HYMNS OF HOPE AND CONSOLATION.
"JERUSALEM THE GOLDEN."
_Urbs Sion Aurea._
"The Seven Great Hymns" of the Latin Church are:
Laus Patriae Coelestis,--(Praise of the Heavenly Country).
Veni, Sancte Spiritus,--(Come, Holy Spirit)
Veni, Creator Spiritus,--(Come, Creator Spirit)
Dies Irae,--(The Day of Wrath)
Stabat Mater,--(The Mother Stood By)
Mater Speciosa,--(The Fair Mother.)
Vexilla Regis.--(The Banner of the King.)
Chief of these is the first named, though that is but part of a
religious poem of three thousand lines, which the author, Bernard of
Cluny, named "De Contemptu Mundi" (Concerning Disdain of the World.)
Bernard was of English parentage, though born at Morlaix, a seaport town
in the north of France. The exact date of his birth is unknown, though
it was probably about A.D. 1100. He is called Bernard of Cluny because
he lived and wrote at that place, a French town on the Grone where he
was abbot of a famous monastery, and also to distinguish him from
Bernard of Clairvaux.
His great poem is rarely spoken of as a whole, but in three portions, as
if each were a complete work. The first is the long exordium, exhausting
the pessimistic title (contempt of the world), and passing on to the
second, where begins the real "Laus Patriae Coelestis." This being cut
in two, making a third portion, has enriched the Christian world with
two of its best hymns, "For Thee, O Dear, Dear Country," and "Jerusalem
the Golden."
Bernard wrote the medieval or church Latin in its prime of literary
refinement, and its accent is so obvious and its rhythm so musical that
even one ignorant of the language could pronounce it, and catch its
rhymes. The "Contemptu Mundi" begins with these two lines, in a
hexameter impossible to copy in translation:
Hora novissima; tempora pessima sunt; Vigilemus!
Ecce minaciter imminet Arbiter, Ille Supremus!
'Tis the last hour; the times are at their worst;
Watch; lo the Judge Supreme stands threat'ning nigh!
Or, as Dr. Neale paraphrases and softens it,--
The World is very evil,
The times are waxing late,
Be sober and keep vigil,
The Judge is at the gate,
--and, after the poet's long, dark diorama of the world's wicked
condition, follows the "Praise of the Heavenly Fatherland," when a
tender glory dawns upon the scene till it breaks into sunrise with the
vision of the Golden City. All that an opulent and devout imagination
can picture of the beauty and bounty of heaven, and all that faith can
construct from the glimpses in the Revelation of its glory and happiness
is poured forth in the lavish poetry of the inspired monk of Cluny--
Urbs Sion aurea, patria lactea, cive decora,
Omne cor obruis, omnibus obstruis, et cor et ora.
Nescio, nescio quae jubilatio lux tibi qualis,
Quam socialia gaudia, gloria quam specialis.
Jerusalem, the golden;
With milk and honey blest;
Beneath thy contemplation
Sink heart and voice opprest.
I know not, O I know not
What joys await us there,
With radiancy of glory,
With bliss beyond compare.
They stand, those halls of Zion,
All jubilant with song,[47]
And bright with many an angel;
And all the martyr throng.
The Prince is ever in them,
The daylight is serene;
The pastures of the blessed
Are decked in glorious sheen.
* * * * *
O sweet and blessed country,
The home of God's elect!
O sweet and blessed country,
That eager hearts expect!
Jesu, in mercy bring us
To that dear land of rest,
Who art, with God the Father,
And Spirit, ever blest.
[Footnote 47: In first editions, "_conjubilant_ with song."]
Dr. John Mason Neale, the translator, was obliged to condense Bernard's
exuberant verse, and he has done so with unsurpassable grace and melody.
He made his translation while "inhibited" from his priestly functions in
the Church of England for his high ritualistic views and practice, and
so poor that he wrote stories for children to earn his living. His
poverty added to the wealth of Christendom.
_THE TUNE._
The music of "Jerusalem the Golden" used in most churches is the
composition of Alexander Ewing, a paymaster in the English army. He was
born in Aberdeen, Scotland, Jan. 3d, 1830, and educated there at
Marischal College. The tune bears his name, and this honor, and its
general favor with the public, are so much testimony to its merit. It is
a stately harmony in D major with sonorous and impressive chords. Ewing
died in 1895.
"WHY SHOULD WE START AND FEAR TO DIE?"
Probably it is an embarrassment of riches and despair of space that have
crowded this hymn--perhaps the sweetest that Watts ever wrote--out of
some of our church singing-books. It is pleasant to find it in the new
_Methodist Hymnal_, though with an indifferent tune.
Christians of today should surely sing the last two stanzas with the
same exalted joy and hope that made them sacred to pious generations
past and gone--
O if my Lord would come and meet,
My soul would stretch her wings in haste.
Fly fearless through death's iron gate,
Nor feel the terrors as she passed.
Jesus can make a dying bed
Feel soft as downy pillows are,
While on His breast I lean my head
And breathe my life out sweetly there.
_THE TUNE._
The plain-music of William Boyd's "Pentecost," (with modulations in the
tenor), creates a new accent for the familiar lines. Preferable in every
sense are Bradbury's tender "Zephyr" or "Rest."
No coming generation will ever feel the pious gladness of Amariah Hall's
"All Saints New" in E flat major as it stirred the Christian choirs of
seventy five years ago. Fitted to this heart-felt lyric of Watts, it
opened with the words--
O if my Lord would come and meet,
in full harmony and four-four time, continuing to the end of the stanza.
The melody, with its slurred syllables and beautiful modulations was
almost blithe in its brightness, while the strong musical bass and the
striking chords of the "counter," chastened it and held the anthem to
its due solemnity of tone and expression. Then the fugue took up--
Jesus can make a dying bed,
--bass, treble and tenor adding voice after voice in the manner of the
old "canon" song, and the full harmony again carried the words, with
loving repetitions, to the final bar. The music closed with a minor
concord that was strangely effective and sweet.
Amariah Hall was born in Raynham, Mass., April 28, 1785, and died there
Feb. 8, 1827. He "farmed it," manufactured straw-bonnets, kept tavern
and taught singing-school. Music was only an avocation with him, but he
was an artist in his way, and among his compositions are found in some
ancient Tune books his "Morning Glory," "Canaan," "Falmouth,"
"Restoration," "Massachusetts," "Raynham," "Crucifixion," "Harmony,"
"Devotion," "Zion," and "Hosanna."
"All Saints New" was his masterpiece.
"WHEN I CAN READ MY TITLE CLEAR."
No sacred song has been more profanely parodied by the thoughtless, or
more travestied, (if we may use so strong a word), in popular religious
airs, than this golden hymn which has made Isaac Watts a benefactor to
every prisoner of hope. Not to mention the fancy figures and refrains
of camp-meeting music, which have cheapened it, neither John Cole's
"Annapolis" nor Arne's "Arlington" nor a dozen others that have borrowed
these speaking lines, can wear out their association with "Auld lang
Syne." The hymn has permeated the tune, and, without forgetting its own
words, the Scotch melody preforms both a social and religious mission.
Some arrangements of it make it needlessly repetitious, but its pathos
will always best vocalize the hymn, especially the first and last
stanzas--
When I can read my title clear
To mansions in the skies
I'll bid farewell to every fear
And wipe my weeping eyes.
* * * * *
There shall I bathe my weary soul
In seas of heavenly rest,
And not a wave of trouble roll
Across my peaceful breast.
"VITAL SPARK OF HEAVENLY FLAME."
This paraphrase, by Alexander Pope, of the Emperor Adrian's death-bed
address to his soul--
Animula, vagula, blandula,
Hospes, comesque corporis,
--transfers the poetry and constructs a hymnic theme.
An old hymn writer by the name of Flatman wrote a Pindaric, somewhat
similar to "Adrian's Address," as follows:
When on my sick-bed I languish,
Full of sorrow, full of anguish,
Fainting, gasping, trembling, crying,
Panting, groaning, speechless, dying;
Methinks I hear some gentle spirit say,
"Be not fearful, come away."
Pope combined these two poems with the words of Divine inspiration, "O
death, where is thy sting? O grave, where is thy victory?" and made a
pagan philosopher's question the text for a triumphant Christian anthem
of hope.
Vital spark of heavenly flame,
Quit, oh quit this mortal frame.
Trembling, hoping, ling'ring, flying,
Oh the pain, the bliss of dying!
Cease, fond nature, cease thy strife,
And let me languish into life.
Hark! they whisper: angels say,
"Sister spirit, come away!"
What is this absorbs me quite,
Steals my senses, shuts my sight,
Drowns my spirit, draws my breath,
Tell me, my soul, can this be death?
The world recedes: it disappears:
Heaven opens on my eyes; my ears
With sounds seraphic ring.
Lend, lend your wings! I mount! I fly!
O grave where is thy victory?
O death, where is thy sting?
_THE TUNE._
The old anthem, "The Dying Christian," or "The Dying Christian to his
Soul," which first made this lyric familiar in America as a musical
piece, will never be sung again except at antique entertainments, but it
had an importance in its day.
Beginning in quadruple time on four flats minor, it renders the first
stanza in flowing concords largo affettuoso, and a single bass fugue,
Then suddenly shifting to one flat, major, duple time, it executes the
second stanza, "Hark! they whisper" ... "What is this, etc.," in
alternate pianissimo and forte phrases; and finally, changing to triple
time, sings the third triumphant stanza, andante, through staccato and
fortissimo. The shout in the last adagio, on the four final bars, "O
Death! O Death!" softening with "where is thy sting?" is quite in the
style of old orchestral magnificence.
Since "The Dying Christian" ceased to appear in church music, the poem,
for some reason, seems not to have been recognized as a hymn. It is,
however, a Christian poem, and a true lyric of hope and consolation,
whatever the character of the author or however pagan the original that
suggested it.
The most that is now known of Edward Harwood, the composer of the
anthem, is that he was an English musician and psalmodist, born near
Blackburn, Lancaster Co., 1707, and died about 1787.
"YOUR HARPS, YE TREMBLING SAINTS."
This hymn of Toplady,--unlike "A Debtor to Mercy Alone," and "Inspirer
and Hearer of Prayer," both now little used,--stirs no controversial
feeling by a single line of his aggressive Calvinism. It is simply a
song of Christian gratitude and joy.
Your harps, ye trembling saints
Down from the willows take;
Loud to the praise of Love Divine
Bid every string awake.
Though in a foreign land,
We are not far from home,
And nearer to our house above
We every moment come.
* * * * *
Blest is the man, O God,
That stays himself on Thee,
Who waits for Thy salvation, Lord,
Shall Thy salvation see.
_THE TUNE._
"Olmutz" was arranged by Lowell Mason from a Gregorian chant. He set it
himself to Toplady's hymn, and it seems the natural music for it. The
words are also sometimes written and sung to Jonathan Woodman's "State
St."
Jonathan Call Woodman was born in Newburyport, Mass., July 12, 1813. He
was the organist of St. George's Chapel, Flushing L.I. and a teacher,
composer and compiler. His _Musical Casket_ was not issued until Dec.
1858, but he wrote the tune of "State St." in August, 1844. It was a
contribution to Bradbury's _Psalmodist_, which was published the same
year.
"YE GOLDEN LAMPS OF HEAVEN, FAREWELL."
Dr. Doddridge's "farewell" is not a note of regret. Unlike Bernard, he
appreciates this world while he anticipates the better one, but his
contemplation climbs from God's footstool to His throne. His thought is
in the last two lines of the second stanza, where he takes leave of the
sun--
My soul that springs beyond thy sphere
No more demands thine aid.
But his fancy will find a function for the "golden lamps" even in the
glory that swallows up their light--
Ye stars are but the shining dust
Of my divine abode,
The pavement of those heavenly courts
Where I shall dwell with God.
The Father of eternal light
Shall there His beams display,
Nor shall one moment's darkness mix
With that unvaried day.
_THE TUNE._
The hymn has been assigned to "Mt. Auburn," a composition of George
Kingsley, but a far better interpretation--if not best of all--is H.K.
Oliver's tune of "Merton," (1847,) older, but written purposely for the
words.
"TRIUMPHANT ZION, LIFT THY HEAD."
This fine and stimulating lyric is Doddridge in another tone. Instead of
singing hope to the individual, he sounds a note of encouragement to
the church.
Put all thy beauteous garments on,
And let thy excellence be known;
Decked in the robes of righteousness,
The world thy glories shall confess.
* * * * *
God from on high has heard thy prayer;
His hand thy ruins shall repair,
Nor will thy watchful Monarch cease
To guard thee in eternal peace.
