely through another week _John Newton_, 1725-1807
This hymn was composed by Newton for use on Saturday evening. To give it
wider usefulness, the verses were slightly changed to make them suitable
for the Sunday morning service.
For comments on John Newton see Hymn 274.
_MUSIC._ SABBATH was written for this hymn in 1824.
For comments on the composer, Lowell Mason, see Hymn 12.
285. O day of rest and gladness _Christopher Wordsworth_, 1807-85
A hymn which serves to keep vividly before us the meaning and value of
the Lord’s Day. It appears as the opening hymn in the author’s _The Holy
Year_, 1862, where it is entitled “Sunday.” It is based on Psalm 118:24:
“This is the day which the Lord hath made; we will rejoice and be glad
in it.”
For comments on Christopher Wordsworth see Hymn 174.
_MUSIC._ MENDEBRAS was written for this hymn in 1839. It is an
arrangement by Lowell Mason of a German folk song.
For comments on Lowell Mason see Hymn 12.
286. Again returns the day of holy rest _William Mason_, 1725-97
The author of this Lord’s Day hymn was the Rev. William Mason, an
English Episcopalian, born at Kingston-on-Hull. He graduated with honors
from St. John’s College, Cambridge; received ordination, served as one
of the chaplains of King George III, and at the time of death he had
been for 32 years the Precentor and Canon of York. A man of high
literary attainments, and a friend of Thomas Gray, he edited that poet’s
works in 1775 and later wrote the memoirs of Gray. The latter was done
in the gossiping style, imitated later by Boswell when he wrote the
_Life of Samuel Johnson_. Mason wrote four volumes of poetry and won
recognition from Johnson as one of the British poets.
The present hymn, by which the author is best remembered, is found at
the end of Volume I of the _Works of William Mason, M. A., Precentor of
York and Rector of Aston_, 1811.
Our author is not to be confused with his contemporary of the same name,
1719-91, who succeeded Toplady in the editorship of _The Gospel
Magazine_ and who was also a minister and hymn writer.
_MUSIC._ ELLERS. For comments on this tune and its composer, Edward J.
Hopkins, see Hymn 43.
287. This is the day of light _John Ellerton_, 1826-93
A worshipful Sabbath day hymn, breathing the spirit of rest, light, and
peace, written in 1867.
For comments on the author, John Ellerton, see Hymn 43.
_MUSIC._ FRANCONIA. For comments on this tune see Hymn 205.
288. Break Thou the bread of life _Mary A. Lathbury_, 1841-1913
This gem, entitled, “Study Song,” was written for the Chautauqua
Literary and Scientific Circle and for Bible Study groups, but it also
has a wider use. Dr. G. Campbell Morgan used this hymn every Sunday for
many years immediately before the sermon. It is not a communion hymn
although it is often used for that purpose. The breaking of bread refers
to the feeding of the multitude beside the Sea of Galilee and not to the
Last Supper; and the “bread of life” is the teaching of Jesus.
For comments on Mary Lathbury see Hymn 31.
_MUSIC._ BREAD OF LIFE is a popular American tune, sincere and simple in
style, written for this hymn and indissolubly associated with it.
For comments on the composer, William F. Sherwin, see Hymn 31.
THE HOLY SCRIPTURES
289. O Word of God Incarnate _W. W. How_, 1823-97
A hymn addressed to Christ, the Word of God Incarnate, setting forth in
a succession of beautiful figures—a lantern, the golden casket, a
banner, a beam, chart and compass—the value of the written word, and the
duty of the Church to carry the light of God’s word, both as incarnate
and written, to the nations. It was written in 1867, headed by the text
Prov. 6:23: “For the commandment is a lamp; and the law is light; and
reproofs of instruction are the way of life.” The author himself was a
living witness to the power of the Word. His definition of a minister
shows the high ideal he had of the preacher of the Word, and,
incidentally, is an accurate description of his own life:
A man pure, holy, and spotless in his life; a man of much prayer; in
character meek, lowly, and infinitely compassionate; of tenderest love
to all; full of sympathy for every pain and sorrow, and devoting his
days and nights to lightening the burdens of humanity; utterly patient
of insult and enmity; utterly fearless in speaking the truth and
rebuking sin; ever ready to answer every call, to go wherever bidden
in order to do good; wholly without thought of self; making himself
the servant of all; patient, gentle, and untiring in dealing with the
souls he would save; bearing with ignorance, wilfulness, slowness,
cowardice in those of whom he expects most; sacrificing all, even life
itself, if need be, to save some.
