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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:53:21 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:53:21 -0700 |
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diff --git a/18444-h/18444-h.htm b/18444-h/18444-h.htm new file mode 100644 index 0000000..5e60ec6 --- /dev/null +++ b/18444-h/18444-h.htm @@ -0,0 +1,33833 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of The Story of the Hymns and Tunes, by Theron Brown and Hezekiah Butterworth</title> +<style type="text/css"> + <!-- + + /* original pagenumbers: not printed, optional screen display */ + @media print { + samp.pgmark { /* border-top: thin solid silver; */ + /* border-bottom: thin solid silver; */ + font-size: xx-small; text-align: left; + text-indent:0; font-style: normal; + margin: 0;padding: .05em 0.5em; + position: absolute; left: 1%; + display: none; visibility: hidden; } + samp.pgmark span.png {display: none; } + } + @media screen { + /* depending on your browser, change */ + /* "none" to "inline" to unhide the numbers */ + /* which should appear in the left margin */ + samp.pgmark { /* border-top: thin solid silver; 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+ text-align: center; + margin-top: 1em; + margin-bottom: 1em; + margin-right: 1em; + margin-left: 15%; + font-size: medium; + font-style: italic; + float: none; } + /* the only non-relative size we use, */ + /* because images are pixel-based anyway */ + .illus img {padding-top: 10px; } + + /* ToC, indexes */ + table.contents {width: 80%; } + td.contents {text-align: right; + padding-left: 0.5em; + width: 2.5em; } + td.portraits {text-align: right; + padding-left: 0.5em; + width: 6.5em; } + td.portraits span {float: left; + margin-left: 2em; margin-right: 2em; } + td.cont {font-variant: small-caps; + font-size: small; + text-align: left; + padding-right: 0.5em; } + /* indexes are fixed width because we use a separate */ + /* table for each letter of the alphabet */ + table.index {width: 20em; + margin-bottom: 1em; } + table.hymnindex {width: 25em; + margin-bottom: 1em; } + td.index {font-size: small; + text-align: right; } + /* by floating the index entry we can have long lists */ + /* of page refs wrapping around compactly */ + td.index span {float: left; + text-align: left; + margin-right: 0.5em; } + /* we hijack the <em> tag for smallcaps because */ + /* Opera stuffs up <span>s within <span>s */ + td.index em {font-style: normal; + font-variant: small-caps; + margin-right: 0; } + + /* for the boilerplate */ + div.info h3 {margin-top: 1em; + margin-bottom: 1em; } + div.info p {text-indent: 0; + margin-top: 1em; + font-size: small; + text-align: left; + margin-bottom: 0.5em; } + pre {font-size: small; } + + /* footnotes are placed at the end of a paragraph */ + /* with a coloured background to distinguish them */ + /* we change the vertical alignment to stop */ + /* footnotemarks messing up lineheights, */ + /* especially inside hymns */ + sup {font-size: small; + vertical-align:top; } + div.footnote {margin-right: 15%; + margin-bottom: 1em; + padding-top: 0.25em; + padding-bottom: 0.25em; + padding-right: 0.75em; + background-color: #eeeeee; + color: #000000; } + div.footnote p {text-indent: -.75em; + margin-left: .75em; + margin-top: 0; + margin-bottom: 0; + margin-right:0; + font-size: small; + text-align: justify; } + div.footnote p.b {text-indent: .75em; + margin-left: .75em; + margin-top: 0; + margin-bottom: 0; + font-size: small; + text-align: justify; } + div.footnote div.hymn {margin-top: 0.5em; + margin-left: 10%; + margin-right: 0; + margin-bottom: 0.5em; } + /* the footnote rule goes above, not inside, the */ + /* coloured area, hence we don't use "div.footnote hr" */ + /* because absolute positioning with "top" doesn't work */ + /* in any browser I've tried :( Also, the text-align */ + /* doesn't work in Mozilla, hence the margins */ + hr.footnote {width: 5em; + margin: 1em auto 0.2em 0; + text-align: left; } + + /* for recording typos etc */ + ins.transcriber {text-decoration: none; + border-bottom: thin dotted silver; } + + .thoughtbreak {margin-top: 1em; } + .smc {font-variant: small-caps;} + + // --> + +</style> +</head> +<body> +<h1 class="pg">The Project Gutenberg eBook, The Story of the Hymns and Tunes, by Theron +Brown and Hezekiah Butterworth</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: The Story of the Hymns and Tunes</p> +<p>Author: Theron Brown and Hezekiah Butterworth</p> +<p>Release Date: May 24, 2006 [eBook #18444]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK THE STORY OF THE HYMNS AND TUNES***</p> +<p> </p> +<h3>E-text prepared by Juliet Sutherland, David Wilson,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net/)</h3> +<p> </p> + +<hr class="pg" noshade="noshade" /> + +<div class="main"> +<a id="png:001" name="png:001"></a> +<h1>THE STORY OF THE<br /> +HYMNS AND TUNES</h1> + +<h4 class="normal">BY</h4> + +<h2>THERON BROWN</h2> +<h4 class="normal">AND</h4> +<h2>HEZEKIAH BUTTERWORTH</h2> + +<h4 class="tune" style="margin-top: 4em;"> +Multae terricolis linguae, coelestibus una.</h4> + +<hr style="width: 6em; margin-top: 0; margin-bottom: 0;" /> + +<h4 class="tune">Ten thousand, thousand are their tongues,<br /> +But all their joys are one.</h4> + +<h6 style="margin-top:10em;">NEW YORK, 1906</h6> + +<hr class="chap" /> + +<a id="png:002" name="png:002"></a> +<a id="png:003" name="png:003"></a> +<div class="illus"><samp class="pgmark" + ><span class="png">3/</span>Frontispiece</samp> +<table cellspacing="40" summary="portrait of Thomas Ken"> + <tr valign="bottom"> + <td><a id="Illus1" name="Illus1" + ><img src="images/illus01-thomasken-cameo.jpg" alt= + "Thomas Ken" width="224" height="237" /></a></td> + <td><table summary="Caption"> + <tr><td><a href="#png:033">Thomas Ken</a></td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<a id="png:005" name="png:005"></a> + +<h2 class="chap">CONTENTS</h2> +<hr class="chap" /> + +<div class="ctr"> +<table summary="Table of Contents" class="contents"> + +<tr valign="baseline"> +<td class="cont" colspan="2"><a href="#png:007">Preface</a>,</td> +<td class="contents"><a href="#png:007">v</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont" colspan="2"><a href="#png:011">Introduction</a>,</td> +<td class="contents"><a href="#png:011">ix</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">1.</td> +<td class="cont"><a href="#png:021">Hymns of praise and worship</a>,</td> +<td class="contents"><a href="#png:021">1</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">2.</td> +<td class="cont"><a href="#png:079">Some hymns of great witnesses</a>,</td> +<td class="contents"><a href="#png:079">53</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">3.</td> +<td class="cont"><a href="#png:130" +>Hymns of christian devotion and experience</a>,</td> +<td class="contents"><a href="#png:130">100</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">4.</td> +<td class="cont"><a href="#png:201">Missionary hymns</a>,</td> +<td class="contents"><a href="#png:201">165</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">5.</td> +<td class="cont"><a href="#png:228">Hymns of suffering and trust</a>,</td> +<td class="contents"><a href="#png:228">190</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">6.</td> +<td class="cont"><a href="#png:281">Christian ballads</a>,</td> +<td class="contents"><a href="#png:281">237</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">7.</td> +<td class="cont"><a href="#png:308">Old revival hymns</a>,</td> +<td class="contents"><a href="#png:308">262</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">8.</td> +<td class="cont"><a href="#png:341">Sunday school hymns</a>,</td> +<td class="contents"><a href="#png:341">293</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">9.</td> +<td class="cont"><a href="#png:371">Patriotic hymns</a>,</td> +<td class="contents"><a href="#png:371">321</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">10.</td> +<td class="cont"><a href="#png:405">Sailor's hymns</a>,</td> +<td class="contents"><a href="#png:405">353</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">11.</td> +<td class="cont"><a href="#png:432">Hymns of Wales</a>,</td> +<td class="contents"><a href="#png:432">378</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">12.</td> +<td class="cont"><a href="#png:465">Field hymns</a>,</td> +<td class="contents"><a href="#png:465">409</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">13.</td> +<td class="cont"><a href="#png:518">Hymns, festival and occasional</a>,</td> +<td class="contents"><a href="#png:518">458</a></td> +</tr> + +<tr valign="baseline"> +<td class="contents">14.</td> +<td class="cont"><a href="#png:573">Hymns of hope and consolation</a>,</td> +<td class="contents"><a href="#png:573">509</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont" colspan="2"><a href="#png:609" +>Indexes of names, tunes, and hymns</a>,</td> +<td class="contents"><a href="#png:609">543</a></td> +</tr> + +</table> +</div> + +<a id="png:006" name="png:006"></a> + + + + +<h2 class="chap">LIST OF PORTRAITS.</h2> +<hr class="chap" /> + +<div class="ctr"> +<table summary="List of Portraits" class="contents"> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus1">Thomas Ken</a>,</td> +<td class="portraits"><a href="#Illus1">Frontispiece</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus2">Oliver Holden</a>,</td> +<td class="portraits"><a href="#Illus2">Opp. page 14</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus3">Joseph Haydn</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus3"> 30</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus4">Charles Wesley</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus4"> 46</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus5">Martin Luther</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus5"> 62</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus6">Lady Huntingdon</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus6"> 94</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus7">Augustus Montague Toplady</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus7"> 126</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus8">Thomas Hastings</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus8"> 142</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus9">Frances Ridley Havergal</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus9"> 158</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus10">Reginald Heber</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus10"> 174</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus11">George James Webb</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus11"> 190</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus12">John Wesley</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus12"> 206</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus13">John B. Dykes</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus13"> 222</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus14">Ellen M.H. Gates</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus14"> 254</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus15">James Montgomery</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus15"> 286</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus16">Fanny J. Crosby</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus16"> 302</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus17">Samuel F. Smith</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus17"> 334</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus18">William B. Bradbury</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus18"> 366</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus19">Isaac Watts</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus19"> 398</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus20">George Frederick Handel</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus20"> 414</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus21">Philip Doddridge</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus21"> 446</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus22">Lowell Mason</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus22"> 478</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus23">Carl von Weber</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus23"> 494</a></td> +</tr> + +<tr valign="baseline"> +<td class="cont"><a href="#Illus24">Horatius Bonar</a>,</td> +<td class="portraits"><span>"</span><a href="#Illus24"> 526</a></td> +</tr> +</table> +<p><a id="png:007" name="png:007"></a><samp class="pgmark" + ><span class="png">7 /</span> v</samp></p> +</div> + + + +<h2 class="chap">PREFACE.</h2> +<hr class="chap" /> + + +<p>When the lapse of time and accumulation of +fresh material suggested the need of a new and +revised edition of Mr. Hezekiah Butterworth's +<i>Story of the Hymns</i>, which had been a popular +text book on that subject for nearly a generation, +the publishers requested him to prepare such a +work, reviewing the whole field of hymnology and +its literature down to date. He undertook the task, +but left it unfinished at his lamented death, committing +the manuscript to me in his last hours to +arrange and complete.</p> + +<p>To do this proved a labor of considerable magnitude, +since what had been done showed evidence +of the late author's failing strength, and when, in +a conference with the publishers, it was proposed +to combine the two books of Mr. Butterworth, +the <i>Story of the Hymns</i> and the <i>Story of the +Tunes</i>, in one volume, the task was doubled.</p> + +<p>The charming popular style and story-telling +gift of the well-known compiler of these books had +kept them in demand, the one for thirty and the +other for fifteen years, but later information had +discounted some of their historic and biographical +<a id="png:008" name="png:008"></a><samp class="pgmark" + ><span class="png">8 /</span> vi</samp> +matter, and, while many of the monographs were +too meagre, others were unduly long. Besides, +the <i>Story of the Tunes</i>, so far from being the +counterpart of the <i>Story of the Hymns</i>, bore no +special relationship to it, only a small portion of its +selections answering to any in the hymn-list of the +latter book. For a personal friend and practically +unknown writer, to follow Mr. Butterworth, and +“improve” his earlier work to the more modern +conditions, was a venture of no little difficulty and +delicacy. The result is submitted as simply a conscientious +effort to give the best of the old with the +new.</p> + +<p>So far as was possible, matter from the two +previous books, and from the crude manuscript, +has been used, and passages here and there transcribed, +but so much of independent plan and +original research has been necessary in arranging +and verifying the substance of the chapters that +the <i>Story of the Hymns and Tunes</i> is in fact a +new volume rather than a continuation. The +chapter containing the account of the <i>Gospel +Hymns</i> is recent work with scarcely an exception, +and the one on the <i>Hymns of Wales</i> is entirely new.</p> + +<p>Without increasing the size of this volume beyond +easy purchase and convenient use, it was impossible +to discuss the great oratorios and dramatic +set-pieces, festival and occasional, and only passing +references are made to them or their authors.</p> + +<p>Among those who have helped me in my work +special acknowledgements are due to Mr. Hubert +<a id="png:009" name="png:009"></a><samp class="pgmark" + ><span class="png">9 /</span> vii</samp> +P. Main of Newark, N.J.; Messrs. Hughes & Son +of Wrexham, Wales; the American Tract Society, +New York; Mr. William T. Meek, Mrs. A.J. +Gordon, Mr. Paul Foster, Mr. George Douglas, +and Revs. John R. Hague and Edmund F. Merriam +of Boston; Professor William L. Phelps of +New Haven, Conn.; Mrs. Ellen M.H. Gates of +New York; Rev. Franklin G. McKeever of New +London, Conn.; and Rev. Arthur S. Phelps of +Greeley, Colorado. Further obligations are gratefully +remembered to Oliver Ditson & Co. for +answers to queries and access to publications, to +the Historic-and-Geneological Society and the +custodians and attendants of the Boston Public +Library (notably in the Music Department) for +their uniform courtesy and pains in placing every +resource within my reach.</p> + +<p style="text-align: right; margin-top: 0.5em; + margin-bottom: 1em;">THERON BROWN.</p> +<p class="runon">Boston, May 15th, 1906. +<a id="png:011" name="png:011"></a><samp class="pgmark" + ><span class="png">11 /</span> ix</samp></p> + + + + +<h2 class="chap">INTRODUCTION.</h2> +<hr class="chap" /> + + +<p>Augustine defines a hymn as “praise to God +with song,” and another writer calls hymn-singing +“a devotional approach to God in our emotions,”—which +of course applies to both the +words and the music. This religious emotion, +reverently acknowledging the Divine Being in +song, is a constant element, and wherever felt it +makes the song a worship, irrespective of sect or +creed. An eminent Episcopal divine, (says the +<i>Christian Register</i>,) one Trinity Sunday, at the +close of his sermon, read three hymns by Unitarian +authors: one to God the Father, by Samuel +Longfellow, one to Jesus, by Theodore Parker, +and one to the Holy Spirit, by N.L. Frothingham. +“There,” he said, “you have the Trinity—Father, +Son, and Holy Ghost.”