The tune, "Anvern," is one of Mason's charming melodies, full of vigor
and cheerful life, and everything can be said of it that is said of the
hymn. Duffield compares the hymn and tune to a ring and its jewel.
It is one of the inevitable freaks of taste that puts so choice a strain
of psalmody out of fashion. Many younger pieces in the church manuals
could be better spared.
"SHRINKING FROM THE COLD HAND OF DEATH."
This is a hymn of contrast, the dark of recoiling nature making the
background of the rainbow. Written by Charles Wesley, it has passed
among his forgotten or mostly forgotten productions but is notable for
the frequent use of its 3rd stanza by his brother John. John Wesley, in
his old age, did not so much shrink from death as from the thought of
its too slow approach. His almost constant prayer was, "Lord, let me not
live to be useless." "At every place," says Belcher, "after giving to
his societies what he desired them to consider his last advice, he
invariably concluded with the stanza beginning--
"'Oh that, without a lingering groan,
I may the welcome word receive.
My body with my charge lay down,
And cease at once to work and live.'"
The anticipation of death itself by both the great evangelists ended
like the ending of the hymn--
No anxious doubt, no guilty gloom
Shall daunt whom Jesus' presence cheers;
My Light, my Life, my God is come,
And glory in His face appears.
"FOREVER WITH THE LORD."
Montgomery had the Ambrosian gift of spiritual song-writing. Whatever
may be thought of his more ambitious descriptive or heroic pages of
verse, and his long narrative poems, his lyrics and cabinet pieces are
gems. The poetry in some exquisite stanzas of his "Grave" is a dream of
peace:
There is a calm for those who weep,
A rest for weary mortals found;
They softly lie and sweetly sleep
Low in the ground.
The storms that wreck the winter's sky
No more disturb their deep repose
Than summer evening's latest sigh
That shuts the rose.
But in the poem, "At Home in Heaven," which we are considering--with its
divine text in I Thess. 4:17--the Sheffield bard rises to the heights of
vision. He wrote it when he was an old man. The contemplation so
absorbed him that he could not quit his theme till he had composed
twenty-two quatrains. Only four or five--or at most only seven of
them--are now in general use. Like his "Prayer is the Soul's Sincere
Desire," they have the pith of devotional thought in them, but are less
subjective and analytical.
Forever with the Lord!
Amen, so let it be,
Life from the dead is in that word;
'Tis immortality.
Here in the body pent,
Absent from Him I roam,
Yet nightly pitch my moving tent
A day's march nearer home.
My Father's house on high!
Home of my soul, how near
At times to faith's foreseeing eye
Thy golden gates appear.
I hear at morn and even,
At noon and midnight hour,
The choral harmonies of heaven
Earth's Babel tongues o'erpower.
The last line has been changed to read--
Seraphic music pour,
--and finally the hymnals have dropped the verse and substituted others.
The new line is an improvement in melody but not in rhyme, and,
besides, it robs the stanza of its leading thought--heaven and earth
offsetting each other, and heavenly music drowning earthly noise--a
thought that is missed even in the rich cantos of "Jerusalem the
Golden."
_THE TUNES._
Nearly the whole school of good short metre tunes, from "St. Thomas" to
"Boylston" have offered their notes to Montgomery's "At Home in Heaven,"
but the two most commonly recognized as its property are "Mornington,"
named from Lord Mornington, its author, and I.B. Woodbury's familiar
harmony, "Forever with the Lord."
Garret Colley Wellesley, Earl of Mornington, and ancestor of the Duke of
Wellington, was born in Dagan, Ireland, July 19, 1735. Remarkable for
musical talent when a child, he became a skilled violinist, organ-player
and composer in boyhood, with little aid beyond his solitary study and
practice. When scarcely twenty-one, the University of Dublin conferred
on him the degree of Doctor of Music, and a professorship. He excelled
as a composer of glees, but wrote also tunes and anthems for the church,
some of which are still extant in the choir books of the Dublin
Cathedral Died March 22, 1781.
"HARK! HARK, MY SOUL!"
The Methodist Reformation, while it had found no practical sympathy
within the established church, left a deep sense of its reason and
purpose in the minds of the more devout Episcopalians, and this feeling,
instead of taking form in popular revival methods, prompted them to
deeper sincerity and more spiritual fervor in their traditional rites of
worship. Many of the next generation inherited this pious
ecclesiasticism, and carried their loyalty to the old Christian culture
to the extreme of devotion till they saw in the sacraments the highest
good of the soul. It was Keble's "Christian Year" and his "Assize
Sermon" that began the Tractarian movement at Oxford which brought to
the front himself and such men as Henry Newman and Frederick William
Faber.
The hymns and sacred poems of these sacramentarian Christians would
certify to their earnest piety, even if their lives were unknown.
Faber's hymn "Hark, Hark My Soul," is welcomed and loved by every
Christian sect for its religious spirit and its lyric beauty.
Hark! hark, my soul! angelic songs are swelling
O'er earth's green fields and ocean's wave-beat shore;
How sweet the truth those blessed strains are telling
Of that new life where sin shall be no more.
REFRAIN
Angels of Jesus, angels of light
Singing to welcome the pilgrims of the night.
Onward we go, for still we hear them singing
"Come, weary souls, for Jesus bids you come,"
And through the dark, its echoes sweetly ringing,
The music of the gospel leads us home.
Angels of Jesus.
Far, far away, like bells at evening pealing,
The voice of Jesus sounds o'er land and sea,
And laden souls, by thousands meekly stealing,
Kind Shepherd, turn their weary steps to Thee.
Angels of Jesus.
_THE TUNES._
John B. Dykes and Henry Smart--both masters of hymn-tune
construction--have set this hymn to music. "Vox Angelica" in B flat, the
work of the former, is a noble composition for choir or congregation,
but "Pilgrim," the other's interpretation, though not dissimilar in
movement and vocal range, has, perhaps, the more sympathetic melody. It
is, at least, the favorite in many localities. Some books print the two
on adjacent pages as optionals.
Another much-loved hymn of Faber's is--
O Paradise, O Paradise!
Who doth not crave for rest?
Who would not see the happy land
Where they that loved are blest?
REFRAIN
Where loyal hearts and true
Stand ever in the light,
All rapture through and through
In God's most holy sight.
O Paradise, O Paradise,
The world is growing old;
Who would not be at rest and free
Where love is never cold.
Where loyal hearts and true.
O Paradise, O Paradise,
I greatly long to see
The special place my dearest Lord,
In love prepares for me.
Where loyal hearts and true.
This aspiration, from the ardent soul of the poet has been interpreted
in song by the same two musicians, and by Joseph Barnby--all with the
title "Paradise." Their similarity of style and near equality of merit
have compelled compilers to print at least two of them side by side for
the singers' choice. A certain pathos in the strains of Barnby's
composition gives it a peculiar charm to many, and in America it is
probably the oftenest sung to the words.
Dr. David Breed, speaking of Faber's "unusual" imagination, says, "He
got more out of language than any other poet of the English tongue, and
used words--even simple words--so that they rendered him a service which
no other poet ever secured from them." The above hymns are
characteristic to a degree, but the telling simplicity of his
style--almost quaint at times--is more marked in "There's a Wideness in
God's Mercy," given on p. 234.
[Illustration: Horatius Bonar, D.D.]
"BEYOND THE SMILING AND THE WEEPING."
This song of hope--one of the most strangely tuneful and rune-like of
Dr. Bonar's hymn-poems--is less frequently sung owing to the peculiarity
of its stanza form. But it scarcely needs a staff of notes--
Beyond the smiling and the weeping
I shall be soon;
Beyond the waking and the sleeping,
Beyond the sowing and the reaping
I shall be soon.
REFRAIN
Love, rest and home!
Sweet hope!
Lord, tarry not, but come.
* * * * *
Beyond the parting and the meeting
I shall be soon;
Beyond the farewell and the greeting,
Beyond the pulses' fever-beating
I shall be soon.
Love, rest and home!
Beyond the frost-chain and the fever
I shall be soon;
Beyond the rock-waste and the river
Beyond the ever and the never
I shall be soon.
Love, rest and home!
The wild contrasts and reverses of earthly vicissitude are spoken and
felt here in the sequence of words. Perpetual black-and-white through
time; then the settled life and untreacherous peace of eternity.
Everywhere in the song the note of heavenly hope interrupts the wail of
disappointment, and the chorus returns to transport the soul from the
land of emotional whirlwinds to unbroken rest.
_THE TUNES._
Mr. Bradbury wrote an admirable tune to this hymn, though the one since
composed by Mr. Stebbins has in some localities superseded it in popular
favor. Skill in following the accent and unequal rhythms produces a
melodious tone-poem, and completes the impression of Bonar's singular
but sweet lyric of hope which suggests a chant-choral rather than a
regular polyphonic harmony. W.A. Tarbutton and the young composer, Karl
Harrington, have set the hymn to music, but the success of their work
awaits the public test.
"WE SHALL MEET BEYOND THE RIVER."
The words were written by Rev. John Atkinson, D.D., in January, 1867,
soon after the death of his mother. He had been engaged in revival work
and one night in his study, "that song, in substance, seemed," he says,
"to sing itself into my heart." He said to himself, "I would better
write it down, or I shall lose it."
"There," he adds, "in the silence of my study, and not far from
midnight, I wrote the hymn."
We shall meet beyond the river
By and by, by and by;
And the darkness will be over
By and by, by and by.
With the toilsome journey done,
And the glorious battle won.
We shall shine forth as the sun
By and by, by and by.
The Rev. John Atkinson was born in Deerfield, N.J. Sept. 6, 1835. A
clergyman of the Methodist denomination, he is well-known as one of its
writers. The _Centennial History of American Methodism_ is his work, and
besides the above hymn, he has written and published _The Garden of
Sorrows_, and _The Living Way_. He died Dec. 8, 1897.
The tune to "We Shall Meet," by Hubert P. Main, composed in 1867,
exactly translates the emotional hymn into music. S.J. Vail also wrote
music to the words. The hymn, originally six eight-line stanzas, was
condensed at his request to its present length and form by Fanny Crosby.
"ONE SWEETLY SOLEMN THOUGHT."
Phebe Cary, the author of this happy poem, was the younger of the two
Cary sisters, Alice and Phebe, names pleasantly remembered in American
literature. The praise of one reflects the praise of the other when we
are told that Phebe possessed a loving and trustful soul, and her life
was an honor to true womanhood and a blessing to the poor. She had to
struggle with hardship and poverty in her early years: "I have cried in
the street because I was poor," she said in her prosperous years, "and
the poor always seem nearer to me than the rich."
When reputation came to her as a writer, she removed from her little
country home near Cincinnati, O., where she was born, in 1824, and
settled in New York City with her sister. She died at Newport, N.Y.,
July 31, 1871, and her hymn was sung at her funeral. Her remains rest in
Greenwood Cemetery.
"One Sweetly Solemn Thought," was written in 1852, during a visit to one
of her friends. She wrote (to her friend's inquiry) years afterwards
that it first saw the light "in your own house ... in the little back
third-story bedroom, one Sunday after coming from church." It was a
heart experience noted down without literary care or artistic effort,
and in its original form was in too irregular measure to be sung. She
set little value upon it as a poem, but when shown hesitatingly to
inquiring compilers, its intrinsic worth was seen, and various revisions
of it were made. The following is one of the best versions--stanzas one,
two and three:--
One sweetly solemn thought
Comes to me o'er and o'er,
I am nearer home to-day,
Than I ever have been before.
Nearer my Father's house,
Where the many mansions be,
Nearer the great white throne,
Nearer the crystal sea.
Nearer the bound of life,
Where we lay our burdens down,
Nearer leaving the cross
Nearer gaining the crown.
_THE TUNE._
The old revival tune of "Dunbar," with its chorus, "There'll be no more
sorrow there," has been sung to the hymn, but the tone-lyric of Philip
Phillips, "Nearer Home," has made the words its own, and the public are
more familiar with it than with any other. It was this air that a young
man in a drinking house in Macao, near Hong-Kong, began humming
thoughtlessly while his companion was shuffling the cards for a new
game. Both were Americans, the man with the cards more than twenty years
the elder. Noticing the tune, he threw down the pack. Every word of the
hymn had come back to him with the echo of the music.
"Harry, where did you learn that hymn?"
"What hymn?"
"Why the one you have been singing."
The young man said he did not know what he had been singing. But when
the older one repeated some of the lines, he said they were learned in
the Sunday-school.
"Come, Harry," said the older one, "here's what I've won from you. As
for me, as God sees me, I have played my last game, and drank my last
bottle. I have misled you, Harry, and I am sorry for it. Give me your
hand, my boy, and say that, for old America's sake, if for no other,
you will quit this infernal business."