For further comments on W. W. How, see Hymn 144.
_MUSIC._ MUNICH, “one of the most beautiful and perfectly constructed of
tunes,” is of German origin and is known in Germany as “Königsberg
Choral.” It appeared first in _Lobsingende Harffe_, 1682. The composer
is unknown. Mendelssohn used the tune as the basis for his fine chorale,
“Cast thy burden on the Lord,” in his oratorio, _Elijah_.
290. Thy Word is like a garden, Lord _Edwin Hodder_, 1837-1904
The metaphors used in this hymn to describe the Word of God are very
suggestive: “a garden,” “a deep, deep mine,” “a starry host.”
Edwin Hodder was born in England but migrated at 19 years of age to New
Zealand where he was one of a pioneer group of idealists who introduced
progressive sociological ideas for which that country is noted. He
returned to England where he was engaged in the civil service from 1861
until his retirement in 1897. Hodder wrote biographies and devotional
works, and in 1863 issued _The New Sunday School Hymn Book_ which
contained twenty-seven of his own hymns, including this one.
_MUSIC._ FOREST GREEN is an arrangement of an English folk song called,
“The Ploughboy’s Dream.” R. Vaughan Williams, 1872-, who arranged the
tune is England’s leading living composer. He has collected and edited
for publication many folksongs and carols, written several symphonies
for the orchestra, and has composed numerous choral works.
Some good hymnals use this tune as the setting for Phillips Brooks’
popular Christmas carol, “O little town of Bethlehem.”
291. The heavens declare Thy glory, Lord _Isaac Watts_, 1674-1748
Here is an unusual rendering of Psalm 19, which Watts entitled, “The
Books of Nature and of Scripture.” In the Psalm itself we find the Book
of Nature in the first half and the Book of Scripture in the second half
of the psalm. Instead of following this order, Watts sets the one over
in couplets against the other, so that the first two lines of each
stanza have to do with nature, the last two with Scripture.
For comments on Isaac Watts, see Hymn 11.
_MUSIC._ UXBRIDGE. This tune is by the American composer and teacher of
music, Lowell Mason. The psalm tune “Burford” (228) is also named
“Uxbridge” in some books.
For comments on Mason see Hymn 12.
292. Lord, Thy word abideth _Henry W. Baker_, 1821-77
A hymn on the Scriptures, written for _Hymns Ancient and Modern_, 1861.
For comments on Henry W. Baker see Hymn 143.
_MUSIC._ RAVENSHAW is from _Ein Neu Gesangbüchlein_, 1531, the earliest
German hymn book of the Bohemian Brethren, edited by Michael Weisse. The
melody is older and was associated with a Latin hymn, _Ave Hierarchia,
coelestis et pia_. The present arrangement is by William H. Monk. For
comments on Monk see Hymn 40.
For a note on the Bohemian Brethren and Michael Weisse see Hymn 544.
THE MINISTRY
293. Shine Thou upon us, Lord _John Ellerton_, 1826-93
A hymn for teachers.
For comments on John Ellerton, see Hymn 42.
_MUSIC._ BROUGHTON. For comments on the composer of this melody, Thomas
Hastings, see Hymn 120.
294. O still in accents sweet and strong _Samuel Longfellow_, 1819-92
The author’s title of this hymn is, “Behold the Fields are White.”
For comments on Samuel Longfellow see Hymn 28.
_MUSIC._ BELMONT. For comments on this tune see Hymn 197.
295. Pour out Thy Spirit from on high _James Montgomery_, 1771-1854
Written in 1833 for the Rev. J. Birchell, clergyman in the Church of
England, who published it in his _Selection of Hymns_. It was printed in
the same year in Edward Bickersteth’s _Christian Psalmody_. For comments
on Bickersteth see Hymn 256. The hymn’s original title was, “For a
Meeting of Clergy.” It is not intended to be sung by a body of people as
a prayer for ministers but as a prayer hymn to be sung by ministers
themselves.
For comments on James Montgomery see Hymn 62.
_MUSIC._ MELCOMBE. For comments on this tune see Hymn 22.
296. Lord, speak to me, that I may speak _Frances R. Havergal_,
1836-79
“A Worker’s Prayer” is Miss Havergal’s title of this hymn and the text
associated with it is Rom. 14:7: “None of us liveth to himself and no
one dieth to himself.” It was composed April 28, 1872, at Winterdyne.