</p> + +<p>It is natural to speak of hymns as “poems,” +indiscriminately, for they have the same structure. +But a hymn is not necessarily a poem, while a +poem that can be sung as a hymn is something +more than a poem. Imagination makes poems; +devotion makes hymns. There can be poetry +without emotion, but a hymn never. A poem may +<a id="png:012" name="png:012"></a><samp class="pgmark" + ><span class="png">12 /</span> x</samp> +argue; a hymn must not. In short to be a hymn, +what is written must express spiritual feelings and +desires. The music of faith, hope and charity will +be somewhere in its strain.</p> + +<p>Philosophy composes poems, but not hymns. +“It is no love-symphony we hear when the lion +thinkers roar,” some blunt writer has said. “The +moles of Science have never found the heavenly +dove's nest, and the Sea of Reason touches no shore +where balm for sorrow grows.”</p> + +<p>On the contrary there are thousands of true +hymns that have no standing at the court of the +muses. Even Cowper's Olney hymns, as Goldwin +Smith has said, “have not any serious value as +poetry. Hymns rarely have,” he continues. +“There is nothing in them on which the creative +imagination can be exercised. Hymns can be little +more than the incense of a worshipping soul.”</p> + +<p>A fellow-student of Phillips Brooks tells us that +“most of his verse he wrote rapidly without revising, +not putting much thought into it but using +it as the vehicle and outlet of his feelings. It was the +sign of responding love or gratitude and joy.”</p> + +<p>To produce a hymn one needs something more +exalting than poetic fancy; an influence</p> + +<div class="hymn" style="margin-top: 0.1em; margin-bottom: 0.1em;"> +<div class="stanza" style="margin-top: 0;"> +<div>“—subtler than the sun-light in the leaf-bud</div> +<div>That thrills thro' all the forest, making May.”</div> +</div></div> + +<p class="runon">It is the Divine Spirit wakening the human heart +to lyric language.</p> + +<p>Religion sings; that is true, though all “religions” +do not sing. There is no voice of sacred +<a id="png:013" name="png:013"></a><samp class="pgmark" + ><span class="png">13 /</span> xi</samp> +song in Islamism. The muezzin call from the +minarets is not music. One listens in vain for +melody among the worshippers of the “Light of +Asia.” The hum of pagoda litanies, and the +shouts and gongs of idol processions are not +psalms. But many historic faiths have lost their +melody, and we must go far back in the annals +of ethnic life to find the songs they sung.</p> + +<p>Worship appears to have been a primitive human +instinct; and even when many gods took the place +of One in the blinder faith of men it was nature +worship making deities of the elements and addressing +them with supplication and praise. +Ancient hymns have been found on the monumental +tablets of the cities of Nimrod; fragments +of the Orphic and Homeric hymns are preserved +in Greek anthology; many of the Vedic hymns are +extant in India; and the exhumed stones of Egypt +have revealed segments of psalm-prayers and +liturgies that antedate history. Dr. Wallis Budge, +the English Orientalist, notes the discovery of a +priestly hymn two thousand years older than the +time of Moses, which invokes One Supreme Being +who “cannot be figured in stone.”</p> + +<p>So far as we have any real evidence, however, +the Hebrew people surpassed all others in both +the custom and the spirit of devout song. We get +snatches of their inspired lyrics in the song of Moses +and Miriam, the song of Deborah and Barak, and +the song of Hannah (sometimes called “the Old +Testament Magnificat”), in the hymns of David +<a id="png:014" name="png:014"></a><samp class="pgmark" + ><span class="png">14 /</span> xii</samp> +and Solomon and all the Temple Psalms, and +later where the New Testament gives us the +“Gloria” of the Christmas angels, the thanksgiving +of Elizabeth (benedictus minor), Mary's +Magnificat, the song of Zacharias (benedictus +major), the “nunc dimittis” of Simeon, and the +celestial ascriptions and hallelujahs heard by St. +John in his Patmos dream. For what we know of +the first <em>formulated</em> human prayer and praise we +are mostly indebted to the Hebrew race. They +seem to have been at least the only ancient nation +that had a complete psalter—and their collection is +the mother hymn-book of the world.</p> + +<p>Probably the first form of hymn-worship was +the plain-song—a declamatory unison of assembled +singers, every voice on the same pitch, and +within the compass of five notes—and so continued, +from whatever may have stood for plain-song +in Tabernacle and Temple days down to the +earliest centuries of the Christian church. It was +mere melodic progression and volume of tone, and +there were no instruments—after the captivity. +Possibly it was the memory of the harps hung +silent by the rivers of Babylon that banished the +timbrel from the sacred march and the ancient lyre +from the post-exilic synagogues. Only the Feast +trumpet was left. But the Jews sang. Jesus and +his disciples sang. Paul and Silas sang; and so +did the post-apostolic Christians; but until towards +the close of the 16th century there were no +instruments allowed in religious worship. +<a id="png:015" name="png:015"></a><samp class="pgmark" + ><span class="png">15 /</span> xiii</samp></p> + +<p>St. Hilary, Bishop of Poitiers has been called +“the father of Christian hymnology.” About the +middle of the 4th century he regulated the ecclesiastical +song-service, wrote chant music (to Scripture +words or his own) and prescribed its place and use +in his choirs. He died A.D. 368. In the Church +calendars, Jan. 13th (following “Twelfth Night”), +is still kept as “St. Hilary's Day” in the Church of +England, and Jan. 14th in the Church of Rome.</p> + +<p>St. Ambrose, Bishop of Milan, a few years later, +improved the work of his predecessor, adding +words and music of his own. The “Ambrosian +Chant” was the antiphonal plain-song arranged +and systematized to statelier effect in choral +symphony. Ambrose died A.D. 397.</p> + +<p>Toward the end of the 6th century Christian +music showed a decline in consequence of impatient +meddling with the slow canonical psalmody, +and “reformers” had impaired its solemnity +by introducing fanciful embellishments. Gregory +the Great (Pope of Rome, 590–604) banished these +from the song service, founded a school of sacred +melody, composed new chants and established the +distinctive character of ecclesiastical hymn worship. +The Gregorian chant—on the diatonic eight sounds +and seven syllables of equal length—continued, +with its majestic choral step, to be the basis of +cathedral music for a thousand years. In the +meantime (930) Hucbald, the Flanders monk, +invented <em>sight</em> music, or written notes—happily +called the art of “hearing with the eyes and seeing +<a id="png:016" name="png:016"></a><samp class="pgmark" + ><span class="png">16 /</span> xiv</samp> +with the ears"; and Guido Arentino (1024) contrived +the present scale, or the “hexachord” on +which the present scale was perfected.</p> + +<p>In this long interval, however, the “established” +system of hymn service did not escape the intrusion +of inevitable novelties that crept in with the change +of popular taste. Unrhythmical singing could not +always hold its own; and when polyphonic music +came into public favor, secular airs gradually found +their way into the choirs. Legatos, with their pleasing +turn and glide, caught the ear of the multitude. +Tripping allegrettos sounded sweeter to the vulgar +sense than the old largos of Pope Gregory the Great.</p> + +<p>The guardians of the ancient order took alarm. +One can imagine the pained amazement of conservative +souls today on hearing “Ring the Bells +of Heaven” substituted in church for “Mear” or +the long-metre Doxology, and can understand the +extreme distaste of the ecclesiastical reactionaries +for the worldly frivolities of an A.D. 1550 choir. +Presumably that modern abomination, the <em>vibrato</em>, +with its shake of artificial fright, had not been +invented then, and sanctuary form was saved one +indignity. But the innovations became an abuse +so general that the Council of Trent commissioned +a select board of cardinals and musicians to arrest +the degeneration of church song-worship.</p> + +<p>One of the experts consulted in this movement +was an eminent Italian composer born twenty +miles from Rome. His full name was Giovanni +Pietro Aloysio da Palestrina, and at that time he +<a id="png:017" name="png:017"></a><samp class="pgmark" + ><span class="png">17 /</span> xv</samp> +was in the prime of his powers. He was master of +polyphonic music as well as plain-song, and he +proposed applying it to grace the older mode, preserving +the solemn beauty of the chant but adding +the charming chords of counterpoint. He wrote +three “masses,” one of them being his famous +“Requiem.” These were sung under his direction +before the Commission. Their magnificence and +purity revealed to the censors the possibilities of +contrapuntal music in sanctuary devotion and +praise. The sanction of the cardinals was given—and +part-song harmony became permanently one +of the angel voices of the Christian church.</p> + +<p>Palestrina died in 1594, but hymn-tunes adapted +from his motets and masses are sung today. He +was the father of the choral tune. He lived to +see musical instruments and congregational singing +introduced<sup>*</sup> in public worship, and to know +(possibly with secret pleasure, though he was a +Romanist) how richly in popular assemblies, during +the Protestant Reformation, the new freedom +of his helpful art had multiplied the creation of +spiritual hymns.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +But not fully established in use till about 1625.</p></div> + +<p>Contemporary in England with Palestrina in +Italy was Thomas Tallis who developed the +Anglican school of church music, which differed +less from the Italian (or Catholic) psalmody than +that of the Continental churches, where the revolt +of the Reformation extended to the tune-worship +as notably as to the sacraments and sermons. This +<a id="png:018" name="png:018"></a><samp class="pgmark" + ><span class="png">18 /</span> xvi</samp> +difference created a division of method and practice +even in England, and extreme Protestants who +repudiated everything artistic or ornate formed +the Puritan or Genevan School. Their style is +represented among our hymn-tunes by “Old Hundred,” +while the representative of the Anglican +is “Tallis' Evening Hymn.” The division was only +temporary. The two schools were gradually reconciled, +and together made the model after which +the best sacred tunes are built. It is Tallis who is +called “The father of English Cathedral music.”</p> + +<p>In Germany, after the invention of harmony, +church music was still felt to be too formal for a +working force, and there was a reaction against the +motets and masses of Palestrina as being too stately +and difficult. Lighter airs of the popular sort, +such as were sung between the acts of the “mystery +plays,” were subsidized by Luther, who wrote compositions +and translations to their measure. Part-song +was simplified, and Johan Walther compiled +a hymnal of religious songs in the vernacular for +from four to six voices. The reign of rhythmic +hymn music soon extended through Europe.</p> + +<p>Necessarily—except in ultra-conservative localities +like Scotland—the exclusive use of the Psalms +(metrical or unmetrical) gave way to religious lyrics +inspired by occasion. Clement Marot and Theodore +Beza wrote hymns to the music of various +composers, and Caesar Malan composed both hymns +and their melodies. By the beginning of the 18th +century the triumph of the hymn-tune and the +<a id="png:019" name="png:019"></a><samp class="pgmark" + ><span class="png">19 /</span> xvii</samp> +hymnal for lay voices was established for all time.</p> + +<p class="stars">* * * * * *</p> + +<p>In the following pages no pretence is made of +selecting <em>all</em> the best and most-used hymns, but the +purpose has been to notice as many as possible of +the standard pieces—and a few others which seem +to add or re-shape a useful thought or introduce a +new strain.</p> + +<p>To present each hymn <em>with its tune</em> appeared +the natural and most satisfactory way, as in most +cases it is impossible to dissociate the two. The +melody is the psychological coëfficient of the metrical +text. Without it the verse of a seraph +would be smothered praise. Like a flower and +its fragrance, hymn and tune are one creature, and +stand for a whole value and a full effect. With +this normal combination a <em>complete</em> descriptive +list of the hymns and tunes would be a historic +dictionary. Such a book may one day be made, +but the present volume is an attempt to the same +end within easier limits. +<a id="png:021" name="png:021"></a><samp class="pgmark" + ><span class="png">21 /</span> 1</samp></p> + + + + +<h2 class="chap">CHAPTER I.</h2> +<hr class="chap" /> + +<h1>HYMNS OF PRAISE AND +WORSHIP.</h1> +<hr class="chap" /> + + + +<h4 class="hymn">“<span>TE DEUM LAUDAMUS.</span>”</h4> + + +<p>This famous church confession in song was composed +A.D. 387 by Ambrose, Bishop of Milan, probably +both words and music.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Te Deum laudamus, Te Dominum confitemur</div> +<div>Te aeternum Patrem omnis terra veneratur</div> +<div>Tibi omnes angeli, tibi coeli et universae potestates,</div> +<div>Tibi cherubim et seraphim inaccessibili voce proclamant</div> +<div>Sanctus, sanctus Dominus Deus Sabaoth.</div> +</div></div> + +<p>In the whole hymn there are thirty lines. The +saying that the early Roman hymns were echoes +of Christian Greece, as the Greek hymns were +echoes of Jerusalem, is probably true, but they were +only echoes. In A.D. 252, St. Cyprian, writing his +consolatory epistle<sup>*</sup> during the plague in Carthage, +when hundreds were dying every day, says, +“Ah, perfect and perpetual bliss! [in heaven.] +There is the glorious company of the apostles<ins class="transcriber" + title="Transcriber's note: punctuation inferred">;</ins> +<a id="png:022" name="png:022"></a><samp class="pgmark" + ><span class="png">22 /</span> 2</samp> +there is the fellowship of the prophets rejoicing; +there is the innumerable multitude of martyrs +crowned.” Which would suggest that lines or +fragments of what afterwards crystalized into the +formula of the “Te Deum” were already familiar in +the Christian church. But it is generally believed +that the tongue of Ambrose gave the anthem its +final form.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +<i title="[Greek: Peri tou thnêtou]" +>Περὶ τοῡ +θνητοῡ</i>, +“On the Mortality.”</p></div> + +<p>Ambrose was born in Gaul about the middle of +the fourth century and raised to his bishopric in +A.D. 374. Very early he saw and appreciated the +popular effect of musical sounds, and what an +evangelical instrument a chorus of chanting voices +could be in preaching the Christian faith; and he +introduced the responsive singing of psalms and +sacred cantos in the worship of the church. “A +grand thing is that singing, and nothing can stand +before it,” he said, when the critics of his time +complained that his innovation was sensational. +That such a charge could be made against the +Ambrosian mode of music, with its slow movement +and unmetrical lines, seems strange to us, +but it was <em>new</em>—and conservatism is the same in +all ages.</p> + +<p>The great bishop carried all before him. His +school of song-worship prevailed in Christian +Europe more than two hundred years. Most of +his hymns are lost, (the Benedictine writers credit +him with twelve), but, judging by their effect on +the powerful mind of Augustine, their influence +among the common people must have been +<a id="png:023" name="png:023"></a><samp class="pgmark" + ><span class="png">23 /</span> 3</samp> +profound, and far more lasting than the author's life. +“Their voices sank into mine ears, and their truths +distilled into my heart,” wrote Augustine, long +afterwards, of these hymns; “tears ran down, and +I rejoiced in them.”</p> + +<p>Poetic tradition has dramatized the story of the +birth of the “Te Deum,” dating it on an Easter +Sunday, and dividing the honor of its composition +between Ambrose and his most eminent convert. +It was the day when the bishop baptized Augustine, +in the presence of a vast throng that crowded +the Basilica of Milan. As if foreseeing with a +prophet's eye that his brilliant candidate would +become one of the ruling stars of Christendom, +Ambrose lifted his hands to heaven and chanted +in a holy rapture,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>We praise Thee, O God! We acknowledge Thee to be the Lord;</div> +<div>All the Earth doth worship Thee, the Father Everlasting.