Col. Russel H. Conwell, of Boston, (now Rev. Dr. Conwell of
Philadelphia) who was then visiting China, and was an eye-witness of the
scene, says that the reformation was a permanent one for both.
"I WILL SING YOU A SONG OF THAT BEAUTIFUL LAND."
One day, in the year 1865, Mrs. Ellen M.H. Gates received a letter from
Philip Phillips noting the passage in the _Pilgrim's Progress_ which
describes the joyful music of heaven when Christian and Hopeful enter on
its shining shore beyond the river of death, and asking her to write a
hymn in the spirit of the extract, as one of the numbers in his _Singing
Pilgrim_. Mrs. Gates complied--and the sequel of the hymn she wrote is
part of the modern song-history of the church. Mr. Phillips has related
how, when he received it, he sat down with his little boy on his knee,
read again the passage in Bunyan, then the poem again, and, turning to
his organ, pencil in hand, pricked the notes of the melody. "The 'Home
of the Soul,'" he says, "seems to have had God's blessing from the
beginning, and has been a comfort to many a bereaved soul. Like many
loved hymns, it has had a peculiar history, for its simple melody has
flowed from the lips of High Churchmen, and has sought to make itself
heard above the din of Salvation Army cymbals and drums. It has been
sung in prisons and in jailyards, while the poor convict was waiting to
be launched into eternity, and on hundreds of funeral occasions. One man
writes me that he has led the singing of it at one hundred and twenty
funerals. It was sung at my dear boy's funeral, who sat on my knee when
I wrote it. It is my prayer that God may continue its solace and
comfort. I have books containing the song now printed in seven different
languages."
A writer in the _Golden Rule_ (now the _Christian Endeavor World_) calls
attention to an incident on a night railroad train narrated in the late
Benjamin F. Taylor's _World on Wheels_, in which "this hymn appears as a
sort of Traveller's Psalm." Among the motley collection of passengers,
some talkative, some sleepy, some homesick and cross, all tired, sat two
plain women who, "would make capital country aunts.... If they were
mothers at all they were good ones." Suddenly in a dull silence, near
twelve o'clock, a voice, sweet and flexible, struck up a tune. The
singer was one of those women. "She sang on, one after another the good
Methodist and Baptist melodies of long ago," and the growing interest of
the passengers became chained attention when she began--
"I will sing you a song of that beautiful land,
The far-away home of the soul,
Where no storms can beat on the glittering strand,
While the years of eternity roll.
O, that home of the soul, in my visions and dreams,
Its bright jasper walls I can see;
Till I fancy but thinly the veil intervenes
Between the fair city and me."
"The car was a wakeful hush long before she had ended; it was as if a
beautiful spirit were floating through the air. None that heard will
ever forget. Philip Phillips can never bring that 'home of the soul' any
nearer to anybody. And never, I think, was quite so sweet a voice lifted
in a storm of a November night on the rolling plains of Iowa."
In an autograph copy of her hymn, sent to the editor, Mrs. Gates changes
"harps" to "palms." Is it an improvement? "Palms" is a word of two
meanings.
O how sweet it will be in that beautiful land,
So free from all sorrow and pain,
With songs on our lips and with harps in our hands
To meet one another again.
"THERE'S A LAND THAT IS FAIRER THAN DAY."
This belongs rather with "Christian Ballads" than with genuine hymns,
but the song has had and still has an uplifting mission among the lowly
whom literary perfection and musical nicety could not touch--and the
first two lines, at least, are good hymn-writing. Few of the best sacred
lyrics have been sung with purer sentiment and more affectionate fervor
than "The Sweet By-and-By." To any company keyed to sympathy by time,
place, and condition, the feeling of the song brings unshed tears.
As nearly as can be ascertained it was in the year 1867 that a man about
forty-eight years old, named Webster, entered the office of Dr. Bennett
in Elkhorn. Wis., wearing a melancholy look, and was rallied
good-naturedly by the doctor for being so blue--Webster and Bennett were
friends, and the doctor was familiar with the other's frequent fits of
gloom.
The two men had been working in a sort of partnership, Webster being a
musician and Bennett a ready verse-writer, and together they had created
and published a number of sheet-music songs. When Webster was in a fit
of melancholy, it was the doctor's habit to give him a "dose" of new
verses and cure him by putting him to work. Today the treatment turned
out to be historic.
"What's the matter now," was the doctor's greeting when his "patient"
came with the tell-tale face.
"O, nothing," said Webster. "It'll be all right by and by."
"Why not make a song of the sweet by and by?" rejoined the doctor,
cheerfully.
"I don't know," said Webster, after thinking a second or two. "If you'll
make the words, I'll write the music."
The doctor went to his desk, and in a short time produced three stanzas
and a chorus to which his friend soon set the notes of a lilting air,
brightening up with enthusiasm as he wrote. Seizing his violin, which
he had with him, he played the melody, and in a few minutes more he had
filled in the counterpoint and made a complete hymn-tune. By that time
two other friends, who could sing, had come in and the quartette tested
the music on the spot. Here different accounts divide widely as to the
immediate sequel of the new-born song.
A Western paper in telling its story a year or two ago, stated that
Webster took the "Sweet By and By" (in sheet-music form), with a batch
of other pieces, to Chicago, and that it was the only song of the lot
that Root and Cady would not buy; and finally, after he had tried in
vain to sell it, Lyon and Healy took it "out of pity," and paid him
twenty dollars. They sold eight or ten copies (the story continued) and
stowed it away with dead goods, and it was not till apparently a long
time after, when a Sunday-school hymn-book reprinted it, and began to
sell rapidly on its account, that the "Sweet By and By" started on its
career round the world.
This seems circumstantial enough, and the author of the hymn in his own
story of it might have chosen to omit some early particulars, but,
untrustworthy as the chronology of mere memory is, he would hardly
record immediate popularity of a song that lay in obscurity for years.
Dr. Bennett's words are, "I think it was used in public shortly after
[its production], for within two weeks children on the street were
singing it."
The explanation may be partly the different method and order of the
statements, partly lapses of memory (after thirty years) and partly in
collateral facts. The Sunday-school hymn-book was evidently _The Signet
Ring_, which Bennett and Webster were at work upon and into which first
went the "Sweet By and By"--whatever efforts may have been made to
dispose of it elsewhere or whatever copyright arrangement could have
warranted Mr. Healy in purchasing a song already printed. The _Signet
Ring_ did not begin to profit by the song until the next year, after a
copy of it appeared in the publishers' circulars, and started a demand;
so that the _immediate_ popularity implied in Doctor Bennett's account
was limited to the children of Elkhorn village.
The piece had its run, but with no exceptional result as to its hold on
the public, until in 1873 Ira D. Sankey took it up as one of his working
hymns. Modified from its first form in the "_Signet Ring_" with
pianoforte accompaniment and chorus, it appeared that year in _Winnowed
Hymns_ as arranged by Hubert P. Main, and it has so been sung ever
since.
Sanford Filmore Bennett, born in 1836, appears to have been a native of
the West, or, at least, removed there when a young man. In 1861 he
settled in Elkhorn to practice his profession. Died Oct., 1898.
Joseph Philbrick Webster was born in Manchester, N.H. March 22, 1819. He
was an active member of the Handel and Haydn Society, and various other
musical associations. Removed to Madison, Ind. 1851, Racine, Wis. 1856,
and Elkhorn, Wis., 1857, where he died Jan. 18, 1875. His _Signet Ring_
was published in 1868.
There's a land that is fairer than day,
And by faith I can see it afar
For the Father waits over the way
To prepare us a dwelling-place there.
CHORUS
In the sweet by and by
We shall meet on that beautiful shore.
We shall sing on that beautiful shore
The melodious songs of the blest,
And our spirits shall sorrow no more,
Nor sigh for the blessing of rest.
In the sweet by and by, etc.
"SUNSET AND EVENING STAR."
Was it only a poet's imagination that made Alfred Tennyson approach
perhaps nearest of all great Protestants to a sense of the real
"Presence," every time he took the Holy Communion at the altar? Whatever
the feeling was, it characterized all his maturer life, so far as its
spiritual side was known. His remark to a niece expressed it, while
walking with her one day on the seashore, "God is with us now, on this
down, just as truly as Jesus was with his two disciples on the way to
Emmaus."
Such a man's faith would make no room for dying terrors.
Sunset and evening star,
And one clear call for me,
And may there be no moaning of the bar
When I put out to sea,
But such a tide as, moving, seems asleep,
Too full for sound and foam,
When that which drew from out the boundless deep
Turns again home.
Twilight and evening bell,
And after that the dark,
And may there be no sadness of farewell
When I embark.
For though from out our bourne of time and place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crossed the bar.
Tennyson lived three years after penning this sublime prayer. But it was
his swan-song. Born at Somersby, Lincolnshire, Aug. 63 1809, dying at
Farringford, Oct. 6, 1892, he filled out the measure of a good old age.
And his prayer was answered, for his death was serene and dreadless. His
unseen Pilot guided him gently "across the bar"--and then _he saw Him_.
_THE TUNE._
Joseph Barnby's "Crossing the Bar" has supplied a noble choral to this
poem. It will go far to make it an accepted tone in church worship,
among the more lyrical strains of verse that sing hope and euthanasia.
"SAFE IN THE ARMS OF JESUS."
If Tennyson had the mistaken feeling (as Dr. Benson intimates) "that
hymns were expected to be commonplace," it was owing both to his mental
breeding and his mental stature. Genius in a colossal frame cannot
otherwise than walk in strides. What is technically a hymn he never
wrote, but it is significant that as he neared the Shoreless Sea, and
looked into the Infinite, his sense of the Divine presence instilled
something of the hymn spirit into his last verses.
Between Alfred Tennyson singing trustfully of his Pilot and Fanny Crosby
singing "Safe in the Arms of Jesus," is only the width of the choir. The
organ tone and the flute-note breathe the same song. The stately poem
and the sweet one, the masculine and the feminine, both have wings, but
while the one is lifted in anthem and solemn chant in the great
sanctuaries, the other is echoing Isaiah's tender text[48] in prayer
meeting and Sunday-school and murmuring it at the humble firesides like
a mother's lullaby.
[Footnote 48: Isa. 40:11.]
Safe in the arms of Jesus,
Safe on His gentle breast,
There by His love o'ershaded
Sweetly my soul shall rest.
Hark! 'tis the voice of angels
Borne in a song to me
Over the fields of glory,
Over the jasper sea.
REFRAIN
Safe in the arms of Jesus (1st four lines rep.).
Safe in the arms of Jesus,
Safe from corroding care,
Safe from the world's temptations,
Sin cannot harm me there.
Free from the blight of sorrow,
Free from my doubts and fears,
Only a few more trials,
Only a few more tears.
Safe in the arms of Jesus.
Jesus, my heart's dear refuge
Jesus has died for me;
Firm on the Rock of Ages
Ever my trust shall be,
Here let me with patience,
Wait till the night is o'er,
Wait till I see the morning
Break on the Golden Shore.
Safe in the arms of Jesus.
--Composed 1868.
_THE TUNE._
Those who have characterized the _Gospel Hymns_ as "sensational" have
always been obliged to except this modest lyric of Christian peace and
its sweet and natural musical supplement by Dr. W.H. Doane. No hurried
and high-pitched chorus disturbs the quiet beauty of the hymn, a simple
_da capo_ being its only refrain. "Safe in the Arms of Jesus" sang
itself into public favor with the pulses of hymn and tune beating
together.
INDEX OF NAMES.