For comments on Frances Havergal see Hymn 126.
_MUSIC._ CANONBURY, a favorite tune found in nearly all hymn books, is
from Robert Schumann’s _Nachtstücke_, Op. 23.
Robert Schumann, 1810-56, greatest of the early German Romantics, was
born in Zwickau, Saxony. He wrote symphonies and chamber music but is
known best for his amazingly fine piano works and songs. His wife, Clara
Wieck Schumann, one of the greatest piano players the world has
produced, was devoted to him, as were also his children. Schumann became
mentally ill, attempted unsuccessfully to drown himself in the Rhine,
and was cared for in a hospital for two years before his death. He had a
gift for journalism and wrote books and magazine articles on music.
297. Thou who Thyself didst sanctify _George Rawson_, 1807-89
An appropriate hymn for use in ordination to the Christian ministry or
dedication to other forms of Christian service.
George Rawson, an English Congregational layman, was born at Leeds where
he practiced law many years. He had a considerable knowledge of music
and was a gifted hymn writer. He rendered valuable assistance to his own
denomination as well as to the Baptists in the preparation of hymn books
for use in the church. A shy, retiring man, of sincere piety, he at
first published his hymns, a considerable collection, anonymously, but
later had to acknowledge his identity. About 50 of his hymns are still
in use.
(The name is misspelled “Dawson” in the Hymnary.)
_MUSIC._ DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing
in the _Scottish Psalter_, _The CL Psalms of David, &_, Edinburgh, 1615,
where it is named “French Tune.” Its first appearance in an English
Psalter is in Ravencroft’s _Whole Book of Psalms_, 1621, where it is
called “Dundy.” It is one of the best known of the psalm tunes and its
smooth, flowing melody has enjoyed great popularity.
For comments on the _Scottish Psalter_ see Hymn 575.
CONSECRATION OF CHILDREN
298. Gracious Savior, gentle Shepherd _Jane Eliza Leeson_, 1807-1882
_John Keble_, 1792-1866
A hymn for the children’s consecration service, evolved by John Keble
from three hymns—“Shepherd in thy bosom, folded,” “Loving Shepherd of
Thy sheep” (429), and “Infant sorrow, infant weakness,” written by Jane
Eliza Leeson. Keble took the main ideas of these hymns and rewrote them
into a hymn of five stanzas, two of which are omitted here.
Jane Eliza Leeson was born in London and died there. She had rare gifts
in writing for children, and published several books of hymns—_Infant
Hymnings_, and _Hymns and Scenes of Childhood_—specially for children.
Very little is known of her life, except that she was a prominent figure
in the Catholic Apostolic Church and that some of her hymns were
supposedly “prophetical utterances,” prompted by the Holy Spirit, at
public services, which she “delivered slowly with short pauses between
the verses.” Late in life she united with the Roman Catholic Church.
For comments on John Keble, see Hymn 22.
_MUSIC._ MANNHEIM is from the source mentioned in the note on Hymn 174.
The present form of the melody is much altered from the original.
299. All hidden lie the future ways _Frederick L. Hosmer_, 1840-1929
A lyrical phrasing of the emotions that arise in the hearts of parents
as they contemplate the faring forth of little children into the hidden
future.
For comments on the author, Frederick L. Hosmer, see Hymn 72.
_MUSIC._ NUN SICH DER TAG GEENDET HAT is a tune set to various hymns in
the _Gesangbuch mit Noten_.
For comments on the composer, Aaron Williams, see Hymn 269.
300. A little child the Savior came _William Robertson_, 1820-64
A Scotch Presbyterian minister, William Robertson, contributed this hymn
to the Church of Scotland’s _Hymns for Public Worship_ in 1861. The
author, keenly interested in hymnody and Scotch psalmody, was a member
of the Hymnal Committee of the Church of Scotland in 1851, 1853, and
1857.
_MUSIC._ ALSTONE was composed by C. E. Willing, 1830-1904, for the
children’s hymn, “We are but little children weak,” in _Hymns Ancient
and Modern_, Appendix, 1868. Willing was chorister of Westminster Abbey
and held various responsible positions as organist and choral conductor
in England.
BAPTISM
301. Come, Father, Son, and Holy Ghost _Charles Wesley_, 1707-88
The original poem of six stanzas is from _Hymns and Sacred Poems_, 1749,
where it was entitled, “At the Baptism of Adults.”