</div> +</div></div> + +<p class="runon">He paused, and from the lips of the baptized disciple +came the response,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>To Thee all the angels cry aloud: the heavens and all + the powers therein.</div> +<div>To Thee cherubim and seraphim continually do cry,</div> +<div>“Holy, holy, holy Lord God of Sabaoth;</div> +<div>Heaven and Earth are full of the majesty of Thy glory!”</div> +</div></div> + +<p class="runon">and so, stave by stave, in alternating strains, sprang +that day from the inspired lips of Ambrose and +Augustine the “Te Deum Laudamus,” which has +ever since been the standard anthem of Christian +praise.</p> + +<a id="png:024" name="png:024"></a><samp class="pgmark" + ><span class="png">24 /</span> 4</samp> +<p>Whatever the foundation of the story, we may +at least suppose the first public singing<sup>*</sup> of the +great chant to have been associated with that +eventful baptism.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +The “Te Deum” was first sung <em>in English</em> by the martyr, +Bishop Ridley, at Hearne Church, where he was at one time vicar.</p></div> + +<p>The various anthems, sentences and motets in +all Christian languages bearing the titles “Trisagion” +or “Tersanctus,” and “Te Deum” are +taken from portions of this royal hymn. The sublime +and beautiful “Holy, Holy, Holy” of Bishop +Heber was suggested by it.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>No echo remains, so far as is known, of the +responsive chant actually sung by Ambrose, but +one of the best modern choral renderings of the +“Te Deum” is the one by Henry Smart in his +<i>Morning and Evening Service</i>. In an ordinary +church hymnal it occupies seven pages. The staff-directions +with the music indicate the part or cue of +the antiphonal singers by the words Decani (Dec.) +and Cantor (Can.), meaning first the division of the +choir on the Dean's side, and second the division +on the Cantor's or Precentor's side.</p> + +<p>Henry Smart was one of the five great English +composers that followed our American Mason. +He was born in London, Oct. 25, 1812, and chose +music for a profession in preference to an offered +commission in the East Indian army. His talent +<a id="png:025" name="png:025"></a><samp class="pgmark" + ><span class="png">25 /</span> 5</samp> +as a composer, especially of sacred music, was +<ins class="transcriber" + title="Transcriber's note: original has 'marvelous'">marvellous</ins>, and, though he became blind, his loss +of sight was no more hindrance to his genius than +loss of hearing to Beethoven.</p> + +<p>No composer of his time equalled Henry Smart +as a writer of music for female voices. His cantatas +have been greatly admired, and his hymn +tunes are unsurpassed for their purity and sweetness, +while his anthems, his oratorio of “Jacob,” +and indeed all that he wrote, show the hand and the +inventive gift of a great musical artist.</p> + +<p>He died July 10, 1879, universally mourned for +his inspired work, and his amiable character.</p> + + + +<h4 class="hymn">“<span>ALL GLORY, LAUD AND HONOR.</span>”</h4> + +<h4 class="tune">Gloria, Laus et Honor.</h4> + + +<p>This stately Latin hymn of the early part of the +9th century was composed in A.D. 820, by Theodulph, +Bishop of Orleans, while a captive in the +cloister of Anjou. King Louis (le Debonnaire) +son of Charlemagne, had trouble with his royal +relatives, and suspecting Theodulph to be in +sympathy with them, shut him up in prison. A +pretty story told by Clichtovius, an old church +writer of A.D. 1518, relates how on Palm Sunday +the king, celebrating the feast with his people, +passed in procession before the cloister, where the +face of the venerable prisoner at his cell window +caused an involuntary halt, and, in the moment of +silence, the bishop raised his voice and sang this +<a id="png:026" name="png:026"></a><samp class="pgmark" + ><span class="png">26 /</span> 6</samp> +hymn; and how the delighted king released the +singer, and restored him to his bishopric. This +tale, told after seven hundred years, is not the only +legend that grew around the hymn and its author, +but the fact that he composed it in the cloister of +Anjou while confined there is not seriously disputed.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Gloria, laus et honor Tibi sit, Rex Christe Redemptor,</div> +<div>Cui puerile decus prompsit Hosanna pium.</div> +<div>Israel Tu Rex, Davidis et inclyta proles,</div> +<div>Nomine qui in Domini Rex benedicte venis</div> +<div class="i5"> Gloria, laus et honor.</div> +</div></div> + +<p>Theodulph was born in Spain, but of Gothic pedigree, +a child of the race of conquerors who, in the +5th century, overran Southern Europe. He died +in 821, but whether a free man or still a prisoner +at the time of his death is uncertain. Some +accounts allege that he was poisoned in the cloister. +The Roman church canonized him, and his hymn +is still sung as a processional in Protestant as well +as Catholic churches. The above Latin lines are +the first four of the original seventy-eight. The +following is J.M. Neale's translation of the portion +now in use:</p> + +<div class="hymn"> +<div class="stanza"> +<div>All glory, laud, and honor,</div> +<div class="i1"> To Thee, Redeemer, King:</div> +<div>To whom the lips of children</div> +<div class="i1"> Made sweet Hosannas ring.</div> +</div><div class="stanza"> +<div>Thou are the King of Israel,</div> +<div class="i1"> Thou David's royal Son,</div> +<div>Who in the Lord's name comest,</div> +<div class="i1"> The King and Blessed One. +<span style="position: absolute; left: 16em; white-space: nowrap;"> + All glory, etc.</span></div> +</div> +<a id="png:027" name="png:027"></a><samp class="pgmark" + ><span class="png">27 /</span> 7</samp> +<div class="stanza"> +<div>The company of angels</div> +<div class="i1"> Are praising Thee on high;</div> +<div>And mortal men, and all things</div> +<div class="i1"> Created, make reply. +<span style="position: absolute; left: 16em; white-space: nowrap;"> + All glory, etc.</span></div> +</div><div class="stanza"> +<div>The people of the Hebrews</div> +<div class="i1"> With palms before Thee went;</div> +<div>Our praise and prayer and anthems</div> +<div class="i1"> Before Thee we present. +<span style="position: absolute; left: 16em; white-space: nowrap;"> + All glory, etc.</span></div> +</div><div class="stanza"> +<div>To Thee before Thy Passion</div> +<div class="i1"> They sang their hymns of praise;</div> +<div>To Thee, now high exalted</div> +<div class="i1"> Our melody we raise. +<span style="position: absolute; left: 16em; white-space: nowrap;"> + All glory, etc.</span></div> +</div><div class="stanza"> +<div>Thou didst accept their praises;</div> +<div class="i1"> Accept the prayers we bring,</div> +<div>Who in all good delightest,</div> +<div class="i1"> Thou good and gracious King. +<span style="position: absolute; left: 16em; white-space: nowrap;"> + All glory, etc.</span></div> +</div></div> + +<p>The translator, Rev. John Mason Neale, D.D., +was born in London, Jan. 24, 1818, and graduated +at Trinity College, Cambridge, in 1840. He was a +prolific writer, and after taking holy orders he +held the office of Warden of Sackville College, +East Grimstead, Sussex. Best known among his +published works are <i>Mediæval Hymns and Sequences</i>, +<i>Hymns for Children</i>, <i>Hymns of the Eastern +Church</i> and <i>The Rhythms of Morlaix</i>. He +died Aug. 6, 1866.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>There is no certainty as to the original tune of +Theodulph's Hymn, or how long it survived, but +various modern composers have given it music +<a id="png:028" name="png:028"></a><samp class="pgmark" + ><span class="png">28 /</span> 8</samp> +in more or less keeping with its character, notably +Melchior Teschner, whose harmony, “St. Theodulph,” +appears in the new <i>Methodist Hymnal</i>. +It well represents the march of the bishop's Latin.</p> + +<p>Melchior Teschner, a Prussian musician, was +Precentor at Frauenstadt, Silesia, about 1613.</p> + + + +<h4 class="hymn" +>“<span>ALL PRAISE TO THEE, ETERNAL LORD.</span>”</h4> + + +<h4 class="tune">Gelobet Seist du Jesu Christ.</h4> + + +<p>This introductory hymn of worship, a favorite +Christmas hymn in Germany, is ancient, and +appears to be a versification of a Latin prose +“Sequence” variously ascribed to a 9th century +author, and to Gregory the Great in the 6th +century. Its German form is still credited to +Luther in most hymnals. Julian gives an earlier +German form (1370) of the “Gelobet,” but attributes +all but the first stanza to Luther, as the hymn +now stands. The following translation, printed +first in the <i>Sabbath Hymn Book</i>, Andover, +1858, is the one adopted by <ins class="transcriber" + title="Transcriber's note: original has 'Scharff'">Schaff</ins> +in his <i><ins class="transcriber" + title="Transcriber's note: original has 'Christian'">Christ</ins> +in Song</i>:</p> + +<div class="hymn"> +<div class="stanza"> +<div>All praise to Thee, eternal Lord,</div> +<div>Clothed in the garb of flesh and blood;</div> +<div>Choosing a manger for Thy throne,</div> +<div>While worlds on worlds are Thine alone!</div> +</div><div class="stanza"> +<div>Once did the skies before Thee bow;</div> +<div>A virgin's arms contain Thee now;</div> +<div>Angels, who did in Thee rejoice,</div> +<div>Now listen for Thine infant voice.</div> +</div> +<a id="png:029" name="png:029"></a><samp class="pgmark" + ><span class="png">29 /</span> 9</samp> +<div class="stanza"> +<div>A little child, Thou art our guest,</div> +<div>That weary ones in Thee may rest;</div> +<div>Forlorn and lowly in Thy birth,</div> +<div>That we may rise to heaven from earth.</div> +</div><div class="stanza"> +<div>Thou comest in the darksome night<ins class="transcriber" + title="Transcriber's note: original has period">,</ins></div> +<div>To make us children of the light;</div> +<div>To make us, in the realms divine,</div> +<div>Like Thine own angels round Thee shine.</div> +</div><div class="stanza"> +<div>All this for us Thy love hath done:</div> +<div>By this to Thee our love is won;</div> +<div>For this we tune our cheerful lays,</div> +<div>And shout our thanks in endless praise.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The 18th century tune of “Weimar” +(<i>Evangelical Hymnal</i>), by Emanuel Bach, suits the +spiritual tone of the hymn, and suggests the Gregorian +dignity of its origin.</p> + +<p>Karl Philip Emanuel Bach, called “the Berlin +Bach” to distinguish him from his father, the +great Sebastian Bach of Saxe Weimar, was born +in Weimar, March 14, 1714. He early devoted himself +to music, and coming to Berlin when twenty-four +years old was appointed Chamber musician +(Kammer Musicus) in the Royal Chapel, where he +often accompanied Frederick the Great (who was +an accomplished flutist) on the harpsichord. His +most numerous compositions were piano music but +he wrote a celebrated “Sanctus,” and two oratorios, +besides a number of chorals, of which “Weimar” +is one. He died in Hamburg, Dec. 14, 1788.</p> + +<a id="png:030" name="png:030"></a><samp class="pgmark" + ><span class="png">30 /</span> 10</samp> + + + +<h4 class="hymn"><span>THE MAGNIFICAT.</span></h4> + + +<h4 class="quote" title="[Greek: Megalunei hê psuchê mou ton Kurion.]" +>Μεγαλύνει +ἡ ψυχή μου +τὸν Κύριον.</h4> + +<p class="ctrhymn"><span> +Magnificat anima mea Dominum,<br /> +Et exultavit Spiritus meus in Deo salutari meo. +</span></p> +<p class="ctrhymn attrib">Luke 1:46–55.</p> + + +<p>We can date with some certainty the hymn itself +composed by the Virgin Mary, but when it first +became a song of the Christian Church no one +can tell. Its thanksgiving may have found tone +among the earliest martyrs, who, as Pliny tells +us, sang hymns in their secret worship. We can +only trace it back to the oldest chant music, when +it was doubtless sung by both the Eastern and +Western Churches. In the rude liturgies of the +4th and 5th centuries it must have begun to assume +ritual form; but it remained for the more modern +school of composers hundreds of years later to +illustrate the “Magnificat” with the melody of art +and genius. Superseding the primitive unisonous +plain-song, the old parallel concords, and the +simple faburden (faux bourdon) counterpoint +that succeeded Gregory, they taught how musical +tones can better assist worship with the beauty +of harmony and the precision of scientific taste. +Musicians in Italy, France, Germany and England +have contributed their scores to this inspired +hymn. Some of them still have place in the +hymnals, a noble one especially by the blind English +tone-master, Henry Smart, author of the oratorio +of “Jacob.” None, however, have equaled +<a id="png:031" name="png:031"></a><samp class="pgmark" + ><span class="png">31 /</span> 11</samp> +the work of Handel. His “Magnificat” was one +of his favorite productions, and he borrowed strains +from it in several of his later and lesser productions.</p> + +<p>George Frederic Handel, author of the immortal +“Messiah,” was born at Halle, Saxony, in +1685, and died in London in 1759. The musical +bent of his genius was apparent almost from his +infancy. At the age of eighteen he was earning +his living with his violin, and writing his first +opera. After a sojourn in Italy, he settled in +Hanover as Chapel Master to the Elector, who +afterwards became the English king, George I. +The friendship of the king and several of his +noblemen drew him to England, where he spent +forty-seven years and composed his greatest works.</p> + +<p>He wrote three hymn-tunes (it is said at the +request of a converted actress), “Canons,” +“Fitzwilliam,” +and “Gopsall,” the first an invitation, +“Sinners, Obey the Gospel Word,” the second a +meditation, “O Love Divine, How Sweet Thou Art,” +and the third a resurrection song to Welsey's +words “Rejoice, the Lord is King.” This last still +survives in some hymnals.</p> + + + +<h4 class="hymn"><span>THE DOXOLOGIES.</span></h4> + +<div class="hymn"> +<div class="stanza"> +<div>Be Thou, O God, exalted high,</div> +<div>And as Thy glory fills the sky</div> +<div>So let it be on earth displayed</div> +<div>Till Thou art here as there obeyed.</div> +</div></div> +<a id="png:032" name="png:032"></a><samp class="pgmark" + ><span class="png">32 /</span> 12</samp> + +<p>This sublime quatrain, attributed to Nahum +Tate, like the Lord's Prayer, is suited to all occasions, +to all Christian denominations, and to all places +and conditions of men. It has been translated +into all civilized languages, and has been rising +to heaven for many generations from congregations +round the globe wherever the faith of Christendom +has built its altars. This doxology is the first +stanza of a sixteen line hymn (possibly longer +originally), the rest of which is forgotten.</p> + +<p>Nahum Tate was born in Dublin, in 1652, and +educated there at Trinity College. He was appointed +poet-laureate by King William III. in +1690, and it was in conjunction with Dr. Nicholas +Brady that he executed his “New” metrical version +of the Psalms. The entire Psalter, with an appendix +of Hymns, was licensed by William and Mary +and published in 1703. The <em>hymns</em> in the volume +are all by Tate. He died in London, Aug. 12, 1717.</p> + +<p>Rev. Nicholas Brady, D.D., was an Irishman, +son of an officer in the royal army, and was born +at Bandon, County of Cork, Oct. 28, 1659. He +studied in the <ins class="transcriber" + title="Transcriber's note: original has 'Westminister'">Westminster</ins> School at Oxford, +but afterwards entered Trinity College, Dublin, +where he graduated in 1685. William made him +Queen Mary's Chaplain. He died May 20, 1726.</p> + +<p>The other nearly contemporary form of doxology +is in common use, but though elevated and +devotional in spirit, it cannot be universal, owing +to its credal line being objectionable to non-Trinitarian +Protestants:</p> + +<a id="png:033" name="png:033"></a><samp class="pgmark" + ><span class="png">33 /</span> 13</samp> + +<div class="hymn"> +<div class="stanza"> +<div>Praise God from whom all blessings flow,</div> +<div>Praise Him all creatures here below,</div> +<div>Praise Him above, ye heavenly host,</div> +<div>Praise Father, Son and Holy Ghost.</div> +</div></div> + +<p>The author, the Rev. Thomas Ken, was born in +Berkhampstead, Hertfordshire, Eng., July, 1637, +and was educated at Winchester School, Hertford +College, and New College, Oxford. In 1662 he +took holy orders, and seventeen years later the king +(Charles II.) appointed him chaplain to his sister +Mary, Princess of Orange. Later the king, just +before his death, made him Bishop of Bath and +Wells.</p> + +<p>Like John the Baptist, and Bourdaloue, and +Knox, he was a faithful spiritual monitor and +adviser during all his days at court. “I must go in +and hear Ken tell me my faults,” the king used to +say at chapel time. The “good little man” (as +he called the bishop) never lost the favor of the +dissipated monarch. As Macaulay says, “Of all +the prelates, he liked Ken the best.”