ABBOT, Lyman, 237, 326
ABT, Franz, 228, 364
ADAMS, E., 369
ADAMS, John, 368
ADAMS, John Quincy, 293
ADAMS, Sarah F., 152
ADDISON, Joseph, 113, 114, 353
ADRIAN, (Emperor), 515
AIBLINGER, Johan Caspar, 357
ALDRICH, Jonathan, 287
ALEXANDER, Mrs. C.F., 414
ALLEN, George N., 412
ALLEN, J.O., 129
ALMOND, ----, 364, 365
ALTENBURG, Johan M., 84
AMBROSE, xiii, 1, 2, 3
ANATOLIUS, 354
APES, William, 265
ARATUS, 237
ARNE, Thomas A., 107, 108
ARNOLD, Matthew, 109
ARNOLD, S., 287
ATCHISON, John B., 451
ATKINSON, John, 528, 529
AUBER, Harriet, 168, 169
AUGUSTINE, ix, 2, 3
AVISON, Charles, 327
BACH, Emanuel, 9
BACH, Sebastian, 9, 71
BAILEY, Thomas H., 112
BAKER, Sir Henry, 57
BALDWIN, Thomas, 262
BARLOW, Joel, 242, 243
BARNBY, Joseph, 102, 111, 469, 500,
504, 526, 539
BARNES, Albert, 35
BARTHELEMON, F.H., 202, 222
BASIL THE GREAT, 56
BASSINI, ----, 444
BEANES, William, 333
BEDDOME, Benjamin, 160, 169
BEECHER, Henry Ward, 218
BEETHOVEN, Ludwig Von, 5, 193, 327, 338
BELCHER, Dr., 44
BENNETT, Sanford F., 535-537
BENSON, Louis F., 204, 206
BENTHAM, Jeremy, 97
BERKELEY, Bp. George, 324-326
BERNARD OF CLAIRVAUX, 100
BERNARD OF CLUNY, 407, 510, 511, 519
BERRIDGE, John, 122, 123, 503
BERTHOLD OF TOURS, 55
BEZA, Theodore, xvi
BIGLOW AND MAIN, 229
BILLINGS, William, 16, 327, 332, 333, 475
BISHOP, Sir Henry, 135
BLACKALL, C.R., 450
BLISS, Mrs. J. Worthington, 259
BLISS, Philip P., 155, 156, 319, 372,
421, 422, 424, 431,
436, 437, 442, 444, 454
BLOOMFIELD, Dorothy, 503
BOARDMAN, George Dana, 247
BOHLER, Peter, 46
BONAPARTE, Napoleon, 97, 389
BONAR, Horatius, 225, 226, 228,
309, 490, 415, 527
BONAR, James, 490
BONAVENTURA, 54, 458
BORTHWICK, Jane, 103, 499
BORTNIANSKY, Dimitri, 213
BOTTOME, Francis, 433
BOURDALOUE, 13
BOURGEOIS, Louis, 15
BOWRING, Sir John, 97, 98, 170, 501
BOYD, William, 513
BRADBURY, William B., 106, 107, 215,
217, 235, 311, 312,
363, 410, 513, 528
BRADY, Nicholas, 12, 14, 193
BRAINERD, David, 263
BREED, David R., 171, 176, 180, 226, 526
BROOKS, Charles T., 348
BROOKS, Bp. Phillips, x, 164, 169
BROWN, John, 342
BROWN, Phebe H., 229-232, 482
BROWN, Samuel, 232
BROWN, Theron, 188, 476, 480
BROWN, Timothy H., 229
BRUCE, Michael, 297
BRUNDAGE, ----, 454
BULL, John, 338
BURGMÜLLER, F., 425
BURNEY, Charles, 241, 407
BURNS, Robert, 333, 336, 367
BUTE, Walter, 379, 380
BUTTERWORTH, Hezekiah, v, vi, 186,
187, 252, 254
CALDWELL, William, 277
CAMPBELL, David E., 222
CAMPBELL, Jane M., 478
CAMPBELL, Robert, 61
CARADOC, ----, 381
CAREY, Henry, 339
CAREY, William, 172, 491, 492
CAROLINE, (Queen), 203
CARY, Phebe, 407, 529, 530
CARTWRIGHT, Peter, 271, 272
CASE, Charles C., 187
CASWALL, Edward, 75, 101, 459
CAWOOD, John, 414, 465
CELANO, Thomas di., 62, 63
CENNICK, John, 124, 126, 504
CHALMERS, Thomas, 225, 226
CHANDLER, John, 485
CHANDLER, S., 270
CHAPIN, Amzi, 275
CHARLEMAGNE, 5
CHARLES, David, 403
CHARLES, Thomas, 401
CIBBER, Mrs., 108
CLARK, Jeremiah, 9
CLARKE, Adam, 177
CLAUDIUS, Matthias, 478
CLEMENT OF ALEXANDRIA, 294, 296
CLEPHANE, Elizabeth C., 423
CLICHTOVIUS, 5
COLE, John, 115, 479, 507, 515
COLES, George, 126, 127, 285
COLLYER, William B., 72, 73
COLUMBUS, Christopher, 356
CONDER, Josiah, 489
CONKEY, Ithamar, 99, 249
CONVERSE, Charles Crozat, 426
CONWELL, Russell H., 532
COOK, Martha A.W., 148, 149
COOK, Parsons, 148, 149
COOPER, George, 312
CORELLI, Arcangelo, 39
CORNELL, J.B., 438
CORNELL, John Henry, 96, 355, 415
CORSE, Gen. G.M., 424
COUSIN, Anne R., 78, 82
COVERT, 333
COWDELL, Samuel, 265
COWPER, William, x, 129, 131,
176, 192, 403
CROFT, William, 204
CROSBY, Fanny J., 156, 184, 312,
425, 438, 546
CUYLER, Theodore L., 377
CYPRIAN OF CARTHAGE, 1
DADMUN, J.W., 272
DAGGET, Simeon, 330
DANA, Mary S.B., 287, 288
DARTMOUTH, Lord, 269
DAVENANT, Sir William, 306
DE GROOTE, Gerard, 67
DE LA MOTHE, Jeanne M.B., 190, 191
DE LISLE, Roget, 329
DENHAM, David, 134
DERMID, (King), 328
DEXTER, Henry M., 294, 296
DITSON, Oliver, vii, 413
DIXON, William, 36
DOANE, Bp. George W., 482, 483
DOANE, William H., 157, 425, 429, 430,
438, 450, 480, 541
DODDRIDGE, Philip, 116, 117, 169, 410,
413, 476, 488, 495, 519
DODGE, Ossian E., 333
DOUGLAS, George, vii
DOW, Howard M., 502
DOW, Lorenzo, 272
DOW, Peggy, 272
DRAPER, Bourne H., 171
DUNBAR, E.W., 288
D'URHAN, Christian, 82
DUTTON, Deodatus, 232
DWIGHT, H.O., 462
DWIGHT, John S., 347, 348
DWIGHT, Timothy, 29, 133, 134
DYKES, John B., 51, 57, 65, 104,
152, 224, 228, 363,
370, 372, 465, 525
EDMESTON, James, 299, 488
EDSON, Lewis, 395, 476
EDWARDS, Jonathan, 263
ELIAS, John, 390
ELIZABETH, (Queen), 17
ELLIOTT, Charlotte, 214, 215
ELLIOT, Ebenezer, 183
ELLSWORTH, J.S., 437
EMERSON, Ralph Waldo, 339, 340
EPHREM, Syrus, 56
ERBURY, ----, 381
ESLING, Catherine, 208, 209, 482
EVANS, Evelyn, 407
EVANS, Heber, 399
EVANS, John Miller, 369
EVANS, Thomas, 401
EWING, Alexander, 512
FABER, Frederick W., 233, 234, 302, 524
FAURE, Jean Baptiste, 470
FAWCETT, John, 132, 133
FINDLATER, Mrs., 103
FISCHER, William Gustavus, 429
FLATMAN, ----, 515
FORTUNATUS, Venantius, 357, 472
FOSTER, Paul, vii
FRANC, Guillaume, 194
FRANCIS, Benjamin, 132
FRANKENBERRY, A.D., 424
FREDERICK, (King), 94
FREEMAN, John E., 222
FROTHINGHAM, N.L., ix
FULBERT, Bp., 59-61
GARDINER, William, 48, 130
GATES, Bernard, 96
GATES, Ellen M.H., vii, 256, 258,
430, 449, 532, 534
GAUNTLETT, Henry I., 48, 483
GELLERT, C.F., 473
GEORGE I, (King), 11
GERHARDT, Paul, 84, 85, 87, 88, 93
GIARDINI, Felice, 227
GILMORE, Joseph Henry, 235, 236
GLADSTONE, William E., 139, 140
GLASER, Carl, 48
GLENELG, Lord, 22
GOODE, William, 14, 31
GORDON, A.J., 162, 164
GORDON, Mrs. A.J., vii
GOTTSCHALK, Louis, 483
GOUGH, John B., 215
GOULD, Eliza, 151
GOULD, John Edgar, 374, 468, 488
GOULD, Sabine Baring, 185
GRANNIS, Sidney M., 259
GRAPE, John T., 429
GRANT, Sir Robert, 21, 22, 212
GREGORY NAZIANZEN, 56
GREGORY THE GREAT, (Pope), xiii, xiv, 8, 10
GRENADE, John, 298
GRIFFITHS, Ann, 396-399
GRIFFITHS, Edward, 386
GRIGGS, ----, 102
GROOTE, Gerald de, 67
GUIDO, Arentino, xiv
GUILD, Curtis, 206
GURNEY, Mrs., 503
GUSTAVUS ADOLPHUS, (King), 82-84
GUYON, Madame, 190, 192
HAGUE, John R., vii
HALL, Amasiah, 513, 514
HALL, Elvina M., 426
HAMMOND, William, 29
HANDEL, George Frederick, 11, 31, 134,
166, 414
HANKEY, Kate, 427, 429
HANNA, Ione T., 456
HARRINGTON, C.S., 149
HARRINGTON, Karl, 528
HARRIS, Howell, 381, 387, 388
HARRIS, Thomas, 366
HARRISON, Ralph, 48
HART, Joseph, 119, 121
HAREWOOD, Edward, 517
HASTINGS, H.L., 204
HASTINGS, Thomas, 25, 59, 142, 160,
168, 174, 219-221, 223
HATFIELD, C.F., 14
HATTON, John, 37
HATTON, John Liphot, 37
HAVERGAL, Frances Ridley, 154, 155
HAVERGAL, William Henry, 227
HAWKES, Annie S., 153
HAWKES, Robert, 14
HAYDN, Joseph, 32
HAYWARD, Thomas, 488
HEARN, Marianne Farningham, 441, 442
HEATH, George, 143
HEATH, Lyman, 247
HEBER, Bp. Reginald, 4, 50, 51,
178, 179, 318
HEDGE, Frederick H., 71
HEMANS, Felicia, 196, 359, 323, 324, 333
HENRY vii, (King), 18
HEWS, George, 407, 483, 484
HICKS, John J., 272
HILARY, Bp., xiii
HILLER, Ferdinand, 65, 66
HINSDALE, George, 229
HODGES, Edward, 212, 464
HOLBROOK, Joseph P., 360, 364, 501
HOLDEN, Oliver, 27, 28
HOLMES, O.W., 52, 249, 344
HOLROYD, Israel, 409
HOLZMAN, ----, 329
HOPKINS, Edward, 30, 112
HOPKINS, John, 15
HOPKINSON, Joseph, 331
HOPPER, Edward, 373
HORDER, Garrett, 489
HOWARD, John, 24
HOWE, Julia Ward, 340, 343
HUCBALD, xiii
HUFFER, Francis, 95
HUGHES AND SON, vii
HUGHES, Mrs., 359
HUMPHREYS, Cecil Frances, 414
HUNTER, William, 272, 288, 289
HUNTINGDON, (Lady) Selina, 25, 88, 89,
119, 128, 201
HUNTINGTON, DeWitt C., 436
HUSBAND, John Jenkins, 416
HYATT, John, 216
HYDE, Charles, 230
INGALLS, Jeremiah, 121, 274, 278, 507
IRVING, Washington, 322
ISAAC, Heinrich, 91, 112
JACKSON, Andrew, 206
JACKSON, Deborah, 206
JEROME OF PRAGUE, 472
JOHN OF DAMASCUS, 53, 54, 57
JOHNSON, Albert, 222
JOHNSON, Mrs. James G., 452
JONES, H.R., 392
JONES, John, 393
JONES, Nancy, 389, 390
JONES, Thomas, 401
JUDAH, Daniel Ben, 20
JUDSON, Sarah B., 246
JULIAN, John, 204
KEBLE, John, 159, 252, 482
KEENE, Robert, 204
KELLER, Matthias, 343, 345, 347
KELLY, Thomas, 173, 174
KEMPIS, Thomas à, 67
KEN, Bp., 13, 14
KEY, Francis Scott, 49, 333