Wesley’s second line of the first stanza read
“Honor the means injoin’d by Thee,”
which was changed to “ordained by Thee” for the _Collection_ of 1780.
The awkward expression, “Effectuate now the sacred sign,” Wesley’s
second line of stanza 3, was changed to “Effectual make the sacred
sign,” by the editors of the hymn book in 1849.
For comments on Charles Wesley see Hymn 6.
_MUSIC._ SO LANGE JESUS BLEIBT DER HERR is a familiar melody, of unknown
origin, from the _Gesangbuch mit Noten_.
302. I’m not ashamed to own my Lord _Isaac Watts_, 1674-1748
This hymn is based on II Timothy 1:8-12.
James Moffatt writes that when Henry Drummond was on his death bed, Nov.
7, 1897, his friend, Dr. Hugh Barbour, played several hymn tunes to him
without gaining any response. Then he tried the Old Scots melody of
“Martyrdom” to which Drummond beat time with his hand and joined in the
words, “I’m not ashamed to own my Lord.” When the hymn was done, he
said, “There’s nothing to beat that, Hugh.”
For comments on Isaac Watts see Hymn 11.
_MUSIC._ DEDHAM. The tune is attributed to William Gardiner, 1770-1853,
an Englishman of whom nothing much of importance is known except that he
published _Sacred Melodies_ in 1812, a collection of excellent tunes,
which was expanded to six volumes published in 1815.
THE LORD’S SUPPER
303. Here, O my Lord, I see Thee face to face _Horatius Bonar_,
1808-89
Entitled by the author, “This Do in Remembrance of Me.”
It is a famous communion hymn, emphasizing, in keeping with the Reformed
tradition, the thought that Christ Himself presides at His Table. All
His followers are therefore welcome.
Three members of the Bonar family became eminent ministers in the Free
Church of Scotland (Presbyterian)—Andrew in Glasgow; John in Greenock;
and Horatius in Edinburgh. Horatius was accustomed to visit his brother
John once a year at the communion service. Hymns were still not
permitted to be sung in the church, but an original poem was invariably
read after the communion. This hymn was written by Horatius Bonar at the
request of his brother John for the occasion of such a visit in October,
1855. It has become a widely used communion hymn in all churches.
For further comments on Horatius Bonar see Hymn 129.
_MUSIC._ LANGRAN, known in England as “St. Agnes,” is named after the
composer, James Langran, 1835-1909, London organist and composer, who
wrote this music for “Abide with me” (40). It was published separately
in 1861 and two years later appeared in _Psalms and Hymns adapted to the
services of the Church of England, with accompanying tunes selected and
revised by John Foster_.
The hymn is also sung to “Ellers” (See 43 or 286).
304. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826
“A quiet communion hymn full of loveliness and warm reality of
faith.”—Reeves.
This popular communion hymn by Bishop Heber was published posthumously
with the title, “Before the Sacrifice.”
For comments on Reginald Heber see Hymn 1.
_MUSIC._ EUCHARISTIC HYMN, a tune “beautiful in its simplicity,” has
always been associated with this hymn by Heber. The composer, John
Sebastian Bach Hodges, 1830-1915, son of the illustrious organist,
Edward Hodges, was born in Bristol, England, but came to America when
eight years old. He received his education at Columbia University and
General Theological Seminary, New York City, and became a noted minister
in the Protestant Episcopal Church. He had excellent musical knowledge
and founded in Baltimore the earliest choir school in the United States.
He also did much work on the various revisions of the Episcopal hymnal.
305. According to Thy gracious word _James Montgomery_, 1771-1854
One of the best-loved and most useful of communion hymns, profound, yet
simple. It appeared first in Montgomery’s _Christian Psalmist_, 1825,
and has since passed into the hymn books of all denominations of
evangelical Christians. The words of Luke 22:19 furnish the scriptural
basis of the hymn: “This do in remembrance of me.”
For comments on James Montgomery see Hymn 62.
_MUSIC._ ST. JOHN, more properly called “St. John’s, Westminster,” was
composed by James Turle, 1802-82.
For comments on James Turle see Hymn 283.
306. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826
The _Church Hymnary_, London, 1927, has the following practical note at
the bottom of the page where this hymn appears:
As this hymn consists of one verse only, it is suggested that it be
sung twice over: once by the choir alone, and again by choir and
people in unison. It may also be used as a short motet for
unaccompanied singing by the choir.