</p> + +<p>Under James, the Papist, Ken was a loyal +subject, though once arrested as one of the “seven +bishops” for his opposition to the king's religion, +and he kept his oath of allegiance so firmly that it +cost him his place. William III. deprived him of his +<ins class="transcriber" + title="Transcriber's note: original has 'bishopic'">bishopric</ins>, and he retired in poverty to a home +kindly offered him by Lord Viscount Weymouth +in Longleat, near Frome, in Somersetshire, where he +spent a serene and beloved old age. He died æt. +seventy-four, March 17, 1711 (N.S.), and was +<a id="png:034" name="png:034"></a><samp class="pgmark" + ><span class="png">34 /</span> 14</samp> +carried to his grave, according to his request, by +“six of the poorest men in the parish.”</p> + +<p>His great doxology is the refrain or final stanza +of each of his three long hymns, “Morning,” +“Evening” and “Midnight,” printed in a <i>Prayer +Manual</i> for the use of the students of Winchester +College. The “Evening Hymn” drew scenic inspiration, +it is told, from the lovely view in +Horningsham Park at “Heaven's Gate Hill,” +while walking to and from church.</p> + +<p>Another four-line doxology, adopted probably +from Dr. Hatfield (1807–1883), is almost entirely +superseded by Ken's stanza, being of even more +pronounced credal character.</p> + +<div class="hymn"> +<div class="stanza"> +<div>To God the Father, God the Son,</div> +<div>And God the Spirit, Three in One.</div> +<div>Be honor, praise and glory given</div> +<div>By all on earth and all in heaven.</div> +</div></div> + +<p title="Illustration of Oliver Holden originally opposite">The +<i>Methodist Hymnal</i> prints a collection of +ten doxologies, two by Watts, one by Charles +Wesley, one by John Wesley, one by William +Goode, one by Edwin F. Hatfield, one attributed +to “Tate and Brady,” one by Robert Hawkes, +and the one by Ken above noted. These are all +technically and intentionally doxologies. To give +a history of doxologies in the general sense of the +word would carry one through every Christian age +and language and end with a concordance of the +Book of Psalms.</p> + +<a id="png:037" name="png:037"></a><samp class="pgmark" + ><span class="png">37 /</span> 15</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Few would think of any music more appropriate +to a standard doxology than “Old Hundred.” +This grand Gregorian harmony has been claimed +to be Luther's production, while some have +believed that Louis Bourgeois, editor of the French +<i>Genevan Psalter</i>, composed the tune, but the +weight of evidence seems to indicate that it was +the work of Guillaume le Franc, (William Franck +or William the Frenchman,) of Rouen, in France, +who founded a music school in Geneva, 1541. +He was Chapel Master there, but removed to +Lausanne, where he played in the Catholic choir +and wrote the tunes for an Edition of Marot's +and Beza's Psalms. Died in Lausanne, +1570.</p> + + +<h4 class="hymn" +>“<span>THE LORD DESCENDED FROM ABOVE.</span>”</h4> + + +<p>A flash of genuine inspiration was vouchsafed +to Thomas Sternhold when engaged with Rev. +John Hopkins in versifying the Eighteenth Psalm. +The ridicule heaped upon Sternhold and Hopkins's +psalmbook has always stopped, and sobered into +admiration and even reverence at the two stanzas +beginning with this leading line—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The Lord descended from above</div> +<div class="i1"> And bowed the heavens most high,</div> +<div>And underneath His feet He cast</div> +<div class="i1"> The darkness of the sky.</div> +</div> +<a id="png:038" name="png:038"></a><samp class="pgmark" + ><span class="png">38 /</span> 16</samp> +<div class="stanza"> +<div>On cherub and on cherubim</div> +<div class="i1"> Full royally He rode,</div> +<div>And on the wings of mighty winds</div> +<div class="i1"> Came flying all abroad.</div> +</div></div> + +<p>Thomas Sternhold was born in Gloucestershire, +Eng. He was Groom of the Robes to Henry VIII, +and Edward VI., but is only remembered for +his <i>Psalter</i> published in 1562, thirteen years after +his death in 1549.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Nottingham” (now sometimes entitled “St. +Magnus”) is a fairly good echo of the grand verses, +a dignified but spirited choral in A flat. Jeremiah +Clark, the composer, was born in London, 1670. +Educated at the Chapel Royal, he became organist +of Winchester College and finally to St. Paul's +Cathedral where he was appointed Gentleman of +the Chapel. He died July, 1707.</p> + +<p>The tune of “Majesty” by William Billings will +be noticed in a <a href="#Majesty">later chapter</a>.</p> + + + +<h4 class="hymn"><span>TALLIS' EVENING HYMN.</span></h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Glory to Thee, my God, this night</div> +<div>For all the blessings of the light,</div> +<div>Keep me, O keep me, King of kings,</div> +<div>Under Thine own Almighty wings.</div> +</div></div> + +<p>This stanza begins the second of Bp. Ken's three +beautiful hymn-prayers in his <i>Manual</i> mentioned +on a <a href="#png:034">previous page</a>.</p> + +<a id="png:039" name="png:039"></a><samp class="pgmark" + ><span class="png">39 /</span> 17</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>For more than three hundred and fifty years +devout people have enjoyed that melody of +mingled dignity and sweetness known as “Tallis' +Evening Hymn.”</p> + +<p>Thomas Tallis was an Englishman, born about +1520, and at an early age was a boy chorister at +St. Paul's. After his voice changed, he played the +organ at Waltham Abbey, and some time later +was chosen organist royal to Queen Elizabeth. +His pecuniary returns for his talent did not make +him rich, though he bore the title after 1542 of +Gentleman of the Chapel Royal, for his stipend was +sevenpence a day. Some gain may possibly have +come to him, however, from his publication, late +in life, under the queen's special patent, of a collection +of hymns and tunes.</p> + +<p>He wrote much and was the real founder of the +English Church school of composers, but though +St. Paul's was at one time well supplied with his +motets and anthems, it is impossible now to give a +list of Tallis' compositions for the Church. His +music was written originally to Latin words, but +when, after the Reformation, the use of vernacular +hymns, was introduced he probably adapted his +scores to either language.</p> + +<p>It is inferred that he was in attendance on Queen +Elizabeth at her palace in Greenwich when he +died, for he was buried in the old parish church +there in November, 1585. The rustic rhymer who +<a id="png:040" name="png:040"></a><samp class="pgmark" + ><span class="png">40 /</span> 18</samp> +indited his epitaph evidently did the best he could +to embalm the virtues of the great musician as a +man, a citizen, and a husband:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Enterred here doth ly a worthy wyght,</div> +<div class="i1"> Who for long time in musick bore the bell:</div> +<div>His name to shew was Thomas Tallis hyght;</div> +<div class="i1"> In honest vertuous lyff he dyd excell.</div> +</div><div class="stanza"> +<div>He served long tyme in chappel with grete prayse,</div> +<div class="i1"> Fower sovereygnes reignes, (a thing not often seene);</div> +<div>I mean King Henry and Prince Edward's dayes,</div> +<div class="i1"> Quene Marie, and Elizabeth our quene.</div> +</div><div class="stanza"> +<div>He maryed was, though children he had none,</div> +<div class="i1"> And lyv'd in love full three and thirty yeres</div> +<div>With loyal spowse, whose name yclept was Jone,</div> +<div class="i1"> Who, here entombed, him company now bears.</div> +</div><div class="stanza"> +<div>As he dyd lyve, so also dyd he dy,</div> +<div class="i1"> In myld and quyet sort, O happy man!</div> +<div>To God ful oft for mercy did he cry;</div> +<div class="i1"> Wherefore he lyves, let Deth do what he can.</div> +</div></div> + + +<h4 class="hymn">“<span>THE GOD OF ABRAHAM PRAISE.</span>”</h4> + + +<p>This is one of the thanksgivings of the ages.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The God of Abraham praise,</div> +<div class="i1"> Who reigns enthroned above;</div> +<div>Ancient of everlasting days,</div> +<div class="i1"> And God of love.</div> +<div>Jehovah, Great I AM!</div> +<div class="i1"> By earth and heaven confessed,</div> +<div>I bow and bless the sacred Name,</div> +<div class="i1"> Forever blest.</div> +</div></div> + +<p>The hymn, of twelve eight-line stanzas, is too long +<a id="png:041" name="png:041"></a><samp class="pgmark" + ><span class="png">41 /</span> 19</samp> +to quote entire, but is found in both the <i>Plymouth</i> +and <i>Methodist Hymnals</i>.</p> + +<p>Thomas Olivers, born in Tregynon, near Newtown, +Montgomeryshire, Wales, 1725, was, according +to local testimony, “the worst boy known +in all that country, for thirty years.” It is more +charitable to say that he was a poor fellow who +had no friends. Left an orphan at five years of +age, he was passed from one relative to another +until all were tired of him, and he was “bound +out” to a shoemaker. Almost inevitably the +neglected lad grew up wicked, for no one appeared +to care for his habits and morals, and as he sank +lower in the various vices encouraged by bad +company, there were more kicks for him than +helping hands. At the age of eighteen his reputation +in the town had become so unsavory that he +was forced to shift for himself elsewhere.</p> + +<p>Providence led him, when shabby and penniless, +to the old seaport town of Bristol, where Whitefield +was at that time preaching,<sup>*</sup> and there the young +sinner heard the divine message that lifted him to +his feet.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Whitefield's text was, “Is not this a brand plucked out of the +fire?” Zach. 3:2.</p></div> + +<p>“When that sermon began,” he said, “I was one +of the most abandoned and profligate young men +living; before it ended I was a new creature. The +world was all changed for Tom Olivers.”</p> + +<p>His new life, thus begun, lasted on earth more +than sixty useful years. He left a shining record +<a id="png:042" name="png:042"></a><samp class="pgmark" + ><span class="png">42 /</span> 20</samp> +as a preacher of righteousness, and died in the +triumphs of faith, November, 1799. Before he +passed away he saw at least thirty editions of his +hymn published, but the soul-music it has awakened +among the spiritual children of Abraham can only +reach him in heaven. Some of its words have been +the last earthly song of many, as they were of the +eminent Methodist theologian, Richard Watson—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> I shall behold His face,</div> +<div class="i1"> I shall His power adore,</div> +<div>And sing the wonders of His grace</div> +<div class="i2"> Forevermore.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The precise date of the tune “Leoni” is unknown, +as also the precise date of the hymn. The +story is that Olivers visited the great “Duke's +Place” Synagogue, Aldgate, London, and heard +Meyer Lyon (Leoni) sing the Yigdal or long +doxology to an air so noble and impressive that +it haunted him till he learned it and fitted to it the +sublime stanzas of his song. Lyon, a noted Jewish +musician and vocalist, was chorister of this +London Synagogue during the latter part of the +18th century and the Yigdal was a portion of +the Hebrew Liturgy composed in medieval times, +it is said, by Daniel Ben Judah. The fact that +the Methodist leaders took Olivers from his +bench to be one of their preachers answers any +suggestion that the converted shoemaker <em>copied</em> +the Jewish hymn and put Christian phrases in it. +<a id="png:043" name="png:043"></a><samp class="pgmark" + ><span class="png">43 /</span> 21</samp> +He knew nothing of Hebrew, and had he known +it, a literal translation of the Yigdal will show +hardly a similarity to his evangelical lines. Only +the music as Leoni sang it prompted his own song, +and he gratefully put the singer's name to it. +Montgomery, who admired the majestic style of +the hymn, and its glorious imagery, said of its +author, “The man who wrote that hymn must +have had the finest ear imaginable, for on account +of the peculiar measure, none but a person of equal +musical and poetic taste could have produced the +harmony perceptible in the verse.”</p> + +<p>Whether the hymnist or some one else fitted the +hymn to the tune, the “fine ear” and “poetic +taste” that Montgomery applauded are evident +enough in the union.</p> + + +<h4 class="hymn" +>“<span>O WORSHIP THE KING ALL GLORIOUS ABOVE.</span>”</h4> + + +<p>This hymn of Sir Robert Grant has become +almost universally known, and is often used as +a morning or opening service song by choirs and +congregations of all creeds. The favorite stanzas +are the first four—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O worship the King all-glorious above,</div> +<div>And gratefully sing His wonderful love—</div> +<div>Our Shield and Defender, the Ancient of Days,</div> +<div>Pavilioned in splendor, and girded with praise.</div> +</div><div class="stanza"> +<div>O tell of His might, and sing of His grace,</div> +<div>Whose robe is the light, whose canopy, space;</div> +<div>His chariots of wrath the deep thunder-clouds form,</div> +<div>And dark is His path on the wings of the storm.</div> +</div> +<a id="png:044" name="png:044"></a><samp class="pgmark" + ><span class="png">44 /</span> 22</samp> +<div class="stanza"> +<div>Thy bountiful care what tongue can recite?</div> +<div>It breathes in the air, it shines in the light,</div> +<div>It streams from the hills, it descends to the plain,</div> +<div>And sweetly distils in the dew and the rain.</div> +</div><div class="stanza"> +<div>Frail children of dust, and feeble as frail,</div> +<div>In Thee do we trust, nor find Thee to fail.</div> +<div>Thy mercies how tender! how firm to the end!</div> +<div>Our Maker, Defender, Redeemer, and Friend!</div> +</div></div> + +<p>This is a model hymn of worship. Like the +previous one by Thomas Olivers, it is strongly +Hebrew in its tone and diction, and drew its inspiration +from the Old Testament Psalter, the +text-book of all true praise-song.</p> + +<p>Sir Robert Grant was born in the county of Inverness, +Scotland, in 1785, and educated at Cambridge. +He was many years member of Parliament +for Inverness and a director in the East India +Company, and 1834 was appointed Governor of +Bombay. He died at Dapoorie, Western India, +July 9, 1838.</p> + +<p>Sir Robert was a man of deep Christian feeling +and a poetic mind. His writings were not numerous, +but their thoughtful beauty endeared him to +a wide circle of readers. In 1839 his brother, +Lord Glenelg, published twelve of his poetical +pieces, and a new edition in 1868. The volume +contains the more or less well-known hymns—</p> + +<p class="quote"> +The starry firmament on high,<br /> +Saviour, when in dust to Thee, +</p> + +<p class="runon">and—</p> + +<p class="quote"> +When gathering clouds around I view. +</p> + +<a id="png:045" name="png:045"></a><samp class="pgmark" + ><span class="png">45 /</span> 23</samp> +<p>Sir Robert's death, when scarcely past his prime, +would indicate a decline by reason of illness, and +perhaps other serious affliction, that justified the +poetic license in the submissive verses beginning—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Thy mercy heard my infant prayer.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>And now <em>in age</em> and grief Thy name</div> +<div>Does still my languid heart inflame,</div> +<div class="i1"> And bow my faltering knee.</div> +<div>Oh, yet this bosom feels the fire,</div> +<div>This trembling hand and drooping lyre</div> +<div class="i1"> Have yet a strain for Thee.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Several musical pieces written to the hymn, +“O, Worship the King,” have appeared in church +psalm-books, and others have been borrowed for +it, but the one oftenest sung to its words is Haydn's +“Lyons.” Its vigor and spirit best fit it for +Grant's noble lyric.</p> + + +<h4 class="hymn" +>“<span>MAJESTIC SWEETNESS SITS ENTHRONED.</span>”</h4> + +<p>Rev. Samuel Stennett D.D., the author of this +hymn, was the son of Rev. Joseph Stennett, and +grandson of Rev. Joseph Stennett D.D., who +wrote—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Another six days' work is done,</div> +<div>Another Sabbath is begun.</div> +</div></div> + +<p class="runon">All were Baptist ministers. Samuel was born in +1727, at Exeter, Eng., and at the age of twenty-one +<a id="png:046" name="png:046"></a><samp class="pgmark" + ><span class="png">46 /</span> 24</samp> +became his father's assistant, and subsequently +his successor over the church in Little +Wild Street, Lincoln's Inn Fields, London.