KEY, John R., 49
KING, Jacob, 71
KING ROBERT II, 11, 57, 58, 60
KINGSLEY, George, 34, 102, 158,
281, 318, 519
KIPLING, Rudyard, 349-351
KOZELUCK, ----, 483
KRISHNA PAL, 491
LAMB, Frank M., 253, 254
LATTIMORE, W.O., 434
LEE, Mary Augusta, 455, 456
LEE, Gen. Robert E., 206
LELAND, John, 224, 276, 482
LINCOLN, Abraham, 239, 256
LINDSAY, Miss, 259
LOGAN, John, 279
LONGFELLOW, Henry W., 248, 249
LONGFELLOW, Samuel, ix
LORIMER, George, 252
LOUIS, (King), 5, 191
LOWRY, J.C., 118
LOWRY, Robert, 39, 148, 153,
406, 419, 446, 448
LOYOLA, Ignatius, 74
LUCAS, James, 495
LUDWIG, Duke, 121
LUKE, Jemima T., 305, 306
LULLI, ----, 338
LUMMIS, Franklin H., 342
LUTHER, Martin, xvi, 8, 69-71, 388
LYON, Meyer, 20
LYTE, Henry Francis, 217, 221
MACGILL, Hamilton M., 296
MACKAY, Charles, 135
MACKAY, Margaret, 499
MACKAY, William Paton, 416
MADAN, Martin, 29, 30, 41, 463, 505
MAFFIT, John, 274
MAIN, Hubert P., vi, vii, 115, 134,
228, 240, 299, 307,
369, 415, 430, 470, 537
MALAN, Cæsar, xvi, 214, 384, 436
MARCO, (?), Portugalis, 205, 206
MAROT, Clement, xvi
MARSH, ----, 363
MARVIN, Bp., 151
MARY, (Queen), 12, 18
MARY, (Princess), 12, 18
MARY, (Virgin), 356, 358
MARY STUART, (Queen), 77
MASON, Francis, 175
MASON, Lowell, 36, 91, 93, 105,
106, 111, 118, 131, 133, 146,
170, 173, 179, 196, 302, 337,
339, 348, 363, 581, 526
MASTERS, Mary, 303
MAURICE, ----, 381
MAXIM, Abraham, 282, 283, 488
MAYO, Mrs. Herbert, 310
MAZZINGHI, Joseph, 202, 203
McGRANAHAN, James, 308, 444, 452
McKEEVER, F.G., vii
McKINLEY, William, 151, 251
McMULLEN, Mr. and Mrs., 222
MEEK, William T., vii
MEDLEY, Samuel, 136, 276
MELANCTHON, Philip, 69
MENDELSSOHN, Felix, 463, 482, 491
MERRIAM, Edmund F., vii
MERRILL, Abraham, D., 269
MIDLANE, Albert, 445
MILLER, James, 367
MILMAN, Henry Hart, 278
MILLS, Elizabeth, 307
MILTON, John, 461, 462
MOHAMMED, 5
MONK, William H., 160, 219, 245
MONTGOMERY, James, 21, 144, 145,
176, 177, 285, 353,
480, 487, 499, 521
MOODY, Dwight L., 308, 310, 421, 426, 431
MOORE, (More), Joshua, 267, 269
MOORE, Thomas, 112, 219, 243, 325-328, 333
MORGAN, David, 392
MORNINGTON, Garret,
Colley Wellesley, Earl of 523
MORRIS, Robert, 260
MORSE, Charles H., 482
MOTE, Edward, 216
MOZART, Johan Wolfgang, 222, 244, 327
MUHLENBERG, Henry M., 158, 498
MUHLENBERG, W.A., 157, 158
MURILLO, Bartolomeo, 162
NÄGELI, Johan G., 161, 162
NAPOLEON, 97, 389
NARES, James, 95
NEALE, John M., 6, 7, 55, 57, 354, 512
NERO, (Emperor), 322
NEWELL, Harriet, 175
NEWMAN, John Henry, 223, 224, 524
NEWTON, John, 130, 203, 204, 286,
386, 403, 493
NICHOLSON, Ludovic, 201
NOVELLO, Vincent, 73, 74
NUTTER, Dr., 180
OAKELEY, Frederick, 459
OAKELEY, Sir. Herbert S., 252
OAKEY, Emily, 434, 435
OCCUM, Samson, 267-269, 279
O'KANE, Tullius C., 437
OLDCASTLE, John, 379
OLIVER, Henry K., 104, 105
OLIVERS, Thomas, 19, 20, 22, 504
OSBORNE, John, 146
PAINE, John K., 462
PAINE, Robert T., 335
PALESTRINA, xiv-xvi
PALMER, Horatio R., 261, 311, 417, 450
PALMER, Ray, 59
PARKER, Theodore, ix
PARRY; Joseph, 395, 398
PATRICK, St., 328
PAYNE John Howard, 135
PELOUBET, F.N., 188
PENRY, ----, 381
PERRONET, Edward, 25, 27, 31, 59
PHELPS, A.S., vii
PHELPS, S.D., 147
PHELPS, W.L., vii
PHILIP, "King", 265
PHILLIPS, Philip, 149, 150, 239,
256, 267, 309, 333,
421, 531, 532, 534
PHIPPS, George, 188, 189
PIERPONT, John, 335, 336
PINSUTI, 415
PLEYEL, Ignace, 126, 208
PLINY, 293
POPE, Alexander, 238, 326, 515, 516
POWELL, John, 381
PRESBRY, Otis F., 451, 452
PRICE, Dr., 41
PRICE, E.M., 395
PRITCHARD, Rhys M., 379, 396
PROCH, Heinrich, 357
PURCELL, Henry, 338
RALEIGH, Sir Walter, 76
RANKIN, James, 362
RANKIN, Jeremiah E., 496
RAVENSCROFT, Thomas, 338
READ, Daniel, 407, 466
READING, John, 205
REDHEAD, Richard, 50
REDNER, Louis H., 469
REES, William, 402
REINAGLE, Alexander R., 87
REXFORD, Eben E., 439, 440
RHYE, Morgan, 404
RICHARDSON, John, 76
RIDLEY, Bp., 4
RILEY, Mary Louise, 317
RIMBAULT, Edward F., 282
RINGWALDT, Bartholomew, 71, 73
RIPPON, John, 27, 204, 281
RITTER, Peter, 160
ROBERT II, (King), 57, 58, 60
ROBERTS, Evan, 377, 393, 394
ROBERTS, W.M., 404
ROBINSON, Charles, 171, 179
ROBINSON, Robert, 283, 284
ROMAINE, William, 31
ROOSEVELT, Theodore, 151
ROOT, George F., 155, 156,254,
315, 317, 439, 444
ROUSSEAU, J.J., 112, 113
ROWE, Elizabeth, 45
ROWLANDS, Daniel, 381, 387
RUTHERFORD, Samuel, 78, 79, 81
SALMON, Thomas, 432
SANDERSON, Mrs., 335
SANKEY, Ira D., 184, 258, 308-311,
374, 375, 417, 421-423,
434, 438, 447, 537
SCHMOLKE, Benjamin, 499
SCHUMANN, Robert, 87
SCOTT, Thomas, 226, 411
SCOTT, Sir Walter, 240
SCRIVEN, Joseph, 425
SEAGRAVE, Robert, 94
SEARS, Edmund H., 466
SENECA, 320, 322
SERVOSS, Mary Elizabeth, 442, 443
SEWARD, William H., 257
SHEPHERD, Thomas, 411
SHERIDAN, Mrs. Richard Brinsley, 244
SHIPLEY, Dean, 178
SHIRLEY, Sir Walter, 127, 128, 202
SIMAO, Portugalis, 206
SIMPSON, Robert, 298
SINGER, Elizabeth, 45
SMART, Henry, 4, 5, 10, 137, 465, 525
SMITH, Mrs. Albert, 317
SMITH, Alexander, 368
SMITH, Goldwin, x
SMITH, Isaac, 324
SMITH, John Stafford, 335
SMITH, Samuel Francis, 180-182, 337, 339
SPAFFORD, Horatio G., 440, 441
SPOHR, L., 126, 207, 227, 228, 244, 488
STAINER, John, 65, 66, 352, 474
STANLEY, (Dean), Arthur P., 65, 66, 148
STEAD, William, 150, 151
STEBBINS, George C., 254, 308, 375,
415, 528
STEELE, Anna, 197
STEFFE, John W., 342
ST. FULBERT, 59-61
STENNETT, Joseph, 23, 488
STENNETT, Samuel, 23, 24
STEPHENS, ----, 395
STEPHEN, (St.), the Sabaite, 57
STERNHOLD, Thomas, 15, 16
STEVENSON, ----, 317
STOKES, Walter, 84
STORES, Richard S., 35, 474
STORRS, Mrs. R.S., 474
STOWE, Harriet Beecher, 481
STOWELL, Hugh, 222, 223
STUART, Charles M., 34
SUMNER, Janaziah, 330
SWAIN, Joseph, 28, 281
SWAN, Jabez, 286
SWAN, Timothy, 194, 195, 327, 506
TADOLINI, Giovanni, 357
TAIT, Abp., 252
TALLIS, Thomas, xv, 17, 18
TANSUR, William, 282, 283
TARBUTTON, W.A., 528
TATE, Nahum, 12, 14, 193, 283
TAYLOR, Benjamin F., 533
TAYLOR, James, 61
TAYLOR, Thomas R., 300, 301
TAYLOR, V.C., 52, 244
TENNYSON, Alfred, 259, 538-540
TERSTEEGEN, Gerhard, 102
TESCHNER, Melchior, 8
THEODULPH, Bp., 5, 6, 7
THOMAS à KEMPIS, 67
THOMAS DI CELANO, 62, 63
THRING, Godfrey, 371
THRUPP, Dorothy A., 310
TOMER, William G., 497
TOPLADY, A.M., 137, 138, 517, 18
TOURJEE, Eben, 149, 150, 235
TOURJEE, Lizzie S., 235
TOURS, Berthold, 415
TRAJAN, (Emperor), 293
TYLER, Mrs. Fanny, 28
UFFORD, E.S., 374, 376, 377
UPHAM, Thomas, 192
URHAN, Christian, 82
VAIL, Silas J., 8, 234, 235
VAN ALSTYNE, Mrs., 156, 184, 312, 425, 438
VERNON, (Admiral), 339
VICTORIA, (Queen), 139, 248, 252
VOKES, Mrs., 171, 173
VOLTAIRE, 43
VON GLUCK, 490
VON WEBER, C.M., 121, 338, 490, 500
WADE, ----, 102
WALFORD, William W., 432
WALTHER, Johan, xvi
WARNER, Anna, 418
WASHBURN, Henry S., 245, 247
WATERS, Horace, 303
WATKIN, Jack E., 390
WATSON, Bp., 151
WATSON, Richard, 120
WATTS, Isaac, 14, 29, 33, 35, 37,
40, 41-45, 47, 60, 105, 107-109,
133, 134, 165, 166, 167,
243, 396, 403, 463, 506, 513
WAYLAND, Francis, 42
WEBB, George J., 182, 444
WEBBE, Samuel, 116, 505
WEBSTER, Joseph P., 535-537
WELLS, G.C., 111
WENTWORTH, (Gov.), 269
WESLEY, Charles, 14, 26, 45, 47, 94,
111, 118, 204, 274, 359-361, 388,
396, 403, 420, 463, 474, 493, 520
WESLEY, John, 14, 209, 211, 273, 520
WESLEY, Samuel, 45, 178
WESLEY, Samuel Sebastian, 45, 177, 178,
304, 485
WHEELOCK, Eleazer, 267, 269
WHITE, Henry Kirke, 297, 364-366
WHITEFIELD, George, 19, 31, 88,
124, 132, 201
WHITING, William, 369, 370
WHITTIER, John G., 250, 251
WHITTLE, D.W., 444
WILLIAM, (King), 12, 13
WILLIAMS, Aaron, 130, 134
WILLIAMS, David, 405
WILLIAMS, Helen M., 125, 126, 206
WILLIAMS, Peter, 199, 201, 387, 389
WILLIAMS, Thomas, 393, 401, 403
WILLIAMS, William, 166-168, 199, 381-386,
388, 396, 399, 405
WILLIS, Richard Storrs, 415, 467
WILLIS, Nathaniel, 467
WILLIS, N.P., 467
WILSON, Hugh, 353
WINKS, W.E., 406
WINKWORTH, Catherine, 84
WOODBRIDGE, William C., 338, 339
WOODBURY, Isaac B., 111, 183, 244,
319, 407
WOODMAN, J.C., 410, 415
WOOD, Sir Evelyn, 368
WROTH, William, 379
WYETH, John, 283, 284
XAVIER, Francis, 74
YOUNG, Andrew, 304
ZERRAHN, Carl, 444
ZEUNER, Heinrich, 172, 241
ZINZENDORF, (Count), 91, 92
ZUNDEL, John, 363, 485
INDEX OF TUNES.