For further comments on this hymn see No. 304.
_MUSIC._ RENDEZ À DIEU was composed or adapted by L. Bourgeois for the
_French Genevan Psalter_, where it was set to Psalm 118. In the
_Scottish Psalter_ of 1564, the tune was again used to John Craig’s
version of the same Psalm. It is described in _Songs of Praise
Discussed_ as being “in some ways the finest of all the early psalm
tunes ... perfectly proportioned ... a tune which gives the true ‘spinal
thrill’; of its kind it is unsurpassed.”
For comments on L. Bourgeois see Hymn 34.
307. Come, risen Lord, and deign to be our guest _George W. Briggs_,
1875—
Based on the account of the supper at Emmaus, Luke 24:28-31:
And they drew nigh unto the village, whither they went: and he made as
though he would have gone further. But they constrained him saying,
Abide with us: for it is toward evening, and the day is far spent. And
he went in to tarry with them. And it came to pass, as he sat at meat
with them, he took bread, and blessed it, and brake, and gave to them.
And their eyes were opened, and they knew him; and he vanished out of
their sight.
It stresses the doctrine that Christ Himself is the celebrant at the
Lord’s Supper.
George Wallace Briggs is a Cambridge scholar, an outstanding preacher,
educator, writer, and editor in the Anglican church. He has composed a
number of hymns (See 570) and hymn tunes.
_MUSIC._ BIRMINGHAM is from F. Cunningham’s _A Selection of Psalm
Tunes_, 2d ed., 1834, where it is set to the words, “Come, gracious
Spirit, heavenly dove.” Cunningham published an earlier collection of
psalm tunes in 1826.
308. I hunger and I thirst _John S. B. Monsell,_ 1811-75
A simple, tender, communion hymn which ought to have a wider use.
John Samuel Bewley Monsell was educated at Trinity College, Dublin;
labored for a number of years in the church in Ireland; and then became
vicar of Egham in the Diocese of Worcester, England, and finally rector
of St. Nicholas, Guildford. His home life at Guildford is described as
having been “full of the beauty of holiness, with genial brightness and
gaity playing like sunshine over all the troubles of life.” His life
came to a tragic end when he fell from the roof of the church while it
was being rebuilt. He composed about 300 hymns and is the author of many
other poetic works.
_MUSIC._ MAINZ (MARIA JUNG UND ZART) originally appeared in a Catholic
book, _Ausserlesene Catholische, Geistliche Kirchengesänge von
Pfingsten, biss zum Advent_, Cologne, 1632. It was slightly changed and
printed in its present form in _Psalteriolum Harmonicum Sacrarum
Cantilenarum_, 1642.
309. Author of life divine _Charles Wesley,_ 1707-88
This fine communion hymn is from _Hymns on the Lord’s Supper_, 1745, by
John and Charles Wesley. It is attributed in many hymnals to Charles,
but there is no conclusive evidence to show which of the two brothers
wrote it. The thought of the hymn is said to be in full accord with
John’s teaching concerning the Holy Communion.
For comments on Charles Wesley see Hymn 6.
_MUSIC._ WESLEY. The original source of this tune has not been traced.
In the _English Hymnal_ it is set to the words, “Behold a little child.”
The tune should not be confused with Lowell Mason’s of the same name
(See 332).
310. By Christ redeemed, in Christ restored _George Rawson_, 1807-89
Written in 1857 and published first in a Baptist book, _Psalms and
Hymns_, 1858.
Julian comments: “It is a hymn of more than usual excellence and has
attained to a greater position in modern hymnals than any other of the
author’s numerous compositions.”
The refrain, “Until He come,” is reminiscent of I Cor. 11:26: “For as
oft as ye eat this bread and drink this cup, ye do shew forth the Lord’s
death, till he come.”
For comments on George Rawson see Hymn 297.
_MUSIC._ IN MEMORIAM. For comments on the composer of this tune,
Frederick Charles Maker, 1844-1927, see Hymn 112.
311. Bread of heaven, on Thee we feed _Josiah Conder_, 1789-1855
The hymn appeared in the author’s _Star of the East_, 1821, as “Bread of
heaven, on Thee I feed.” The first person singular was altered to the
plural throughout, and other changes made, improving the original.
For comments on Josiah Conder see Hymn 247.