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Majestic sweetness sits enthroned</div> +<div class="i1"> Upon the Saviour's brow;</div> +<div>His head with radiant glories crowned,</div> +<div class="i1"> His lips with grace o'erflow.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>To Him I owe my life and breath</div> +<div class="i1"> And all the joys I have;</div> +<div>He makes me triumph over death,</div> +<div class="i1"> He saves me from the grave.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Since from His bounty I receive</div> +<div class="i1"> Such proofs of love divine,</div> +<div>Had I a thousand hearts to give,</div> +<div class="i1"> Lord, they should all be Thine.</div> +</div></div> + +<p>Samuel Stennett was one of the most respected +and influential ministers of the Dissenting persuasion, +and a confidant of many of the most distinguished +statesmen of his time. The celebrated +John Howard was his parishoner and intimate +friend. His degree of Doctor of Divinity was bestowed +upon him by Aberdeen University. Besides +his theological writings he composed and published +thirty-eight hymns, among them—</p> + +<p class="quote"><span> +On Jordan's stormy banks I stand, +<br /> +When two or three with sweet accord, +<br /> +Here at Thy table, Lord, we meet, +</span></p> +<p class="runon">and—</p> +<p class="quote"> +“'Tis finished,” so the Saviour cried. +</p> + +<a id="png:047" name="png:047"></a><samp class="pgmark" + ><span class="png">47 /</span> 25</samp> +<p class="runon">“Majestic Sweetness” began the third stanza of +his longer hymn—</p> + +<p class="quote"> +To Christ the Lord let every tongue. +</p> + +<p>Dr. Stennett died in London, Aug. 24, 1795.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>For fifty or sixty years “Ortonville” has been +linked with this devout hymn, and still maintains +its fitting fellowship. The tune, composed +in 1830, was the work of Thomas Hastings, and +is almost as well-known and as often sung +as his immortal “Toplady.” (See chap. 3, +“<a href="#RockofAges">Rock of Ages</a>.”)</p> + + +<h4 class="hymn" +>“<span>ALL HAIL THE POWER OF JESUS' NAME.</span>”</h4> + + +<p>This inspiring lyric of praise appears to have +been written about the middle of the eighteenth +century. Its author, the Rev. Edward Perronet, +son of Rev. Vincent Perronet, Vicar of Shoreham, +Eng., was a man of great faith and humility but +zealous in his convictions, sometimes to his serious +expense. He was born in 1721, and, though +eighteen years younger than Charles Wesley, the +two became bosom friends, and it was under the +direction of the Wesleys that Perronet became a +preacher in the evangelical movement. Lady +Huntingdon later became his patroness, but some +needless and imprudent expressions in a satirical +poem, “The Mitre,” revealing his hostility to the +union of church and state, cost him her favor, +<a id="png:048" name="png:048"></a><samp class="pgmark" + ><span class="png">48 /</span> 26</samp> +and his contention against John Wesley's law that +none but the regular parish ministers had the right +to administer the sacraments, led to his complete +separation from both the Wesleys. He subsequently +became the pastor of a small church of +Dissenters in Canterbury, where he died, in January, +1792. His piety uttered itself when near his +happy death, and his last words were a Gloria.</p> + +<div class="hymn"> +<div class="stanza"> +<div>All hail the power of Jesus' name!</div> +<div class="i1"> Let angels prostrate fall;</div> +<div>Bring forth the royal diadem,</div> +<div class="i1"> To crown Him Lord of all.</div> +</div><div class="stanza"> +<div>Ye seed of Israel's chosen race,</div> +<div class="i1"> Ye ransomed of the fall,</div> +<div>Hail Him Who saves you by His grace,</div> +<div class="i1"> And crown Him Lord of all.</div> +</div><div class="stanza"> +<div>Sinners, whose love can ne'er forget</div> +<div class="i1"> The wormwood and the gall,</div> +<div>Go, spread your trophies at His feet,</div> +<div class="i1"> And crown Him Lord of all.</div> +</div><div class="stanza"> +<div>Let every tribe and every tongue</div> +<div class="i1"> That bound creation's call,</div> +<div>Now shout the universal song,</div> +<div class="i1"> The crownéd Lord of all.</div> +</div></div> + +<p class="runon">With two disused stanzas omitted, the hymn as it +stands differs from the original chiefly in the last +stanza, though in the second the initial line is now +transposed to read—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ye chosen seed of Israel's race.</div> +</div></div> + +<p class="runon">The fourth stanza now reads—</p> +<a id="png:049" name="png:049"></a><samp class="pgmark" + ><span class="png">49 /</span> 27</samp> + +<div class="hymn"> +<div class="stanza"> +<div>Let every kindred, every tribe</div> +<div class="i1"> On this terrestrial ball</div> +<div>To Him all majesty ascribe,</div> +<div class="i1"> And crown Him Lord of all.</div> +</div></div> + +<p class="runon">And what is now the favorite last stanza is the one +added by Dr. Rippon—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O that with yonder sacred throng</div> +<div class="i1"> We at His feet may fall,</div> +<div>And join the everlasting song,</div> +<div class="i1"> And crown Him Lord of all.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Everyone now calls it “Old Coronation,” and it +is entitled to the adjective by this time, being <ins class="transcriber" + title="Transcriber's note: original has 'considererably'">considerably</ins> +more than a hundred years of age. +It was composed in the very year of Perronet's +death and one wonders just how long the hymn +and tune waited before they came together; for +Heaven evidently meant them to be wedded for all +time. This is an American opinion, and no +reflection on the earlier English melody of “Miles +Lane,” composed during Perronet's lifetime by +William Shrubsole and published with the words +in 1780 in the <i>Gospel Magazine</i>. There is also a +fine processional tune sung in the English Church +to Perronet's hymn.</p> + +<a id="png:035" name="png:035"></a><samp class="pgmark" + ><span class="png">35 /</span> opp 14</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Oliver Holden"> + <tr valign="bottom"> + <td><a id="Illus2" name="Illus2" + ><img src="images/illus02-oliverholden-cameo.jpg" alt= + "Oliver Holden" width="218" height="294" /></a></td> + <td><table summary="Caption"> + <tr><td>Oliver Holden</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<p>The author of “Coronation” was Oliver Holden, +a self-taught musician, born in Shirley, Mass., +1765, and bred to the carpenter's trade. The little +pipe organ on which tradition says he struck the +first notes of the famous tune is now in the +<a id="png:050" name="png:050"></a><samp class="pgmark" + ><span class="png">50 /</span> 28</samp> +Historical rooms of the Old State House, Boston, placed +there by its late owner, Mrs. Fanny Tyler, the old +musician's granddaughter. Its tones are as mellow +as ever, and the times that “Coronation” has +been played upon it by admiring visitors would far +outnumber the notes of its score.</p> + +<p>Holden wrote a number of other hymn-tunes, +among which “Cowper,” “Confidence,” and +“Concord” are remembered, but none of them +had the wings of “Coronation,” his American +“Te Deum.” His first published collection was +entitled <i>The American Harmony</i>, and this was +followed by the <i>Union Harmony</i>, and the <i>Worcester +Collection</i>. He also wrote and published +“Mt. Vernon,” and several other patriotic anthems, +mainly for special occasions, to some of which he +supplied the words. He was no hymnist, though +he did now and then venture into sacred metre. +The new <i>Methodist Hymnal</i> preserves a simple +four-stanza specimen of his experiments in verse:</p> + +<div class="hymn"> +<div class="stanza"> +<div>They who seek the throne of grace</div> +<div>Find that throne in every place:</div> +<div>If we lead a life of prayer</div> +<div>God is present everywhere.</div> +</div></div> + +<p>Sacred music, however, was the good man's passion +to the last. He died in 1844.</p> + +<p>“Such beautiful themes!” he whispered on his +death bed, “Such beautiful themes! But I can +write no more.”</p> + +<p>The enthusiasm always and everywhere aroused +by the singing of “Coronation,” dates from the +<a id="png:051" name="png:051"></a><samp class="pgmark" + ><span class="png">51 /</span> 29</samp> +time it first went abroad in America in its new +wedlock of music and words. “This tune,” says +an accompanying note over the score in the old +<i>Carmina Sacra</i>, “was a great favorite with the late +Dr. Dwight of Yale College (1798). It was often +sung by the college choir, while he, catching, as it +were, the music of the heavenly world, would join +them, and lead with the most ardent devotion.”</p> + + + +<h4 class="hymn">“<span>AWAKE AND SING THE SONG.</span>”</h4> + + +<p>This hymn of six stanzas is abridged from a +longer one indited by the Rev. William Hammond, +and published in <i>Lady Huntingdon's Hymn-book</i>. +It was much in use in early Methodist revivals. +It appears now as it was slightly altered by Rev. +Martin Madan—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Awake and sing the song</div> +<div class="i1"> Of Moses and the Lamb;</div> +<div>Join every heart and every tongue</div> +<div class="i1"> To praise the Savior's name.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div></div> + +<p>The sixth verse is a variation of one of Watts' +hymns, and was added in the <i>Brethren's Hymn-book</i>, +1801—</p> + +<div class="hymn"> +<div class="stanza"> +<div>There shall each heart and tongue</div> +<div class="i1"> His endless praise proclaim,</div> +<div>And sweeter voices join the song</div> +<div class="i1"> Of Moses and the Lamb.</div> +</div></div> + +<p>The Rev. William Hammond was born Jan. 6, +1719, at Battle, Sussex, Eng., and educated at St. +<a id="png:052" name="png:052"></a><samp class="pgmark" + ><span class="png">52 /</span> 30</samp> +John's College, Cambridge. Early in his ministerial +life he was a Calvinistic Methodist, but +ultimately joined the Moravians. Died in London, +Aug. 19, 1793. His collection of <i>Psalms and +Hymns and Spiritual Songs</i> was published in 1745.</p> + +<p>The Rev. Martin Madan, son of Col. Madan, +was born 1726. He founded Lock Hospital, Hyde +Park, and long officiated as its chaplain. As a +preacher he was popular, and his reputation as a +composer of music was considerable. There is +no proof that he wrote any original hymns, but +he amended, pieced and expanded the work of +others. Died in 1770.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p title="Illustration of Joseph Haydn originally opposite">The hymn +has had a variety of musical interpretations. +The more modern piece is “St. Philip,” +by Edward John Hopkins, Doctor of Music, born +at Westminster, London, June 30, 1818. From a +member of the Chapel Royal boy choir he became +organist of the Michtam Church, Surrey, and +afterwards of the Temple Church, London. Received +his Doctor's degree from the Archbishop +of Canterbury in 1882.</p> + + +<h4 class="hymn" +>“<span>CROWN HIS HEAD WITH ENDLESS BLESSING.</span>”</h4> + + +<p>The writer of this hymn was William Goode, +who helped to found the English Church Missionary +Society, and was for twenty years the Secretary of +the “Society for the Relief of Poor Pious Clergymen.” +<a id="png:055" name="png:055"></a><samp class="pgmark" + ><span class="png">55 /</span> 31</samp> +For celebrating the praise of the Saviour, he +seems to have been of like spirit and genius with +Perronet. He was born in Buckingham, Eng., +April 2, 1762; studied for the ministry and became +a curate, successor of William Romaine. His +spiritual maturity was early, and his habits of +thought were formed amid associations such as +the young Wesleys and Whitefield sought. Like +them, even in his student days he proved his aspiration +for purer religious life by an evangelical zeal +that cost him the ridicule of many of his school-fellows, +but the meetings for conference and prayer +which he organized among them were not unattended, +and were lasting and salutary in their effect.</p> + +<p>Jesus was the theme of his life and song, and +was his last word. He died in 1816.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Crown His head with endless blessing</div> +<div class="i1"> Who in God the Father's name</div> +<div>With compassion never ceasing</div> +<div class="i1"> Comes salvation to proclaim.</div> +<div>Hail, ye saints who know His favor,</div> +<div class="i1"> Who within His gates are found.</div> +<div>Hail, ye saints, th' exalted Saviour,</div> +<div class="i1"> Let His courts with praise resound.</div> +</div></div> + +<a id="png:053" name="png:053"></a><samp class="pgmark" + ><span class="png">53 /</span> opp 30</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Joseph Haydn"> + <tr valign="bottom"> + <td><a id="Illus3" name="Illus3" + ><img src="images/illus03-josephhaydn-cameo.jpg" alt= + "Joseph Haydn" width="223" height="273" /></a></td> + <td><table summary="Caption"> + <tr><td>Joseph Haydn</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<h4 class="tune">THE TUNE.</h4> + +<p>“Haydn,” bearing the name of its great composer, +is in several important hymnals the chosen +music for William Goode's devout words. Its +strain and spirit are lofty and melodious and in +entire accord with the pious poet's praise.</p> + +<a id="png:056" name="png:056"></a><samp class="pgmark" + ><span class="png">56 /</span> 32</samp> + +<p>Joseph Haydn, son of a poor wheelwright, was +born 1732, in Rohron, a village on the borders of +Hungary and Austria. His precocity of musical +talent was such that he began composing at the +age of ten years. Prince Esterhazy discovered his +genius when he was poor and friendless, and his +fortune was made. While Music Master for the +Prince's Private Chapel (twenty years) he wrote +many of his beautiful symphonies which placed him +among the foremost in that class of music. Invited +to England, he received the Doctor's degree +at Oxford, and composed his great oratorio of +“The Creation,” besides his “Twelve Grand +Symphonies,” and a long list of minor musical +works secular and sacred. His invention was inexhaustible.</p> + +<p>Haydn seems to have been a sincerely pious +man. When writing his great oratorio of “The +Creation” at sixty-seven years of age, “I knelt +down every day,” he says, “and prayed God to +strengthen me for my work.” This daily spiritual +preparation was similar to Handel's when he +was creating his “Messiah.” Change one word +and it may be said of sacred music as truly as +of astronomy, “The undevout composer is mad.”</p> + +<p>Near Haydn's death, in Vienna, 1809, when he +heard for the last time his magnificent chorus, +“Let there be Light!” he exclaimed, “Not mine, +not mine. It all came to me from above.”</p> + +<a id="png:057" name="png:057"></a><samp class="pgmark" + ><span class="png">57 /</span> 33</samp> + + +<h4 class="hymn">“<span>NOW TO THE LORD A NOBLE SONG.</span>”</h4> + + +<p>When Watts finished this hymn he had achieved +a “noble song,” whether he was conscious of it or +not; and it deserves a foremost place, where it +can help future worshippers in their praise as it +has the past. It is not so common in the later +hymnals, but it is imperishable, and still later +collections will not forget it.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Now to the Lord a noble song,</div> +<div>Awake my soul, awake my tongue!</div> +<div>Hosanna to the Eternal Name,</div> +<div>And all His boundless love proclaim.</div> +</div><div class="stanza"> +<div>See where it shines in Jesus' face,</div> +<div>The brightest image of His grace!</div> +<div>God in the person of His Son</div> +<div>Has all His mightiest works outdone.</div> +</div></div> + +<p>A rather finical question has occurred to some +minds as to the theology of the word “works” in +the last line, making the second person in the Godhead +apparently a creature; and in a few hymn-books +the previous line has been made to read—</p> + +<div class="hymn"> +<div class="stanza"> +<div>God in the <em>Gospel</em> of His Son.</div> +</div></div> + +<p class="runon">But the question is a rhetorical one, and the poet's +free expression—here as in hundreds of other +cases—has never disturbed the general confidence +in his orthodoxy.</p> + +<p>Montgomery called Watts “the inventor of +hymns in our language,” and the credit stands +practically undisputed, for Watts made a hymn +style that no human master taught him, and his +<a id="png:058" name="png:058"></a><samp class="pgmark" + ><span class="png">58 /</span> 34</samp> +model has been the ideal one for song worship ever +since; and we can pardon the climax when Professor +Charles M. Stuart speaks of him as “writer, +scholar, thinker and saint,” for in addition to all +the rest he was a very good man.