ABENDS, 252
ABERYSTWYTH, 395
ABIDE WITH ME, 219
AELRED, 372
AIN, 38, 39
ALMOST PERSUADED, 454
ALSACE, 193
ALL SAINTS, NEW, 513
AMALAND, 465
AMERICA, 336-339
AMES, 34
AMSTERDAM, 95, 96
ANACREON IN HEAVEN, 334
ANNAPOLIS, 507, 515
ANTHEM FOR EASTER, 474
ANTIOCH, 166, 464
ANTIPHONALS, xiii
ANVERN, 520
ARABIA, 388
ARIEL, 137
ARLINGTON, 107, 118, 515
ATHENS, 227, 307
AUDIENTES, 303
AULD LANG SYNE, 515
AURELIA, 177
AUTUMN, (Sardius), 222
AZMON, 47, 48
BABEL, 388
BALERMA, 297, 298
BATTLE HYMN ETC., 341-343
BELMONT, 116
BENEVENTO, 494
BERLIN, 491
BETHANY, 153, 465
BEYOND THE SMILING AND THE WEEPING, 528
BIRMINGHAM, 132
BONNY DOON, 367
BOSWORTH, 105
BOWER OF PRAYER, THE, 147
BOWRING, 170
BOYLSTON, 133, 169, 523
BRADEN, 276
BRATTLE STREET, 126, 207
BREST, 505
BRIGHT CANAAN, 273, 274
BRIGHTON, 245
BROKEN PINION, THE, 254
BROOKLYN, 485
BROWN, 232
BRUCE'S ADDRESS, 335, 336
BRYMGFRYD, 388
BUCKFIELD, 283
BURIAL OF MRS. JUDSON, 247
CALM ON THE LISTENING EAR, (EPIPHANY), 468
CANAAN, 514
CANONS, 11
CAPEL Y DDOL, 405
CAROL, 467
CATHARINE, 404
CHESTER, 331, 332
CHINA, 194
CHRISTMAS, 414, 466
CLWYD, 393
COLEBROOK, 137
COLUMBIA, 332
COME, 453
COME, MY BRETHREN, 280
COME, YE DISCONSOLATE, 221
COME, YE FAITHFUL, 55
CONSOLATION, 482
CONVENTION HYMN, 187
CORONATION, 27, 59
CORSICA, 490
COUNTERPOINT, xv
CREATION, 40
CRIMEA, 366
CROSSING THE BAR, 539
CRUCIFIXION, 514
CWYFAN, 388
CWYNFAN PRYDIAN, 402
DARBY, 403
DEAD MARCH IN "SAUL", 498
DEDHAM, 48, 130
DENMARK, 41
DENNIS, 133, 161
DEVONSHIRE, 105
DEVOTION, 514
DIES IRAE, 65
DORT, 187, 348, 481
DUNBAR, 531
DUNDEE, 194
DUKE STREET, 37, 166
EASTER ANTHEM, 474
EBENEZER, 406
EDEN OF LOVE, 272, 273
EDINA, 252
EDOM, 401
EIN FESTE BURG, 71
EIRINWG, 403
ELLACOMBE, 177
ELLIOTT, 215
ELVY, 388
EMMONS, 125
EPIPHANY (CALM ON THE LISTENING), 468
ERNAN, 407
ETERNITY, 449
EUCHARIST, 111
EVAN, 227
EVENING SONG TO THE VIRGIN, 359
EXCELSIUS, 96
FAIR HARVARD, 307
FALMOUTH, 514
FEDERAL STREET, 104, 105
FITZWILLIAM, 4
FOREVER WITH THE LORD, 498
FREDERICK, 158, 498
FROM GREENLAND'S ICY, 179
GANGES, 119, 269, 270
GARDEN HYMN, THE, 277, 278
GENEVA, 115
GOLDEN HILL, 108, 274
GOD BE WITH YOU, 497
GOOD MORNING IN GLORY, 164
GOTT IST LICHT, 463
GREENVILLE, 112, 121
GRIGGS, 102
HABAKKUK, 212
HAIL COLUMBIA, 331
HALLELUJAH! 'TIS DONE! 422
HALLOWELL, 283
HAMBURG, 111
HANOVER, 204
HAPPY DAY, 282
HAPPY LAND, 304
HAREWOOD, 485
HARMONY, 514
HARMONY GROVE, 105
HARVEST HOME, 479
HAYDN, 31
HEBER, 102, 318
HE LEADETH ME, 236
HELMSLEY, 505
HENDON, 486
HE WILL HIDE ME, 444
HOLD THE FORT, 424, 432
HOLLEY, 407, 483, 484
HOLY CROSS, 102
HOLY, HOLY, HOLY, 51
HOLY TRINITY, 102
HOME OF THE SOUL, THE, 532, 533
HOME, SWEET HOME, 135
HORBURY, 152
HOSANNA, 512
HUDSON, 105
HURSLEY, 160, 493
HYFRYDOL, 375
I'M GLAD I'M IN THIS ARMY, 299
IMMANUEL'S BANNER, 188
INDEPENDENCE, 332
INNSBRUCK, 91
IT IS WELL, 440
(See Index of Hymns)
JAZER, 118
JEWETT, 500
JOYFULLY, JOYFULLY, 289, 290
(See Index of Hymns)
KEBLE, 52
KELLER'S AMERICAN HYMN, 433-445
KENT, 105
KENTUCKY, 274
LABAN, 143
LAMENT OVER BOSTON, 332
LAND AHEAD, 369
LANESBORO, 36, 503
LA SPEZIA, 61
LENOX, 395, 476
LEONI, 20
LET THE LOWER LIGHTS, 434
LISBON, 466
LISCHER, 488
LLANIETYN, 404
LOUVAN, 52, 244
LOVING-KINDNESS, 277
LOWELL, 407
LUCAS, 494
LUTHER'S HYMN, 73
LUX BENIGNA, 224
MAGDALEN, 351
MAGNIFICAT, xi, xii, 10
MAITLAND, 412
MAJESTY, 16
MALVERN, 93
MANOAH, 116
MARSEILLAISE, 174, 329, 352
MASSACHUSETTS, 514
MATTHIAS, 245
MEAR, 130
MELANCTHON, 496
MELITA, 370
MILTON, 243
MENDELSSOHN, 463
MERIBAH, 90, 91, 119, 395
MERTON, 105, 519
MESSIAH, 281
MIDNIGHT MASS, 460
MIGDOL, 173
MILLENNIAL DAWN, 177, 182, 477
MISSIONARY CHANT, 172, 291
MONSON, 232
MONTGOMERY, 35
MORECAMBE, 491
MORLAIX, 372
MORNING, 105
MORNING GLORY, 504
MORNINGTON, 523
MOZART, 244
MT. AUBURN, 519
MT. VERNON, 498
MY AIN COUNTREE, 456
MY BROTHER I WISH YOU WELL, 91
MY JESUS, I LOVE THEE, 162, 163
NANCY JIG, 385
NAOMI, 198
NEALE, 355
NEARER HOME, 407, 531
NESTA, 404
NETTLETON, 112, 283, 284
NEW DURHAM, 283
NEW JERUSALEM, 506, 507
NICÆA, 51
NORTHFIELD, 506-508
NORWICH, 207, 462
NOT HALF HAS EVER BEEN TOLD, 451
NOTTINGHAM, 16
NO WAR NOR BATTLE SOUND, 461
OAK, 302
ODE ON SCIENCE, 330
O DO NOT BE DISCOURAGED, 299
OLD HUNDRED, xvi, 15, 41, 166, 339
OLMUTZ, 518
OLD SHIP OF ZION, 290
ONE MORE DAY'S WORK, ETC., 418
ONLY REMEMBERED, 309
ONWARD, CHRISTIAN SOLDIERS, 56, 186
O, PERFECT LOVE, 504
ORTONVILLE, 25
OVER THERE, 436
PALESTINE, 202
PALM BRANCHES, 470
PARADISE, 526
PART-SONG, xv
PASCHALE GAUDIUM, 474
PENTECOST, 513
PETERBOROUGH, 48
PILGRIM, 25
PISGAH, 118
PLAIN-SONG, xii, 10
PLEYEL'S HYMN, 280, 411
POLYPHONIC, xv
PORTLAND, 283, 488
PORTUGUESE HYMN, 205, 206, 460
PRECIOUS JEWELS, 315, 316
PRESIDENT'S MARCH, 331
RANZ DE VACHES, 352
RATHBUN, 99, 249
RAVENDALE, 84
RAYNHAM, 514
REFUGE, 363
REJOICE AND BE GLAD, 415
RESCUE THE PERISHING, 425
REST, 499, 513
RESTORATION, 514
RETREAT, 223
RETROSPECT, 332
REVIVE THY WORK, 445
RHINE, 125
RIVAULX, 104
ROLLAND, 106, 493
ROCKINGHAM, 131
ROTTERDAM, 55
RUSSIA, 466
RUTHERFORD, 82
SAFE IN THE ARMS OF JESUS, 541
SALEM, 123
SALISBURY PLAIN, 105
SAMSON, 166
SARDIUS, (AUTUMN), 201
SAVANNAH, 238
SAVIOUR, LIKE A SHEPHERD, 310, 311
SAVIOUR, PILOT ME, 374
SCALE, THE, xiii, xiv
SCATTER SEEDS OF KINDNESS, 318
SCHUMANN, 87
SCOTS WHA HAE, 336
SEQUENCES, (FOOT NOTE [7]), 8
SHAWMUT, 407
SHERBURNE, 466
SICILY, 129, 283
SILOAM, 244, 318, 319
SILVER STREET, 324
SIMPSON, 126
SOMETHING FOR JESUS, 148
SONGS OF THE BEAUTIFUL, 483
SONNET, 287
SOUND THE LOUD TIMBREL, 327
SPEED AWAY, 184
SPOHR, 244
STAFFORD, 466
STAR-SPANGLED BANNER, THE, 49, 333-335
STATE STREET, 410, 515
ST. AMBROSE, 296
ST. ANSELM, (we plow the fields), 478
ST. ATHANASIUS, 59
ST. BERNARD, 75
ST. BOTOLPH, 244
ST. CHAD, 50
ST. EDMUND, 152
ST. GARMON, 395
ST. KEVIN, 307
ST. LOUIS, 469
ST. MAGNUS, 16
ST. PETERSBURG, 213
ST. PHILIP, 30
ST. THOMAS, 38, 134, 523
STEPHENS, 282
STOWE, 482
SUSSEX, 500
SWEET BY AND BY, 534-537
SWEET GALILEE, 261, 319
SWEET HOUR OF PRAYER, 432
SWITZER'S SONG OF HOME, 352
TALLIS' EVENING HYMN, xvi, 16,17
TE DEUM, 1-4
TELEMANN'S CHANT, 474
THACHER, 109
THE BOWER OF PRAYER, 147
THE BROKEN PINION, 254
THE CHARIOT, 279
THE DYING CHRISTIAN, 516, 517
THE EDEN OF LOVE, 272, 273
THE GARDEN HYMN, 277, 278
THE HARP THAT ONCE, 328
THE HEBREW CHILDREN, 271
THE HOME OF THE SOUL, 532, 533
THE LAND OF THE BLEST, 308
THE MORNING LIGHT IS BREAKING, 177,
182, 477
THE NINETY AND NINE, 422
THE OLD, OLD STORY, 429
THE PRODIGAL CHILD, 430
THE SOLID ROCK, 317
THE STAR-SPANGLED BANNER, 333
THERE IS A GREEN HILL, 414
THROW OUT THE LIFE-LINE, 374
THYDIAN, 388
TO THE WORK, 438, 480
TOPLADY, 59, 142
TRENCYNON, 395
TRIUMPH BY AND BY, 450
TRURO, 241, 407
TURNER, 282
UXBRIDGE, 93
VOX ANGELICA, 525
VOX DILECTI, 238
VOX JESU, 227
WAITING AND WATCHING, 443
WALNUT GROVE, 105
WARD, 196, 493
WARE, 34
WATCHMAN, 170
WEBB, 177, 182
WEIMAR, 9
WELLS, 409
WELLESLEY, 235
WELTON, 486
WE SHALL MEET, 529
WHAT A FRIEND WE HAVE 425
WHAT SHALL THE HARVEST BE, 435, 436
WHEN JESUS COMES, 437
WHEN PEACE LIKE A, 477
WHEN SHALL WE ALL MEET, 266
WHEN THE SWALLOWS HOMEWARD FLY, 364
WHERE ARE THE REAPERS, 429
WHERE IS MY WANDERING BOY, 446
WHILE THE DAYS ARE GOING, 312
WHITMAN, 146, 364
WILMOT, 121, 490
WINDHAM, 407, 466
WINDSOR, 482
WOODSTOCK, 232
WOODWORTH, 215
Y DELYN AUR, 405
YORK, 462
YOUR MISSION, 259
ZEPHYR, 513
ZION, (T. Hastings), 168, 174
ZION, (A. Hall), 514
INDEX OF HYMNS.