_MUSIC._ ALETTA is by the American composer of popular church and Sunday
school music, William B. Bradbury, 1816-68. For further comments on
Bradbury see Hymn 103.
Conder’s hymn may also be sung to “_Nicht so traurig_” (538).
MARRIAGE
312. O perfect Love, all human thought transcending _Dorothy
Blomfield Gurney_, 1858-1932
_Doxology added by John Ellerton_, 1826-93
A singularly appropriate hymn for a Christian wedding. The author,
Dorothy Gurney, born near London in 1858, was the daughter of Rev.
Frederick Blomfield, a minister of the Anglican Church. She married a
minister’s son, Gerald Gurney, and with her husband, united with the
Roman Catholic Church in 1919. Mrs. Gurney has given the following
account of the writing of this popular hymn for holy matrimony:
We were all singing hymns one Sunday evening and had just finished “O
Strength and Stay,” the tune to which was an especial favorite of my
sister’s, when someone remarked what a pity it was that the words
should be unsuitable for a wedding. My sister, turning suddenly to me,
said: “What is the use of a sister who composes poetry if she cannot
write me new words to this tune?” I picked up a hymn-book and said:
“Well, if no one will disturb me, I will go into the library and see
what I can do.” After about fifteen minutes I came back with the hymn,
“O perfect Love,” and there and then we all sang it to the tune of
“Strength and Stay.” It went perfectly, and my sister was delighted,
saying that it must be sung at her wedding. For two or three years it
was sung privately at many London weddings, and then it found its way
into the hymnals. The writing of it was no effort whatever after the
initial idea had come to me of the twofold aspect of perfect union,
love and life; and I have always felt that God helped me to write it.
It is the most popular wedding hymn extant.
For comments on John Ellerton, who added the third stanza, see Hymn 42.
_MUSIC._ PERFECT LOVE is from an anthem composed by Joseph Barnby for
the marriage of Princess Louise of Wales to the Duke of Fife, July 27,
1889. The anthem has been sung at many subsequent royal weddings.
For comments on Joseph Barnby see Hymn 21.
BURIAL OF THE DEAD
313. Safe in the arms of Jesus _Fanny J. Crosby_, 1820-1915
Written April 30, 1868, at the request of W. H. Doane, composer of the
tune to which it was to be sung. The hymn and tune were published first
in _Songs of Devotion for Christian Associations_, 1870. It is a tender
lyric which has given peace and satisfaction to many who have faced
death and especially to mothers who have lost children.
Fanny Crosby, born in Putnam County, N. Y., became blind when six weeks
old as the result of an application of a warm poultice to her eyes. She
was educated in the New York (City) Institute for the Blind and there
served as a teacher for a time. In 1858, she was married to Alexander
van Alstyne, a blind musician. Miss Crosby began writing verses when a
child of eight years and throughout her long life showed a marvelous
facility for expression in poetry, which resulted in the writing of
nearly 6,000 hymns besides many secular poems. Many of her hymns were
written for W. H. Doane, Robert Lowry, Philip Phillips, Ira Sankey, and
others who were editors of evangelistic song books. She is best known by
her maiden name but also wrote under her married name and 216 _noms de
plume_. She was a member of the Methodist Episcopal Church. Ten of her
hymns are in the _Hymnary_.
_MUSIC._ SAFE IN THE ARMS, also known as “Refuge,” was composed by
William Howard Doane, 1832-1916, a manufacturer of wood-working
machinery in Cincinnati, Ohio. He was a member of the Baptist Church and
served many years as superintendent of the Sunday school in his church.
A music enthusiast, he published 35 collections of song books and
composed numerous hymn tunes, anthems, and cantatas. In 1875, Denison
University, Granville, Ohio, conferred on him the degree of Doctor of
Music.
314. Asleep in Jesus.... _Margaret Mackay_, 1802-87
Written by Margaret Mackay, wife of a distinguished officer in the
English army. She composed numerous hymns and poems, but none is so
widely known as this tender lyric so often used as a funeral hymn, which
she entitled, “Burial of the Dead.” The hymn was suggested by an
inscription she saw on a tombstone in the burying ground of Pennycross
Chapel, a rural spot in Devonshire:
“Sleeping in Jesus.”
One stanza, the fifth, has been omitted. It reads:
Asleep in Jesus: time nor space
Debars this precious “hiding place.”
On Indian plains or Lapland snows
Believers find the same repose.