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Old “Ames” was for many years the choir +favorite, and the words of the hymn printed with +it in the note-book made the association familiar. +It was, and <em>is</em>, an appropriate selection, though +in later manuals George Kingsley's “Ware” is +evidently thought to be better suited to the high-toned +verse. Good old tunes never “wear out,” +but they do go out of fashion.</p> + +<p>The composer of “Ames,” Sigismund Neukomm, +Chevalier, was born in Salzburg, Austria, +July 10, 1778, and was a pupil of Haydn. Though +not a great genius, his talents procured him access +and even intimacy in the courts of Germany, France, +Italy, Portugal and England, and for thirty years he +composed church anthems and oratorios with prodigious +industry. Neukomm's musical productions, +numbering no less than one thousand, and popular in +their day, are, however, mostly forgotten, excepting +his oratorio of “David” and one or two hymn-tunes.</p> + +<p>George Kingsley, author of “Ware,” was born +in Northampton, Mass., July 7, 1811. Died in +the Hospital, in the same city, March 14, 1884. He +compiled eight books of music for young people and +several manuals of church psalmody, and was for +<a id="png:059" name="png:059"></a><samp class="pgmark" + ><span class="png">59 /</span> 35</samp> +some time a music teacher in Boston, where he played +the organ at the Hollis St. church. Subsequently he +became professor of music in Girard College, Philadelphia, +and music instructor in the public schools, +being employed successively as organist (on Lord's +Day) at Dr. Albert Barnes' and Arch St. churches, +and finally in Brooklyn at Dr. Storrs' Church +of the Pilgrims. Returned to Northampton, 1853.</p> + + + +<h4 class="hymn">“<span>EARLY, MY GOD, WITHOUT DELAY.</span>”</h4> + + +<p>This and the five following hymns, all by Watts, +are placed in immediate succession, for unity's +sake—with a fuller notice of the greatest of hymn-writers +at the end of the series.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Early, my God, without delay</div> +<div class="i1"> I haste to seek Thy face,</div> +<div>My thirsty spirit faints away</div> +<div class="i1"> Without Thy cheering grace.</div> +</div></div> + +<p>In the memories of very old men and women, +who sang the fugue music of Morgan's “Montgomery,” +still lingers the second stanza and some +of the “spirit and understanding” with which it +used to be rendered in meeting on Sunday mornings.</p> + +<div class="hymn"> +<div class="stanza"> +<div>So pilgrims on the scorching sand,</div> +<div class="i1"> Beneath a burning sky,</div> +<div>Long for a cooling stream at hand</div> +<div class="i1"> And they must drink or die.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Many of the earlier pieces assigned to this hymn +were either too noisy or too tame. The best and +<a id="png:060" name="png:060"></a><samp class="pgmark" + ><span class="png">60 /</span> 36</samp> +longest-serving is “Lanesboro,” which, with its +expressive duet in the middle and its soaring final +strain of harmony, never fails to carry the meaning +of the words. It was composed by William +Dixon, and arranged and adapted by Lowell Mason.</p> + +<p>William Dixon, an English composer, was a +music engraver and publisher, and author also of +several glees and anthems. He was born 1750, +and died about 1825.</p> + +<p>Lowell Mason, born in Medfield, Mass., 1792, has +been called, not without reason, “the father of American +choir singing.” Returning from Savannah, +Ga., where he spent sixteen years of his younger life +as clerk in a bank, he located in Boston (1827), being +already known there as the composer of “The Missionary +Hymn.” He had not neglected his musical +studies while living in the South, and it was in Savannah +that he made the glorious harmony of that tune.</p> + +<p>He became president of the Handel and Haydn +Society, went abroad for special study, was made +Doctor of Music, and collected a store of themes +among the great models of song to bring home for +his future work.</p> + +<p>The Boston Academy of Music was founded by +him and what he did for the song-service of the +Church in America by his singing schools, and +musical conventions, and published manuals, to +form and organize the choral branch of divine +worship, has no parallel, unless it is Noah Webster's +service to the English language.</p> + +<p>Dr. Mason died in Orange, N.J., in 1872.</p> + +<a id="png:061" name="png:061"></a><samp class="pgmark" + ><span class="png">61 /</span> 37</samp> + + +<h4 class="hymn" +>“<span>SWEET IS THE WORK, MY GOD, MY KING.</span>”</h4> + + +<p>This is one of the hymns that helped to give its +author the title of “The Seraphic Watts.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sweet is the work, my God, my King</div> +<div>To praise Thy name, give thanks and sing</div> +<div>To show Thy love by morning light,</div> +<div>And talk of all Thy truth at night.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>No nobler one, and more akin in spirit to the +hymn, can be found than “Duke Street,” Hatton's +imperishable choral.</p> + +<p>Little is known of the John Hatton who wrote +“Duke St.” He was earlier by nearly a century +than John Liphot Hatton of Liverpool (born in +1809), who wrote the opera of “Pascal Bruno,” +the cantata of “Robin Hood” and the sacred +drama of “Hezekiah.” The biographical index +of the <i>Evangelical Hymnal</i> says of John Hatton, the +author of “Duke St.”: “John, of Warrington; afterwards +of St. Helens, then resident in Duke St. in +the township of Windle; composed several hymn-tunes; +died in 1793.<sup>*</sup> His funeral sermon was +preached at the Presbyterian Chapel, St. Helens, +Dec. 13.”</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Tradition says he was killed by being thrown from a stage-coach.</p></div> + +<h4 class="hymn">“<span>COME, WE THAT LOVE THE LORD.</span>”</h4> + + +<p>Watts entitled this hymn “Heavenly Joy on +Earth.” He could possibly, like Madame Guyon, +<a id="png:062" name="png:062"></a><samp class="pgmark" + ><span class="png">62 /</span> 38</samp> +have written such a hymn in a dungeon, but it is +no less spiritual for its birth (as tradition will have +it) amid the lovely scenery of Southampton where +he could find in nature “glory begun below.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come, we that love the Lord,</div> +<div class="i1"> And let our joys be known;</div> +<div>Join in a song with sweet accord,</div> +<div class="i1"> And thus surround the throne.</div> +</div><div class="stanza"> +<div>There shall we see His face,</div> +<div class="i1"> And never, never sin;</div> +<div>There, from the rivers of His grace,</div> +<div class="i1"> Drink endless pleasures in.</div> +</div><div class="stanza"> +<div>Children of grace have found</div> +<div class="i1"> Glory begun below:</div> +<div>Celestial fruits on earthly ground</div> +<div class="i1"> From faith and hope may grow.</div> +</div></div> + +<p>Mortality and immortality blend their charms +in the next stanza. The unfailing beauty of the +vision will be dwelt upon with delight so long as +Christians sing on earth.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The hill of Sion yields</div> +<div class="i1"> A thousand sacred sweets,</div> +<div>Before we reach the heavenly fields,</div> +<div class="i1"> Or walk the golden streets.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“St. Thomas” has often been the interpreter of +the hymn, and still clings to the words in the +memory of thousands.</p> + +<p>The Italian tune of “Ain” has more music. It +is a fugue piece (simplified in some tune-books), +<a id="png:063" name="png:063"></a><samp class="pgmark" + ><span class="png">63 /</span> 39</samp> +and the joyful traverse of its notes along the staff +in four-four time, with the momentum of a good +choir, is exhilarating in the extreme.</p> + +<p>Corelli, the composer, was a master violinist, the +greatest of his day, and wrote a great deal of +violin music; and the thought of his glad instrument +may have influenced his work when harmonizing +the four voices of “Ain.”</p> + +<p>Arcangelo Corelli was born at Fusignano, in +1653. He was a sensitive artist, and although +faultless in Italian music, he was not sure of himself +in playing French scores, and once while +performing with Handel (who resented the slightest +error), and once again with Scarlatti, leading an +orchestra in Naples when the king was present, he +made a mortifying mistake. He took the humiliation +so much to heart that he brooded over it till +he died, in Rome, Jan. 18, 1717.</p> + +<p>For revival meetings the modern tune set to +“Come we that love the Lord,” by Robert Lowry, +should be mentioned. A shouting chorus is appended +to it, but it has melody and plenty of stimulating +motion.</p> + +<p>The Rev. Robert Lowry was born in Philadelphia, +March 12, 1826, and educated at Lewisburg, Pa. +From his 28th year till his death, 1899, he was a +faithful and successful minister of Christ, but +is more widely known as a composer of sacred +music.</p> + +<a id="png:064" name="png:064"></a><samp class="pgmark" + ><span class="png">64 /</span> 40</samp> + + +<h4 class="hymn">“<span>BE THOU EXALTED, O MY GOD.</span>”</h4> + + +<p>In this hymn the thought of Watts touches the +eternal summits. Taken from the 57th and 108th +Psalms—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Be Thou exalted, O my God,</div> +<div class="i1"> Above the heavens where angels dwell;</div> +<div>Thy power on earth be known abroad</div> +<div class="i1"> And land to land Thy wonders tell.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>High o'er the earth His mercy reigns,</div> +<div class="i1"> And reaches to the utmost sky;</div> +<div>His truth to endless years remains</div> +<div class="i1"> When lower worlds dissolve and die.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Haydn furnished it out of his chorus of morning +stars, and it was christened “Creation,” after the +name of his great oratorio. It is a march of +trumpets.</p> + + + +<h4 class="hymn" +>“<span>BEFORE JEHOVAH'S AWFUL THRONE.</span>”</h4> + + +<p>No one could mistake the style of Watts in this +sublime ode. He begins with his foot on Sinai, +but flies to Calvary with the angel preacher whom +St. John saw in his Patmos vision:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Before Jehovah's awful throne</div> +<div class="i1"> Ye nations bow with sacred joy;</div> +<div>Know that the Lord is God alone;</div> +<div class="i1"> He can create and He destroy.</div> +</div> +<a id="png:065" name="png:065"></a><samp class="pgmark" + ><span class="png">65 /</span> 41</samp> +<div class="stanza"> +<div>His sovereign power without our aid</div> +<div class="i1"> Made us of clay and formed us men,</div> +<div>And when like wandering sheep we stray,</div> +<div class="i1"> He brought us to His fold again.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>We'll crowd Thy gates with thankful songs,</div> +<div class="i1"> High as the heaven our voices raise,</div> +<div>And earth with her ten thousand tongues</div> +<div class="i1"> Shall fill Thy courts with sounding praise.</div> +</div></div> + + +<h4 class="tune">TUNE—OLD HUNDRED.</h4> + +<p>Martin Madan's four-page anthem, “Denmark,” +has some grand strains in it, but it is a +tune of florid and difficult vocalization, and is now +heard only in Old Folks' Concerts.</p> + +<p class="thoughtbreak"> +The Rev. Isaac Watts, D.D., was born at +Southampton, Eng., in 1674. His father was a +deacon of the Independent Church there, and +though not an uncultured man himself, he is said +to have had little patience with the incurable +penchant of his boy for making rhymes and verses. +We hear nothing of the lad's mother, but we can +fancy her hand and spirit in the indulgence of his +poetic tastes as well as in his religious training. +The tradition handed down from Dr. Price, a +colleague of Watts, relates that at the age of +eighteen Isaac became so irritated at the crabbed +and untuneful hymns sung at the Nonconformist +meetings that he complained bitterly of them to +his father. The deacon may have felt something +<a id="png:066" name="png:066"></a><samp class="pgmark" + ><span class="png">66 /</span> 42</samp> +as Dr. Wayland did when a rather “fresh” student +criticised the Proverbs, and hinted that making such +things could not be “much of a job,” and the Doctor +remarked, “Suppose <em>you</em> make a few.” Possibly +there was the same gentle sarcasm in the reply +of Deacon Watts to his son, “Make some yourself, +then.”</p> + +<p>Isaac was in just the mood to take his father at +his word, and he retired and wrote the hymn—</p> + +<p class="quote"> +Behold the glories of the Lamb. +</p> + +<p>There must have been a decent tune to carry it, +for it pleased the worshippers greatly, when it was +sung in meeting—and that was the beginning of +Isaac Watts' career as a hymnist.</p> + +<p>So far as scholarship was an advantage, the young +writer must have been well equipped already, for +as early as the entering of his fifth year he was +learning Latin, and at nine learning Greek; at +eleven, French; and at thirteen, Hebrew. From +the day of his first success he continued to indite +hymns for the home church, until by the end of his +twenty-second year he had written one hundred +and ten, and in the two following years a hundred +and forty-four more, besides preparing himself for +the ministry. No. 7 in the edition of the first one +hundred and ten, was that royal jewel of all his +lyric work—</p> + +<p class="quote"> +When I survey the wondrous cross. +</p> + +<p>Isaac Watts was ordained pastor of an Independent +Church in Mark Lane, London, 1702, but +<a id="png:067" name="png:067"></a><samp class="pgmark" + ><span class="png">67 /</span> 43</samp> +repeated illness finally broke up his ministry, and +he retired, an invalid, to the beautiful home of Sir +Thomas Abney at Theobaldo, invited, as he supposed, +to spend a week, but it was really to spend +the rest of his life—thirty-six years.</p> + +<p>Numbers of his hymns are cited as having biographical +or reminiscent color. The stanza in—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When I can read my title clear,</div> +</div></div> + +<p class="runon">—which reads in the original copy,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Should earth against my soul engage</div> +<div>And <em>hellish darts be hurled</em>,</div> +<div>Then I can smile at <em>Satan's rage</em></div> +<div>And face a frowning world,</div> +</div></div> + +<p class="runon">—is said to have been an allusion to Voltaire and his +attack upon the church, while the calm beauty of +the harbor within view of his home is supposed to +have been in his eye when he composed the last +stanza,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>There shall I bathe my weary soul</div> +<div class="i1"> In seas of heavenly rest,</div> +<div>And not a wave of trouble roll</div> +<div class="i1"> Across my peaceful breast.</div> +</div></div> + +<p class="runon">According to the record,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>What shall the dying sinner do?</div> +</div></div> + +<p class="runon">—was one of his “pulpit hymns,” +and followed a sermon preached from Rom. 1:16. Another,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>And is this life prolonged to you?</div> +</div></div> + +<p class="runon">—after a sermon from I Cor. 3:22; +and another,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>How vast a treasure we possess,</div> +</div></div> + +<a id="png:068" name="png:068"></a><samp class="pgmark" + ><span class="png">68 /</span> 44</samp> +<p class="runon">—enforced his text, “All things are yours.” +The hymn,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Not all the blood of beasts</div> +<div>On Jewish altars slain,</div> +</div></div> + +<p class="runon">—was, as some say, suggested to the writer by a +visit to the <ins class="transcriber" + title="Transcriber's note: original has 'abbatoir'">abattoir</ins> in Smithfield Market. The +same hymn years afterwards, discovered, we are +told, in a printed paper wrapped around a shop +bundle, converted a Jewess, and influenced her to a +life of Christian faith and sacrifice.</p> + +<p>A young man, hardened by austere and minatory +sermons, was melted, says Dr. Belcher, by +simply reading,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Show pity Lord, O Lord, forgive,</div> +<div>Let a repenting sinner live.</div> +</div></div> + +<p class="runon">—and became partaker of a rich religious +experience.</p> + +<p>The summer scenery of Southampton, with its +distant view of the Isle of Wight, was believed to +have inspired the hymnist sitting at a parlor +window and gazing across the river Itchen, to +write the stanza—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sweet fields beyond the swelling flood</div> +<div class="i1"> Stand drest in living green;</div> +<div>So to the Jews old Canaan stood</div> +<div class="i1"> While Jordan rolled between.