A CHARGE TO KEEP I HAVE, 274
ABIDE WITH ME, FAST FALLS, 217
ADAMS AND LIBERTY, 335
ADESTE, FIDELES, 458
ALAS, WHAT HOURLY DANGERS RISE, 198
ALL GLORY, LAUD AND HONOR, 5
ALL HAIL THE POWER OF JESUS' NAME, 25-27
ALL PRAISE TO THEE, ETERNAL LORD, 8
ALMOST PERSUADED, 454
ALONG THE BANKS WHERE BABEL'S CURRENT, 242, 243
A MIGHTY FORTRESS IS OUR GOD, 69
AND IS THIS LIFE PROLONGED TO YOU, 43
AND WILL THE JUDGE DESCEND, 410
ANGEL OF PEACE, THOU HAS WAITED, 344
ANGELS ROLL THE ROCK AWAY, 411
ANOTHER SIX DAYS' WORK IS DONE 23, 488
A POOR WAYFARING MAN OF GRIEF, 285
ARISE, MY SOUL, ARISE, 395
ART THOU WEARY, ART THOU LANGUID, 57
AS DOWN IN THE SUNLESS RETREATS, 243
ASLEEP IN JESUS, BLESSED SLEEP, 499
AT ANCHOR LAID REMOTE FROM HOME, 138
AVE, MARIS STELLA, 356
AVE, SANCTISSIMA, 357
AWAKE AND SING THE SONG, 29
AWAKE MY SOUL, STRETCH EVERY NERVE, 413
AWAKE, MY SOUL, TO JOYFUL LAYS, 276, 277
AWAKED BY SINAI'S AWFUL SOUND, 267
BATTLE HYMN OF THE REPUBLIC, 340, 343
BEFORE JEHOVAH'S AWFUL THRONE, 40, 41
BEGONE UNBELIEF, MY SAVIOUR IS NEAR, 203
BEHOLD THE GLORIES OF THE LAMB, 42
BEHOLD, THE STONE IS ROLLED AWAY, 451
BE THOU EXALTED, O MY GOD, 40
BE THOU, O GOD, EXALTED HIGH, 111
BEYOND THE SMILING AND THE WEEPING, 527
BLEST BE THE TIE THAT BINDS, 132
BLOW YE THE TRUMPET, BLOW, 395
BREAD OF HEAVEN, ON THEE WE FEED, 489
BRETHREN, WHILE WE SOJOURN HERE, 280
BRIGHTLY BEAMS THE FATHER'S MERCY, 431
BUILD THEE MORE STATELY MANSIONS, 249
BY COOL SILOAM'S SHADY RILL, 318
BY THE RUDE BRIDGE THAT ARCHED THE FLOOD, 339
CALVARY'S BLOOD THE WEAK EXALTETH, 385
CHILD OF SIN AND SORROW, 223
CHRISTIANS, IF YOUR HEARTS ARE WARM, 274, 275
CHRIST IS OUR CORNER STONE, 485
CHRIST IS RISEN! CHRIST IS RISEN! 473
CHRIST THE LORD IS RISEN TODAY, 474
COME HITHER, ALL YE WEARY SOULS, 409
COME HITHER, YE FAITHFUL, 459
COME, HOLY GHOST, IN LOVE, 59
COME, HOLY SPIRIT, HEAVENLY DOVE, 282
COME HOME, COME HOME, 430
COME, LET US ANEW, 494
COME, MY BRETHREN, LET US TRY, 279
COME, SINNER, COME, 417
COME, THOU FOUNT OF EVERY BLESSING, 283, 284
COME, THOU HOLY SPIRIT, COME, 58
COME TO JESUS JUST NOW, 291
COME UNTO ME WHEN SHADOWS, 208, 209
COME, WE THAT LOVE THE LORD, 37, 38
COME, YE DISCONSOLATE, 219, 220, 326
COME, YE FAITHFUL, RAISE THE STRAIN, 54
COME, YE SINNERS, POOR AND NEEDY, 119
COMMIT THOU ALL THY GRIEFS, 84-85
CROWN HIS HEAD WITH ENDLESS BLESSING, 30
DAUGHTER OF ZION, FROM THE DUST, 486, 489
DAY OF WRATH: THAT DAY OF BURNING, 62-64
DEAR JESUS, EVER AT MY SIDE, 302
DEAR REFUGE OF MY WEARY SOUL, 196
DID CHRIST O'ER SINNERS WEEP, 160, 161
DIE FELDER WIR PFLÜGEN, 478
DIES IRAE, DIES ILLA, 62-64
EARLY, MY GOD, WITHOUT DELAY, 35
EARLY TO BEAR THE YOKE EXCELS, 401
EIN FESTE BURG IST UNSER GOTT, 69
ETERNAL FATHER, STRONG TO SAVE, 369
FADING AWAY LIKE THE STARS, 309
FATHER, WHATEVER OF EARTHLY BLISS, 196
FEAR NOT, O LITTLE FLOCK, THE FOE, 82
FIERCE RAGED THE TEMPEST, 372
FIERCE WAS THE WILD BILLOW, 354
FOREVER WITH THE LORD, 521
FROM EVERY STORMY WIND, 222
FROM GREENLAND'S ICY MOUNTAINS, 178, 179
FROM WHENCE DOTH THIS UNION ARISE, 263
FULLY PERSUADED, 451
GAUDE, PLAUDE, MAGDALENA, 472
GIVE ME MY SCALLOP-SHELL OF QUIET, 76
GIVE TO THE WINDS THY FEARS, 88
GLORIA, xii
GLORY TO THEE, MY GOD, THIS NIGHT, xvi, 16
GOD BE WITH YOU TILL WE MEET, 496
GOD BLESS OUR NATIVE LAND, 347, 348
GOD CALLING YET? 102, 103
GOD IS THE REFUGE OF HIS SAINTS, 196
GOD OF OUR FATHERS, KNOWN OF OLD, 349, 350
GOD'S FURNACE DOTH IN ZION STAND, 89
GREAT AUTHOR OF SALVATION, 398
GREAT GOD, WE SING THAT MIGHTY HAND, 496
GREAT GOD, WHAT DO I SEE AND HEAR! 71
GUIDE ME, O THOU GREAT JEHOVAH, 198, 399
HAIL COLUMBIA, HAPPY LAND, 331
HAIL TO THE LORD'S ANOINTED, 175
HALLELUJAH! 'TIS DONE! 422
HARK! HARK, MY SOUL! 524
HARK! THE HERALD ANGELS SING, 463
HARK! WHAT MEAN THOSE HOLY VOICES, 464
HASTEN, LORD, THE GLORIOUS TIME, 168
HASTEN, SINNER, TO BE WISE, 410
HE DIES! THE FRIEND OF SINNERS, 473
HE LEADETH ME, 235, 236
HERE AT THY TABLE, LORD, WE MEET, 24
HERE BEHOLD THE TENT OF MEETING, 396
HERE, O MY GOD, I SEE THEE, 490
HE ROSE! O MORN OF WONDER! 477
HIGH THE ANGEL CHOIRS ARE RAISING, 68
HOLY, HOLY, HOLY, LORD GOD, 50, 51
HO, MY COMRADES, SEE THE SIGNAL, 424
HORA NOVISSIMA, 510
HOW FIRM A FOUNDATION, 204, 206
HOW HAPPY IS THE CHILD WHO HEARS, 297
HOW HAPPY IS THE PILGRIM'S LOT, 207
HOW SWEETLY FLOWED THE GOSPEL SOUND, 98
HOW SWEET, HOW HEAVENLY IS THE SIGHT, 281
HOW SWEET THE COVENANT TO REMEMBER, 396
HOW, UNAPPROACHED! SHALL MIND OF MAN, 56
HOW VAIN ARE ALL THINGS HERE BELOW, 45
HOW VAST A TREASURE WE POSSESS, 43
I AM FAR FRAE MY HAME, 445
I AM SO GLAD THAT OUR FATHER, 319
I CANNOT ALWAYS TRACE THE WAY, 502
IF I WERE A VOICE, 181
IF THOU WOULDST END THE WORLD, 389
IF YOU CANNOT ON THE OCEAN, 256-258
I GAVE MY LIFE FOR THEE, 154
I HAVE A FATHER, 305
I HAVE READ OF A BEAUTIFUL CITY, 451
I HEAR THE SAVIOUR SAY, 426
I HEARD THE VOICE OF JESUS SAY, 225-227
I'LL CAST MY HEAVY BURDEN DOWN, 384
I LOVE THY KINGDOM, LORD, 133
I LOVE TO STEAL AWHILE AWAY, 229, 231
I LOVE TO TELL THE STORY, 429
I'M A PILGRIM, 278, 288
I'M BUT A STRANGER HERE, 300, 301
I'M GOING HOME, 291
I'M NOT ASHAMED, 107
IN DE DARK WOOD, 264
IN EDEN, O THE MEMORY!, 383
I NEED THEE EVERY HOUR, 153
IN SOME WAY OR OTHER, 148, 149
IN THE BONDS OF DEATH HE LAY, 473
IN THE CROSS OF CHRIST I GLORY, 97
IN THE DEEP AND MIGHTY WATERS, 406
IN THE WAVES AND MIGHTY WATERS, 405
I OPEN MY EYES TO THIS VISION, 404
IS THIS THE KIND RETURN? 108
IT CAME UPON THE MIDNIGHT CLEAR, 466
I THINK WHEN I READ THAT SWEET, 305
IT MAY NOT BE OUR LOT TO YIELD, 250
IT WAS THE WINTER WILD, 460
I WALKED IN THE WOODLAND MEADOWS, 251, 252
I WILL SING YOU A SONG OF THAT, 532
JERUSALEM THE GOLDEN, 509, 511
JESU, DULCIS MEMORIA, 100
JESUS' BLOOD CAN RAISE THE FEEBLE, 385
JESUS, I LOVE THY CHARMING NAME, 116
JESUS, I MY CROSS HAVE TAKEN, 221
JESUS, KEEP ME NEAR THE CROSS, 156, 157
JESUS, LOVER OF MY SOUL, 359, 364
JESUS MY ALL TO HEAVEN IS GONE, 126
JESUS, SAVIOUR, PILOT ME, 373
JESUS SHALL REIGN WHERE'ER THE SUN, 165
JESUS, THE VERY THOUGHT OF THEE, 100
JESUS THE WATER OF LIFE WILL GIVE, 312
JESUS, THY BLOOD AND RIGHTEOUSNESS, 91
JOHN WESLEY'S HYMN, 209
JOYFULLY, JOYFULLY ONWARD, 288-290
JOY TO THE WORLD! THE LORD IS COME, 166, 463
KEEP ME VERY NEAR TO JESUS, 400
KELLER'S AMERICAN HYMN, 343, 345
LAND AHEAD! THE FRUITS ARE WAVING, 367
LEAD, KINDLY LIGHT, 223
LET PARTY NAMES NO MORE, 169
LET TYRANTS SHAKE THEIR IRON ROD, 331
LET US GATHER UP THE SUNBEAMS, 317
LET US SING OF THE SHEAVES, 479
LIFE IS THE TIME TO SERVE THE LORD, 409
LITTLE TRAVELLERS ZIONWARD, 299
LO! A SAVIOUR FOR THE FALLEN, 404
LO! HE COMES, WITH CLOUDS DESCENDING, 504
LO! ON A NARROW NECK OF LAND, 118
LO! WHAT A GLORIOUS SIGHT APPEARS, 505
LORD, HOW MYSTERIOUS ARE THY WAYS, 198
LORD OF ALL BEING, THRONED AFAR, 52
LORD, WITH GLOWING HEART I'D PRAISE, 49, 50
LOVE DIVINE, ALL LOVES EXCELLING, 47, 111
LOVE UNFATHOMED AS THE OCEAN, 401
MAGDALENA, SHOUT FOR GLADNESS, 473
MAGNIFICAT ANIMA MEA, xii, 10
MAJESTIC SWEETNESS SITS ENTHRONED, 23
MARSEILLAISE HYMN, 174, 329, 352
MEIN JESU, WIE DU WILLST, 499
MID SCENES OF CONFUSION, 134
MINE EYES HAVE SEEN THE GLORY OF THE, 341
MOURNFULLY, TENDERLY BEAR ON THE DEAD, 245, 246
MUST JESUS BEAR THE CROSS ALONE, 411
MY BROTHER, I WISH YOU WELL, 290
MY COUNTRY 'TIS OF THEE, 336-338
MY GOD, HOW ENDLESS IS THY LOVE, 105, 106
MY GOD, I LOVE THEE, NOT BECAUSE, 75
MY GOD, IS ANY HOUR SO SWEET, 214
MY GOD, MY FATHER, WHILE I STRAY, 214
MY GOD, MY PORTION AND MY LOVE, 382
MY GRACIOUS REDEEMER, I LOVE, 132
MY HOPE IS BUILT ON NOTHING LESS, 216, 217