The hymn was first published in _The Amethyst_, 1832, in Edinburgh.
_MUSIC._ REST. For comments on the composer, William B. Bradbury, see
Hymn 103.
315. Now the laborer’s task is o’er _John Ellerton_, 1826-93
Written for _Church Hymns_, 1871, by John Ellerton, distinguished
hymnist of the Church of England. His biographer has written concerning
this hymn:
We now come to the loveliest and most loved of Mr. Ellerton’s hymns.
It has been sung and will continue to be sung at the graveside of
princes, divines, statesmen, poets, artists, authors, as well as many
a Christian labourer of humble life.
For comments on John Ellerton see Hymn 42.
_MUSIC._ REQUIESCAT was written for this hymn. It appeared first in
_Hymns Ancient and Modern_, 1875. For comments on the composer, John B.
Dykes, see Hymn 1.
316. O Lord of life, where’er they be _Frederick L. Hosmer_, 1840-1929
This hymn, a source of comfort and courage to many mourners, was
composed by Hosmer in 1888 for the Easter service in his own church in
Cleveland, Ohio.
The note of triumph runs throughout the hymn, each stanza ending with a
jubilant “Allelujah.” It was written to be sung with Palestrina’s tune,
“Victory.”
For comments on Frederick Hosmer see Hymn 72.
_MUSIC._ VICTORY. For comments on this tune see Hymn 116.
BURIAL OF THE DEAD
317. For all the saints _William W. How_, 1823-97
The original, in eleven stanzas, was published in 1864 in _Hymns for
Saints’ Days_, by a layman, Lord Nelson. One of the omitted stanzas
reads:
For the Apostles’ glorious company
Who, bearing forth the Cross o’er land and sea,
Shook all the mighty world, we sing to Thee.
For comments on William How see Hymn 144.
_MUSIC._ SARUM. The tune was composed for the _Sarum Hymnal_, 1869, for
these words by Bishop How. It is also known as “St. Philip” and “For All
the Saints.”
For comments on the composer, Joseph Barnby, see Hymn 21.
318. We cannot think of them as dead _Frederick L. Hosmer_, 1840-1929
Written in 1876 after the death by drowning of a young member of the
church of which the author was minister.
For comments on the author, Frederick L. Hosmer, see Hymn 72.
_MUSIC._ ST. FLAVIAN is from the _English Psalter_ of 1562 which was
printed by John Day in London. The present is the first half, with some
alterations, of the tune set to Psalm 132.
319. Come, let us join our friends above _Charles Wesley_, 1707-88
The first of a group of _Funeral Hymns_, published in 1759. It sets
forth the assurance that friends gone before are not lost to those who
mourn,
For all the servants of the King
In earth and heaven are one.
This hymn, one of Wesley’s greatest, has had wide use throughout the
English speaking world in times of sorrow and loss of loved ones. It is
an exposition of the words of the ancient Creed, “I believe in the
communion of saints.”
The third and fourth verses, containing the idea of One Church, are
among the finest in the whole range of hymnody.
The hymn was a great favorite of John Wesley. It so happened that he
gave it out to be sung at a service he was conducting, at the very hour
of the death of his brother Charles, giving the hymn a peculiarly
pathetic interest.
For comments on Charles Wesley see Hymn 6.
_MUSIC._ DUNDEE. For comments on this tune see Hymn 297.
CHURCH UNITY
320. In Christ there is no East or West _John Oxenham_, 1852-1941
A poem of human brotherhood, carrying a fine missionary message much
needed in our day. It is written in the spirit of St. Paul—“where there
is neither Greek nor Jew, circumcision nor uncircumcision, Barbarian,
Scythian, bond nor free: but Christ is all and in all,” Col. 3:11. It
stands in striking contrast to Kipling’s more narrow nationalism in his
“East is East, and West is West, and never the twain shall meet.”
This hymn which has now found its way into most modern hymn books was
written for a missionary pageant, _The Pageant of Darkness and Light_,
which the London Missionary Society asked the author to write, for use
in connection with a great missionary exhibition in London, an affair
which ran for a month and did much to stimulate interest in missions in
all the churches. Oxenham wrote the _libretto_ and planned the scenes
for the pageant. The composer of the music, Hamish MacCunn, sent to him
in a hurry one day for a few verses to fill in a gap. To this request
Oxenham responded with the beautiful, simple lines, “No East or West.”