</div> +</div></div> + +<p>The hymn, “Unveil thy bosom, faithful tomb,” +was personal, addressed by Watts “to Lucius on +the death of Seneca.”</p> + +<p>A severe heart-trial was the occasion of another +hymn. When a young man he proposed marriage +<a id="png:069" name="png:069"></a><samp class="pgmark" + ><span class="png">69 /</span> 45</samp> +to Miss Elizabeth Singer, a much-admired young +lady, talented, beautiful, and good. She rejected +him—kindly but finally. The disappointment +was bitter, and in the first shadow of it he wrote,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>How vain are all things here below,</div> +<div>How false and yet how fair.</div> +</div></div> + +<p>Miss Singer became the celebrated Mrs. Elizabeth +Rowe, the spiritual and poetic beauty of +whose <i>Meditations</i> once made a devotional text-book +for pious souls. Of Dr. Watts and his +offer of his hand and heart, she always said, “I +loved the jewel, but I did not admire the casket.” +The poet suitor was undersized, in habitually +delicate health—and not handsome.</p> + +<p>But the good minister and scholar found noble +employment to keep his mind from preying upon +itself and shortening his days. During his long +though afflicted leisure he versified the Psalms, +wrote a treatise on <i>Logic</i>, an <i>Introduction to the +Study of Astronomy and Geography</i>, and a work +<i>On the Improvement of the Mind</i>; and died in +1748, at the age of seventy-four.</p> + + + +<h4 class="hymn" +>“<span>O FOR A THOUSAND TONGUES TO SING.</span>”</h4> + + +<p>Charles Wesley, the author of this hymn, took up +the harp of Watts when the older poet laid it down. +He was born at Epworth, Eng., in 1708, the third +son of Rev. Samuel Wesley, and died in London, +March 29, 1788. The hymn is believed to have +<a id="png:070" name="png:070"></a><samp class="pgmark" + ><span class="png">70 /</span> 46</samp> +been written May 17, 1739, for the anniversary of +his own conversion:</p> + +<div class="hymn"> +<div class="stanza"> +<div>O for a thousand tongues to sing</div> +<div class="i1"> My great Redeemer's praise,</div> +<div>The glories of my God and King,</div> +<div class="i1"> And triumphs of His grace.</div> +</div></div> + +<p>The remark of a fervent Christian friend, Peter +Bohler, “Had I a thousand tongues I would praise +Christ Jesus with them all,” struck an answering +chord in Wesley's heart, and he embalmed the +wish in his fluent verse. The third stanza (printed +as second in some hymnals), has made language for +pardoned souls for at least four generations:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus! the name that calms our fears</div> +<div class="i1"> And bids our sorrows cease;</div> +<div>'Tis music in the sinner's ears,</div> +<div class="i1"> 'Tis life and health and peace.</div> +</div></div> + +<p>Charles Wesley was the poet of the soul, and +knew every mood. In the words of Isaac Taylor, +“There is no main article of belief ... no moral +sentiment peculiarly characteristic of the gospel +that does not find itself ... pointedly and clearly +conveyed in some stanza of Charles Wesley's +poetry.” And it does not dim the lustre of Watts, +considering the marvellous brightness, versatility and +felicity of his greatest successor, to say of the latter, +with the <i>London Quarterly</i>, that he “was, perhaps, +the most gifted minstrel of the modern Church.”</p> + +<a id="png:071" name="png:071"></a><samp class="pgmark" + ><span class="png">71 /</span> opp 46</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Charles Wesley"> + <tr valign="bottom"> + <td><a id="Illus4" name="Illus4" + ><img src="images/illus04-charleswesley-cameo.jpg" alt= + "Charles Wesley" width="221" height="296" /></a></td> + <td><table summary="Caption"> + <tr><td>Charles Wesley</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<a id="png:073" name="png:073"></a><samp class="pgmark" + ><span class="png">73 /</span> 47</samp> + +<p>Most of the hymns of this good man were hymns +of experience—and this is why they are so dear to +the Christian heart. The music of eternal life is +in them. The happy glow of a single line in one +of them—</p> + +<p class="quote"> +Love Divine, all loves excelling, +</p> + +<p class="runon">—thrills through them all. He led a spotless life +from youth to old age, and grew unceasingly in +spiritual knowledge and sweetness. His piety +and purity were the weapons that alike humbled +his scoffing fellow scholars at Oxford, and conquered +the wild colliers of Kingwood. With his +brother John, through persecution and ridicule, he +preached and sang that Divine Love to his countrymen +and in the wilds of America, and on their +return to England his quenchless melodies multiplied +till they made an Evangelical literature +around his name. His hymns—he wrote no less +than six thousand—are a liturgy not only for the +Methodist Church but for English-speaking Christendom.</p> + +<p>The voices of Wesley and Watts cannot be +hidden, whatever province of Christian life and +service is traversed in themes of song, and in these +chapters they will be heard again and again.</p> + +<p>A Watts-and-Wesley Scholarship would grace +any Theological Seminary, to encourage the study +and discussion of the best lyrics of the two great +Gospel bards.</p> + + +<h4 class="tune">THE TUNES.</h4> + +<p>The musical mouth-piece of “O for a thousand +tongues,” nearest to its own date, is old “Azmon” +<a id="png:074" name="png:074"></a><samp class="pgmark" + ><span class="png">74 /</span> 48</samp> +by Carl Glaser (1734–1829), appearing as No. 1 +in the <i>New Methodist Hymnal</i>. Arranged by +Lowell Mason, 1830, it is still comparatively +familiar, and the flavor of devotion is in its tone +and style.</p> + +<p>Henry John Gauntlett, an English lawyer and +composer, wrote a tune for it in 1872, noble in its +uniform step and time, but scarcely uttering the +hymnist's characteristic ardor.</p> + +<p>The tune of “Dedham,” by William Gardiner, +now venerable but surviving by true merit, is not +unlike “Azmon” in movement and character. +Though less closely associated with the hymn, as +a companion melody it is not inappropriate. But +whatever the range of vocalization or the dignity +of swells and cadences, a slow pace of single semibreves +or quarters is not suited to Wesley's hymns. +They are flights.</p> + +<p>Professor William Gardiner wrote many works +on musical subjects early in the last century, and +composed vocal harmonies, secular and sacred. +He was born in Leicester, Eng., March 5, 1770, +and died there Nov. 16, 1853.</p> + +<p>There is an old-fashioned unction and vigor in +the style of “Peterborough” by Rev. Ralph +Harrison (1748–1810) that after all best satisfies +the singer who enters heart and soul into the spirit +of the hymn. <i>Old Peterborough</i> was composed in +1786.</p> + +<a id="png:075" name="png:075"></a><samp class="pgmark" + ><span class="png">75 /</span> 49</samp> + + +<h4 class="hymn" +>“<span>LORD WITH GLOWING HEART I'D PRAISE THEE.</span>”</h4> + + +<p>This was written in 1817 by the author of the +“Star Spangled Banner,” and is a noble American +hymn of which the country may well be proud, +both because of its merit and for its birth in the +heart of a national poet who was no less a Christian +than a patriot.</p> + +<p>Francis Scott Key, lawyer, was born on the +estate of his father, John Ross Key, in Frederick, +Md., Aug. 1st, 1779; and died in Baltimore, Jan. +11, 1843. A bronze statue of him over his grave, +and another in Golden Gate Park, San Francisco, +represent the nationality of his fame and the +gratitude of a whole land.</p> + +<p>Though a slaveholder by inheritance, Mr. Key +deplored the existence of human slavery, and not +only originated a scheme of African colonization, +but did all that a model master could do for the +chattels on his plantation, in compliance with the +Scripture command,<sup>*</sup> to lighten their burdens. +He helped them in their family troubles, defended +them gratuitously in the courts, and held regular +Sunday-school services for them.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Eph. 6:9, Coloss. 4:1.</p></div> + +<p>Educated at St. John's College, an active +member of the Episcopal Church, he was not only +a scholar but a devout and exemplary man.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Lord, with glowing heart I'd praise Thee</div> +<div class="i1"> For the bliss Thy love bestows,</div> +<div>For the pardoning grace that saves me,</div> +<div class="i1"> And the peace that from it flows.</div> +</div> +<a id="png:076" name="png:076"></a><samp class="pgmark" + ><span class="png">76 /</span> 50</samp> +<div class="stanza"> +<div>Help, O Lord, my weak endeavor;</div> +<div class="i1"> This dull soul to rapture raise;</div> +<div>Thou must light the flame or never</div> +<div class="i1"> Can my love be warmed to praise.</div> +</div><div class="stanza"> +<div>Lord, this bosom's ardent feeling</div> +<div class="i1"> Vainly would my life express;</div> +<div>Low before Thy footstool kneeling,</div> +<div class="i1"> Deign Thy suppliant's prayer to bless.</div> +</div><div class="stanza"> +<div>Let Thy grace, my soul's chief treasure,</div> +<div class="i1"> Love's pure flame within me raise,</div> +<div>And, since words can never measure,</div> +<div class="i1"> Let my life show forth Thy praise.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“St. Chad,” a choral in D, with a four-bar +unison, in the <i>Evangelical Hymnal</i>, is worthy of +the hymn. Richard Redhead, the composer, +organist of the Church of St. Mary Magdalene, +Paddington, Eng., was born at Harrow, Middlesex, +March 1, 1820, and educated at Magdalene +College, Oxford. Graduated Bachelor of Music +at Oxford, 1871. He published <i>Laudes Dominæ</i>, +a Gregorian Psalter, 1843, a Book of Tunes for +the <i>Christian Year</i>, and is the author of much ritual +music.</p> + + + +<h4 class="hymn" +>“<span>HOLY, HOLY, HOLY, LORD GOD ALMIGHTY.</span>”</h4> + + +<p>There is nothing so majestic in Protestant hymnology +as this Tersanctus of Bishop Heber.</p> + +<p>The Rt. Rev. Reginald Heber, son of a clergyman +of the same name, was born in Malpas, +<a id="png:077" name="png:077"></a><samp class="pgmark" + ><span class="png">77 /</span> 51</samp> +Cheshire, Eng., April 21st, 1783, and educated +at Oxford. He served the church in Hodnet, +Shropshire, for about twenty years, and was then +appointed Bishop of Calcutta, E.I. His labors +there were cut short in the prime of his life, his +death occurring in 1826, at Trichinopoly on the +3d of April, his natal month.</p> + +<p>His hymns, numbering fifty-seven, were collected +by his widow, and published with his poetical +works in 1842.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Holy! holy! holy! Lord God Almighty!</div> +<div class="i1"> Early in the morning our song shall rise to Thee.</div> +<div>Holy! holy! holy! merciful and mighty,</div> +<div class="i1"> God in Three Persons, blessed Trinity.</div> +</div><div class="stanza"> +<div>Holy! holy! holy! all the saints adore Thee,</div> +<div class="i1"> Casting down their golden crowns around the glassy sea;</div> +<div>Cherubim and seraphim, falling down before Thee,</div> +<div class="i1"> Which wert, and art, and evermore shall be.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Grand as the hymn is, it did not come to its full +grandeur of sentiment and sound in song-worship +till the remarkable music of Dr. John B. Dykes +was joined to it. None was ever written that in +performance illustrates more admirably the solemn +beauty of congregational praise. The name +“Nicæa” attached to the tune means nothing to +the popular ear and mind, and it is known everywhere +by the initial words of the first line.</p> + +<p>Rev. John Bacchus Dykes, Doctor of Music, +was born at Kingston-upon-Hull, in 1823; and +<a id="png:078" name="png:078"></a><samp class="pgmark" + ><span class="png">78 /</span> 52</samp> +graduated at Cambridge, in 1847. He became a +master of tone and choral harmony, and did much +to reform and elevate congregational psalmody +in England. He was perhaps the first to demonstrate +that hymn-tune making can be reduced to a +science without impairing its spiritual purpose. +Died Jan. 22, 1876.</p> + + + +<h4 class="hymn" +>“<span>LORD OF ALL BEING, THRONED AFAR.</span>”</h4> + + +<p>This noble hymn was composed by Dr. Oliver +Wendell Holmes, born in Cambridge, Mass., 1809, +and graduated at Harvard University. A physician +by profession, he was known as a practitioner +chiefly in literature, being a brilliant writer and +long the leading poetical wit of America. He was, +however, a man of deep religious feeling, and a +devout attendant at King's Chapel, Unitarian, in +Boston where he spent his life. He held the +Harvard Professorship of Anatomy and Physiology +more than fifty years, but his enduring work is in +his poems, and his charming volume, <i>The Autocrat +of the Breakfast Table</i>. Died Jan. 22, 1896.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Holmes' hymn is sung in some churches to +“Louvan,” V.C. Taylor's admirable praise tune. +Other hymnals prefer with it the music of “Keble,” +one of Dr. Dykes' appropriate and finished melodies.</p> + +<p>Virgil Corydon Taylor, an American vocal composer, +was born in Barkhamstead, Conn., April 2, +1817, died 1891.</p> + +<a id="png:079" name="png:079"></a><samp class="pgmark" + ><span class="png">79 /</span> 53</samp> + + + + +<h2 class="chap">CHAPTER II.</h2> +<hr class="chap" /> + + +<h1>SOME HYMNS OF GREAT +WITNESSES.</h1> +<hr class="chap" /> + + +<h4 class="hymn"><span>JOHN OF DAMASCUS.</span></h4> + +<h4 class="quote" title="[Greek: Erchesthe, ô pistoi, Anastaseôs Hêmera]" +>Ἔρχεσθε, +ὦ πιστοί,<br /> +Ἀναστάσεως +Ἡμέρα.</h4> + + + +<p>John of Damascus, called also St. John of +Jerusalem, a theologian and poet, was the last +but one of the Christian Fathers of the Greek +Church. This eminent man was named by the +Arabs “Ibn Mansur,” Son (Servant?) of a Conqueror, +either in honor of his father Sergius or +because it was a Semitic translation of his family +title. He was born in Damascus early in the 8th +century, and seems to have been in favor with the +Caliph, and served under him many years in some +important civil capacity, until, retiring to Palestine, +he entered the monastic order, and late in life was +ordained a priest of the Jerusalem Church. He +died in the Convent of St. Sabas near that city +about A.D. 780.</p> + +<p>His lifetime appears to have been passed in +<a id="png:080" name="png:080"></a><samp class="pgmark" + ><span class="png">80 /</span> 54</samp> +comparative peace. Mohammed having died +before completing the conquest of Syria, the +Moslem rule before whose advance Oriental +Christianity was to lose its first field of triumph +had not yet asserted its persecuting power in the +north. This devout monk, in his meditations at +St. Sabas, dwelt much upon the birth and the +resurrection of Christ, and made hymns to celebrate +them. It was probably four hundred years +before Bonaventura (?) wrote the Christmas +“Adeste Fideles” of the Latin West that John of +Damascus composed his Greek “Adeste Fideles” +for a Resurrection song in Jerusalem.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come ye faithful, raise the strain</div> +<div class="i1"> Of triumphant gladness.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>'Tis the spring of souls today</div> +<div class="i1"> Christ hath burst His prison;</div> +<div>From the frost and gloom of death</div> +<div class="i1"> Light and life have risen.</div> +</div></div> + +<p>The nobler of the two hymns preserved to us, +(or six stanzas of it) through eleven centuries is +entitled “The Day of Resurrection.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>The day of resurrection,</div> +<div class="i1"> Earth, tell its joys abroad:</div> +<div>The Passover of gladness,</div> +<div class="i1"> The Passover of God.</div> +<div>From death to life eternal,</div> +<div class="i1"> From earth unto the sky,</div> +<div>Our Christ hath brought us over,</div> +<div class="i1"> With hymns of victory.</div> +</div> +<a id="png:081" name="png:081"></a><samp class="pgmark" + ><span class="png">81 /</span> 55</samp> +<div class="stanza"> +<div>Our hearts be pure from evil,</div> +<div class="i1"> That we may see aright</div> +<div>The Lord in rays eternal</div> +<div class="i1"> Of resurrection light;</div> +<div>And, listening to His accents,</div> +<div class="i1"> May hear, so calm and plain,</div> +<div>His own, “All hail!” and hearing,</div> +<div class="i1"> May raise the victor-strain.</div> +</div><div class="stanza"> +<div>Now let the heavens be joyful,</div> +<div class="i1"> Let earth her song begin,</div> +<div>Let all the world keep triumph,</div> +<div class="i1"> All that dwell therein.</div> +<div>In grateful exultation,</div> +<div class="i1"> Their notes let all things blend,</div> +<div>For Christ the Lord is risen,</div> +<div class="i1"> O joy that hath no end!</div> +</div></div> + +<p>Both these hymns of John of Damascus were +translated by John Mason Neale.