MY JESUS, AS THOU WILT, 499, 500
MY JESUS, I LOVE THEE, 162, 163
MY LORD AND MY GOD, I HAVE TRUSTED, 77
MY LORD, HOW FULL OF SWEET CONTENT, 190, 192
MY SAVIOUR KEEPS ME COMPANY, 189
MY SOUL, BEHOLD THE FITNESS, 397
NEARER, MY GOD, TO THEE, 150-152
NO CHANGE OF TIME SHALL EVER SHOCK, 193
NOT ALL THE BLOOD OF BEASTS, 44
NOW TO THE LORD A NOBLE SONG, 33
O BLISS OF THE PURIFIED, 433
O CANAAN, BRIGHT CANAAN, 273
O CHURCH, ARISE AND SING, 186
O COME, ALL YE FAITHFUL, 459
O COULD I SPEAK THE MATCHLESS WORTH, 136
O CROWN OF REJOICING, 451
ODE ON SCIENCE, 330
O DEUS, EGO AMO TE, 74
O DO NOT BE DISCOURAGED, 298
O'ER ALL THE WAY GREEN PALMS, 470
O'ER THE GLOOMY HILLS OF DARKNESS, 166
O FOR A CLOSER WALK WITH GOD, 129
O FOR A THOUSAND TONGUES TO SING, 45, 46
OFT IN DANGER, OFT IN WOE, 366
O GALILEE SWEET GALILEE, 260, 319
O HAD I THE WINGS OF A DOVE, 400
O HAPPY DAY THAT FIXED MY CHOICE, 281
O HAPPY SAINTS THAT DWELL IN LIGHT, 122
O HELP US, LORD; EACH HOUR OF NEED, 278
O HOW HAPPY ARE THEY, 281
O HOW I LOVE JESUS, 291
O LITTLE TOWN OF BETHLEHEM, 468
O LORD OF HOSTS, WHOSE GLORY FILLS, 485
ONE MORE DAY'S WORK FOR JESUS, 418
ONE SWEETLY SOLEMN THOUGHT, 529
ON JORDAN'S STORMY BANKS, 24
ONLY REMEMBERED, 308
ON THE MOUNTAIN TOP APPEARING, 173
ONWARD, CHRISTIAN SOLDIERS, 185, 186
ONWARD RIDE IN TRIUMPH, JESUS, 382
O PARADISE! O PARADISE! 525
O PERFECT LOVE, 504
O SACRED HEAD, NOW WOUNDED, 86
O SING TO ME OF HEAVEN, 288
O THE CLANGING BELLS OF TIME, 449
O THE LAMB, THE LOVING LAMB, 271
O THINK OF THE HOME OVER THERE, 463
O THOU IN WHOSE PRESENCE MY SOUL, 281
O THOU, MY SOUL, FORGET NO MORE, 492
O THOU WHO DIDST PREPARE, 361
O THOU WHO DRY'ST THE MOURNER'S TEAR, 244
O THOU WHOSE TENDER MERCY HEARS, 198
O TURN YE, O TURN YE, FOR WHY, 291
OUR LORD HAS GONE UP ON HIGH, 473
O WHEN SHALL I SEE JESUS, 276
O WHERE SHALL REST BE FOUND, 145
O WHY SHOULD THE SPIRIT OF MORTAL, 238
O WORSHIP THE KING ALL GLORIOUS ABOVE, 22
PARTED MANY A TOIL-SPENT YEAR, 267
PATIENTLY ENDURING, 443
PEACE, TROUBLED SOUL, WHOSE PLAINTIVE, 202
PEOPLE OF THE LIVING GOD, 144
PILGRIMS WE ARE TO ZION BOUND, 281
PORTALS OF LIGHT, 443
PRAISE GOD FROM WHOM ALL BLESSINGS, 13
PULL FOR THE SHORE, 372
REJOICE AND BE GLAD, 415
RESCUE THE PERISHING, 425
REVIVE THY WORK, O LORD, 445
RISE, CROWNED WITH LIGHT, 238
RISE, MY SOUL, AND STRETCH THY WINGS, 94
ROCK OF AGES, CLEFT FOR ME, 137
SAFE IN THE ARMS OF JESUS, 540
SANCTIFY, O LORD, MY SPIRIT, 405
SAVIOUR, LIKE A SHEPHERD LEAD US, 310
SAVIOUR, THY DYING LOVE, 147
SCATTER SEEDS OF KINDNESS, 317
SCOTS WHA HAE WI WALLACE BLED, 335, 352
SEE GENTLE PATIENCE SMILE ON PAIN, 104
SEND THY SPIRIT, I BESEECH THEE, 406
SERVANT OF GOD, WELL DONE, 498
SHEPHERD OF TENDER YOUTH, 293-296
SHOW PITY, LORD, O LORD FORGIVE, 44
SHRINKING FROM THE COLD HAND OF DEATH, 520
SINCE JESUS TRULY DID APPEAR, 503
SISTER, THOU WAST MILD AND LOVELY, 498
SO FADES THE LOVELY, BLOOMING FLOWER, 104, 198, 498
SOFTLY FADES THE TWILIGHT RAY, 484
SOFTLY NOW THE LIGHT OF DAY, 483
SOON MAY THE LAST GLAD SONG ARISE, 173
SOUND THE LOUD TIMBREL, 326, 327
SPEAK, O SPEAK, THOU GENTLE JESUS, 386
SPEED AWAY, SPEED AWAY, 184
SPIRIT OF GRACE AND LOVE DIVINE, 403
STAND! THE GROUND'S YOUR OWN, 335
STAR-SPANGLED BANNER, 49, 333-335
STILL, STILL WITH THEE, 481
SUN OF MY SOUL, MY SAVIOUR DEAR, 159
SUNSET AND EVENING STAR, 535
SUR NOS CHEMINS LES RAMEAUX, 470
SWEET HOUR OF PRAYER, 432
SWEET IS THE DAY OF SACRED REST, 488
SWEET IS THE LIGHT OF SABBATH EVE, 488
SWEET IS WORK, MY GOD, MY KING, 37
SWEET IS THE WORK, O LORD, 168
SWEET THE MOMENTS, RICH IN BLESSING, 127
TAKE ME AS I AM, O SAVIOUR, 384
TE DEUM LAUDAMUS, 1
TELL ME NOT IN MOURNFUL NUMBERS, 248
TELL ME THE OLD, OLD STORY, 427
THE BANNER OF IMMANUEL, 188, 189
THE BIRD LET LOOSE IN EASTERN SKIES, 244
THE BREAKING WAVES DASHED HIGH, 323
THE CHARIOT! THE CHARIOT! 278
THE DAY IS PAST AND GONE, 275
THE DAY OF RESURRECTION, 54, 55
THE EDEN OF LOVE, 272
THE GLORY IS COMING, GOD SAID IT, 400
THE GOD OF ABRAHAM PRAISE, 18
THE GOD OF HARVEST PRAISE, 481
THE HARP THAT ONCE THRO TARA'S HALL, 326, 328
THE HEIGHTS OF FAIR SALEM ASCENDED, 403
THE LORD DESCENDED FROM ABOVE, 15
THE LORD INTO HIS GARDEN COMES, 277
THE LORD IS RISEN INDEED, 475
THE LORD OUR GOD IS CLOTHED WITH MIGHT, 366
THE MORNING LIGHT IS BREAKING, 179, 180
THE OCEAN HATH NO DANGER, 371
THE PRIZE IS SET BEFORE US, 449
THE SANDS OF TIME ARE SINKING, 78
THE TURF SHALL BE MY FRAGRANT SHRINE, 244
THE WORLD IS VERY EVIL, 510
THERE ARE LONELY HEARTS TO CHERISH, 312
THERE IS A CALM FOR THOSE WHO WEEP, 499, 521
THERE IS A GREEN HILL FAR AWAY, 414
THERE IS A HAPPY LAND, 304
THERE'S A LAND THAT IS FAIRER THAN DAY, 532
THERE'S A WIDENESS IN GOD'S MERCY, 233, 234
THERE WERE NINETY AND NINE, 422
THEY THAT DWELL UPON THE DEEP, 353
THINE EARTHLY SABBATHS, LORD, WE LOVE, 488
THOU ART, O GOD, THE LIFE AND LIGHT, 244
THOU DEAR REDEEMER, DYING LAMB, 124
THOU LOVELY SOURCE OF TRUE DELIGHT, 198
THROW OUT THE LIFE-LINE, 374-377
'TIS FINISHED! SO THE SAVIOUR CRIED, 24
'TIS RELIGION THAT CAN GIVE, 303
TO CHRIST THE LORD LET EVERY TONGUE, 25
TO GOD THE FATHER, GOD THE SON, 14
TO LEAVE MY DEAR FRIENDS, AND FROM NEIGHBORS, 146
TO THE WORK, TO THE WORK! 438
TOO LATE! TOO LATE! 259
TRIUMPHANT ZION, LIFT THY HEAD, 510
ULTIMA THULE, 320
UNDER THE PALMS, 254
UNNUMBERED ARE THE MARVELS, 402
UNTO THY PRESENCE COMING, 392
UNVEIL THY BOSOM FAITHFUL TOMB, 44, 498
UP AND AWAY LIKE THE DEW, 308
URBS SION AUREA, 509, 511
VENI, SANCTE SPIRITUS, 57, 58
VERZAGE NICHT, DU HAUFLEIN KLEIN, 82
VITAL SPARK OF HEAVENLY FLAME, 515
WATCHMAN, TELL US OF THE NIGHT, 170
WE ARE ON OUR JOURNEY HOME, 417
WELCOME, DELIGHTFUL MORN, 488
WE PLOW THE FIELDS AND SCATTER, 478
WE PRAISE THEE, O GOD, FOR THE SON, 416
WE SAT DOWN AND WEPT BY THE WATERS, 241
WE SHALL MEET BEYOND THE RIVER, 528
WE SPEAK OF THE LAND OF THE BLEST, 307
WESTWARD THE COURSE OF EMPIRE, 324
WHAT A FRIEND WE HAVE IN JESUS, 425
WHAT SHALL A DYING SINNER DO, 43
WHAT SHALL THE HARVEST BE, 434
WHAT VARIOUS HINDRANCES WE MEET, 131
WHEN ALL THY MERCIES, O MY GOD, 113
WHEN FOR ETERNAL WORLDS I STEER, 286
WHEN HE COMETH, WHEN HE COMETH, 314
WHEN I CAN READ MY TITLE CLEAR, 43, 514
WHEN GATHERING CLOUDS AROUND I VIEW, 212
WHEN ISRAEL OF THE LORD BELOVED, 240
WHEN I SURVEY THE WONDROUS CROSS, 42, 109
WHEN LANGUOR AND DISEASE INVADE, 137
WHEN MARSHALLED ON THE NIGHTLY PLAIN, 364
WHEN MY FINAL FAREWELL TO THE WORLD, 441, 442
WHEN OUR HEADS ARE BOWED WITH WOE, 278
WHEN PEACE LIKE A RIVER, 440
WHEN SHALL WE ALL MEET AGAIN, 265, 266
WHEN TWO OR THREE WITH SWEET ACCORD, 24
WHERE IS MY WANDERING BOY TO-NIGHT? 446
WHERE NOW ARE THE HEBREW CHILDREN? 270
WHILE JESUS WHISPERS TO YOU, 418
WHILE SHEPHERDS WATCHED THEIR FLOCKS, 465
WHILE THEE I SEEK, PROTECTING POWER, 125, 207
WHILE WITH CEASELESS COURSE THE SUN, 493
WHY SHOULD WE START AND FEAR TO DIE, 512
WIDE, YE HEAVENLY GATES UNFOLD, 168
WITH JOY WE HAIL THE SACRED DAY, 168
WITH SONGS AND HONORS SOUNDING LOUD, 479
WITH TEARFUL EYES I LOOK AROUND, 214
YE CHOIRS OF NEW JERUSALEM, 59, 60
YE CHRISTIAN HERALDS, GO PROCLAIM, 171, 172
YE CHRISTIAN HEROES, WAKE TO GLORY, 174
YE GOLDEN LAMPS OF HEAVEN, FAREWELL, 519
YE SERVANTS OF GOD, YOUR MASTER PROCLAIM, 204
YES, MY NATIVE LAND, I LOVE THEE, 180
YES, THE REDEEMER ROSE, 476
YOUR HARPS; YE TREMBLING SAINTS, 517
* * * * *
Transcriber's note:
Obvious spelling/typographical and punctuation errors
have been corrected after careful comparison with other
occurences within the text and consultation of external
sources. Details can be found in the HTML version.