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“The Day of Resurrection” is sung in the +modern hymnals to the tune of “Rotterdam,” +composed by Berthold of Tours, born in that city of +the Netherlands, Dec. 17, 1838. He was educated +at the conservatory in Leipsic, and later made +London his permanent residence, writing both +vocal and instrumental music. Died 1897. “Rotterdam” +is a stately, sonorous piece and conveys +the flavor of the ancient hymn.</p> + +<p>“Come ye faithful” has for its modern interpreter +Sir Arthur Sullivan, the celebrated composer +of both secular and sacred works, but best +<a id="png:082" name="png:082"></a><samp class="pgmark" + ><span class="png">82 /</span> 56</samp> +known in hymnody as author of the great Christian +march, “Onward Christian Soldiers.”</p> + +<p>Hymns are known to have been written by the +earlier Greek Fathers, Ephrem Syrus of Mesopotamia +(A.D. 307–373), Basil the Great, Bishop +of Cappadocia (A.D. 329–379) Gregory Nazianzen, +Bishop of Constantinople (A.D. 335–390) +and others, but their fragments of song which have +come down to us scarcely rank them among the +great witnesses—with the possible exception of the +last name. An English scholar, Rev. Allen W. +Chatfield, has translated the hymns extant of +Gregory Nazianzen. The following stanzas give +an idea of their quality. The lines are from an +address to the Deity:</p> + +<div class="hymn"> +<div class="stanza"> +<div>How, Unapproached! shall mind of man</div> +<div class="i1"> Descry Thy dazzling throne,</div> +<div>And pierce and find Thee out, and scan</div> +<div class="i1"> Where Thou dost dwell alone?</div> +</div><div class="stanza"> +<div>Unuttered Thou! all uttered things</div> +<div class="i1"> Have had their birth from Thee;</div> +<div>The One Unknown, from Thee the spring</div> +<div class="i1"> Of all we know and see.</div> +</div><div class="stanza"> +<div>And lo! all things abide in Thee</div> +<div class="i1"> And through the complex whole,</div> +<div>Thou spreadst Thine own divinity,</div> +<div class="i1"> Thyself of all the Goal.</div> +</div></div> + +<p>This is reverent, but rather philosophical than +evangelical, and reminds us of the Hymn of +Aratus, more than two centuries before Christ +was born.</p> + +<a id="png:083" name="png:083"></a><samp class="pgmark" + ><span class="png">83 /</span> 57</samp> + + +<h4 class="hymn"><span>ST. STEPHEN, THE SABAITE.</span></h4> + + +<p>This pious Greek monk, (734–794,) nephew of +St. John of Damascus, spent his life, from the age +of ten, in the monastery of St. Sabas. His sweet +hymn, known in Neale's translation,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Art thou weary, art thou languid,</div> +<div class="i1"> Art thou sore distrest?</div> +<div>Come to Me, saith One, and coming</div> +<div class="i3"> Be at rest,</div> +</div></div> + +<p class="runon">—is still in the hymnals, with the tunes of Dykes, +and Sir Henry W. Baker (1821–1877), Vicar of +Monkland, Herefordshire.</p> + + + +<h4 class="hymn"><span>KING ROBERT II.</span></h4> + + +<h4 class="quote"><i>Veni, Sancte Spiritus</i>.</h4> + + +<p>Robert the Second, surnamed “Robert the Sage” +and “Robert the Devout,” succeeded Hugh Capet, +his father, upon the throne of France, about the +year 997. He has been called the gentlest monarch +that ever sat upon a throne, and his amiability of +character poorly prepared him to cope with his +dangerous and wily adversaries. His last years +were embittered by the opposition of his own sons, +and the political agitations of the times. He died +at Melun in 1031, and was buried at St. Denis.</p> + +<p>Robert possessed a reflective mind, and was fond +of learning and musical art. He was both a poet +and a musician. He was deeply religious, and, from +unselfish motives, was much devoted to the church.</p> + +<a id="png:084" name="png:084"></a><samp class="pgmark" + ><span class="png">84 /</span> 58</samp> + +<p>Robert's hymn, “Veni, Sancte Spiritus,” is given +below. He himself was a chorister; and there was +no kingly service that he seemed to love so well. +We are told that it was his custom to go to the +church of St. Denis, and in his royal robes, with +his crown upon his head, to direct the choir at +matins and vespers, and join in the singing. Few +kings have left a better legacy to the Christian +church than his own hymn, which, after nearly a +thousand years, is still an influence in the world:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come, Thou Holy Spirit, come,</div> +<div>And from Thine eternal home</div> +<div class="i1"> Shed the ray of light divine;</div> +<div>Come, Thou Father of the poor,</div> +<div>Come, Thou Source of all our store,</div> +<div class="i1"> Come, within our bosoms shine.</div> +</div><div class="stanza"> +<div>Thou of Comforters the best,</div> +<div>Thou the soul's most welcome Guest,</div> +<div class="i1"> Sweet Refreshment here below!</div> +<div>In our labor Rest most sweet,</div> +<div>Grateful Shadow from the heat,</div> +<div class="i1"> Solace in the midst of woe!</div> +</div><div class="stanza"> +<div>Oh, most blessed Light Divine,</div> +<div>Shine within these hearts of Thine,</div> +<div class="i1"> And our inmost being fill;</div> +<div>If Thou take Thy grace away,</div> +<div>Nothing pure in man will stay,</div> +<div class="i1"> All our good is turned to ill.</div> +</div><div class="stanza"> +<div>Heal our wounds; our strength renew</div> +<div>On our dryness pour Thy dew;</div> +<div class="i1"> Wash the stains of guilt away!</div> +<div>Bend the stubborn heart and will,</div> +<a id="png:085" name="png:085"></a><samp class="pgmark" + ><span class="png">85 /</span> 59</samp> +<div>Melt the frozen, warm the chill,</div> +<div class="i1"> Guide the steps that go astray.</div> +</div> +<div class="right"><i>Neale's Translation</i>.</div> +</div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The metre and six-line stanza, being uniform +with those of “Rock of Ages,” have tempted some +to borrow “Toplady” for this ancient hymn, but +Hastings' tune would refuse to sing other words; +and, besides, the alternate rhymes would mar the +euphony. Not unsuitable in spirit are several +existing tunes of the right measure—like “Nassau” +or “St. Athanasius”—but in truth the “Veni, +Sancte Spiritus” in English waits for its perfect +setting. Dr. Ray Palmer's paraphrase of it in +sixes-and-fours, to fit “Olivet,”—</p> + +<p class="quote"> +Come, Holy Ghost in love, etc. +</p> + +<p class="runon">—is objectionable both because the word Ghost is +an archaism in Christian worship and more +especially because Dr. Palmer's altered version +usurps the place of his own hymn. “Olivet” +with “My faith looks up to Thee” makes as inviolable +a case of psalmodic monogamy as “Toplady” +with “Rock of Ages.”</p> + + + +<h4 class="hymn"><span>ST. FULBERT.</span></h4> + +<h4 class="quote">“<i>Chori Cantores Hierusalem Novae</i>.”</h4> + + +<p>St. Fulbert's hymn is a worthy companion of +Perronet's “Coronation”—if, indeed, it was not +<a id="png:086" name="png:086"></a><samp class="pgmark" + ><span class="png">86 /</span> 60</samp> +its original prompter—as King <ins class="transcriber" + title="Transcriber's note: original reads Roberts'">Robert's</ins> great +litany was the mother song of Watts' “Come, Holy +Spirit, heavenly Dove;” and the countless other +sacred lyrics beginning with similar words. As +the translation stands in the Church of England, +there are six stanzas now sung, though in America +but four appear, and not in the same sequence. +The first four of the six in their regular succession +are as follows:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ye choirs of New Jerusalem,</div> +<div class="i1"> Your sweetest notes employ,</div> +<div>The Paschal victory to hymn</div> +<div class="i1"> In strains of holy joy.</div> +</div><div class="stanza"> +<div>For Judah's Lion bursts His chains,</div> +<div class="i1"> Crushing the serpent's head;</div> +<div>And cries aloud, through death's domains</div> +<div class="i1"> To wake the imprisoned dead.</div> +</div><div class="stanza"> +<div>Devouring depths of hell their prey</div> +<div class="i1"> At His command restore;</div> +<div>His ransomed hosts pursue their way</div> +<div class="i1"> Where Jesus goes before.</div> +</div><div class="stanza"> +<div>Triumphant in His glory now,</div> +<div class="i1"> To Him all power is given;</div> +<div>To Him in one communion bow</div> +<div class="i1"> All saints in earth and heaven.</div> +</div></div> + +<p>Bishop Fulbert, known in the Roman and in +the Protestant ritualistic churches as St. Fulbert of +Chartres, was a man of brilliant and versatile +mind, and one of the most eminent prelates of his +time. He was a contemporary of Robert II, and +his intimate friend, continuing so after the Pope +<a id="png:087" name="png:087"></a><samp class="pgmark" + ><span class="png">87 /</span> 61</samp> +(Gregory V.) excommunicated the king for marrying +a cousin, which was forbidden by the canons of +the church.</p> + +<p>Fulbert was for some time head of the Theological +College at Chartres, a cathedral town of +France, anciently the capital of Celtic Gaul, and +afterwards he was consecrated as Bishop of that +diocese. He died about 1029.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The modern tone-interpreter of Fulbert's hymn +bears the name “La Spezia” in some collections, +and was composed by James Taylor about the +time the hymn was translated into English by +Robert Campbell. Research might discover the +ancient tune—for the hymn is said to have been +sung in the English church during Fulbert's lifetime—but +the older was little likely to be the better +music. “La Spezia” is a choral of enlivening but +easy chords, and a tread of triumph in its musical +motion that suits the march of “Judah's Lion”:</p> + +<div class="hymn"> +<div class="stanza"> +<div>His ransomed hosts pursue their way</div> +<div class="i1">Where Jesus goes before.</div> +</div></div> + +<p>James Taylor, born 1833, is a Doctor of Music, +organist of the University of Oxford and Director +of the Oxford Philharmonic Society.</p> + +<p>Robert Campbell, the translator, was a Scotch +lawyer, born in Edinburgh, who besides his work +as an advocate wrote original hymns, and in other +ways exercised a natural literary gift. He compiled +<a id="png:088" name="png:088"></a><samp class="pgmark" + ><span class="png">88 /</span> 62</samp> +the excellent Hymnal of the diocese of St. Andrews, +and this was his best work. The date of his death +is given as Dec. 29, 1868.</p> + + + +<h4 class="hymn"><span>THOMAS OF CELANO.</span></h4> + + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> Dies irae! dies illa,</div> +<div class="i1"> Solvet saeclum in favilla,</div> +<div class="i1"> Teste David cum Sybilla.</div> +</div><div class="stanza"> +<div>Day of wrath! that day of burning,</div> +<div>All the world to ashes turning,</div> +<div>Sung by prophets far discerning.</div> +</div></div> + +<p>Latin ecclesiastical poetry reached its high +water mark in that awful hymn. The solitaire of +its sphere and time in the novelty of its rhythmic +triplets, it stood a wonder to the church and +hierarchy accustomed to the slow spondees of the +ancient chant. There could be such a thing as a +trochaic hymn!—and majestic, too!</p> + +<p>It was a discovery that did not stale. The compelling +grandeur of the poem placed it distinct and +alone, and the very difficulty of staffing it for vocal +and instrumental use gave it a zest, and helped to +keep it unique through the ages.</p> + +<p title="Illustration of Martin Luther originally opposite">Latin hymnody +and hymnography, appealing +to the popular ear and heart, had gradually substituted +accent for quantity in verse; for the common +people could never be moved by a Christian +song in the prosody of the classics. The religion +of the cross, with the song-preaching of its propagandists, +created medieval Latin and made it +<a id="png:091" name="png:091"></a><samp class="pgmark" + ><span class="png">91 /</span> 63</samp> +a secondary classic—mother of four anthem +languages of Western and Southern Europe. Its +golden age was the 12th and 13th centuries. The +new and more flexible school of speech and music +in hymn and tune had perfected rhythmic beauty +and brought in the winsome assonance of rhyme.</p> + +<p>The “Dies Irae” was born, it is believed, about +the year 1255. Its authorship has been debated, +but competent testimony assures us that the +original draft of the great poem was found in a +box among the effects of Thomas di Celano after +his death. Thomas—surnamed Thomas of Celano +from his birthplace, the town of Celano in the province +of Aquila, Southern Italy—was the pupil, friend +and co-laborer of St. Francis of Assisi, and wrote his +memoirs. He is supposed to have died near the end +of the 13th century. That he wrote the sublime +judgment song there is now practically no question.</p> + +<p>The label on the discovered manuscript would +suggest that the writer did not consider it either +a hymn or a poem. Like the inspired prophets he +had meditated—and while he was musing the fire +burned. The only title he wrote over it was +“<i>Prosa de mortuis</i>,” Prosa (or prosa oratio)—from +<i>prorsus</i>, “straight forward”—appears here +in the truly conventional sense it was beginning to +bear, but not yet as the antipode of “poetry.” +The modest author, unconscious of the magnitude +of his work, called it simply “Plain speech concerning +the dead."<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +“Proses” were original passages introduced into ecclesiastical +chants in the 10th century. During and after the 11th century they were called +“Sequences” (i.e. <em>following</em> the “Gospel” in +the liturgy), and were in metrical form, having a prayerful tone. +“Sequentia pro defunctis” was the later title of the “Dies +Irae.”</p></div> + +<a id="png:092" name="png:092"></a><samp class="pgmark" + ><span class="png">92 /</span> 64</samp> + +<p>The hymn is much too long to quote entire, but +can be found in <i>Daniel's Thesaurus</i> in any large +public library. As to the translations of it, they +number hundreds—in English and German alone, +and Italy, Spain and Portugal have their vernacular +versions—not to mention the Greek and +Russian and even the Hebrew. A few stanzas follow, +with their renderings into English (always +imperfect) selected almost at random:</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> Quantus tremor est futurus</div> +<div class="i1"> Quando Judex est venturus,</div> +<div class="i1"> Cuncta stricte discussurus!</div> +</div><div class="stanza"> +<div class="i1"> Tuba mirum spargens sonum</div> +<div class="i1"> Per sepulcra regionum,</div> +<div class="i1"> Coget omnes ante thronum!</div> +</div><div class="stanza"> +<div>O the dread, the contrite kneeling</div> +<div>When the Lord, in Judgment dealing,</div> +<div>Comes each hidden thing revealing!</div> +</div><div class="stanza"> +<div>When the trumpet's awful tone</div> +<div>Through the realms sepulchral blown,</div> +<div>Summons all before the Throne!</div> +</div></div> + +<p>The solemn strength and vibration of these +tremendous trilineals suffers no general injury by +the variant readings—and there are a good many. +As a sample, the first stanza was changed by some +canonical redactor to get rid of the heathen word +Sybilla, and the second line was made the third:</p> + +<a id="png:093" name="png:093"></a><samp class="pgmark" + ><span class="png">93 /</span> 65</samp> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> Dies Irae, dies illa</div> +<div class="i1"> Crucis expandens vexilla,</div> +<div class="i1"> Solvet saeclum in favilla.</div> +</div><div class="stanza"> +<div>Day of wrath! that day foretold,</div> +<div>With the cross-flag wide unrolled,</div> +<div>Shall the world in fire enfold!</div> +</div></div> + +<p>In some readings the original “in favilla” is +changed to “<em>cum</em> favilla,” +“<em>with</em> ashes” instead of +“in ashes”; and “Teste Petro” is substituted +for “Teste David.”</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The varieties of music set to the “Hymn of +Judgment” in the different sections and languages +of Christendom during seven hundred years are +probably as numerous as the pictures of the Holy +Family in Christian art. It is enough to say that +one of the best at hand, or, at least, accessible, is +the solemn minor melody of Dr. Dykes in William +Henry Monk's <i>Hymns Ancient and Modern</i>. It +was composed about the middle of the last century. +Both the <i>Evangelical</i> and <i>Methodist Hymnals</i> have +Dean Stanley's translation of the hymn, the +former with thirteen stanzas (six-line) to a D +minor of John Stainer, and the latter to a C major +of Timothy Matthews. The <i>Plymouth Hymnal</i> +has seventeen of the trilineal stanzas, by an unknown +translator, to Ferdinand Hiller's tune in +F minor, besides one verse to another F minor—hymn +and tune both nameless.</p> + +<a id="png:094" name="png:094"></a><samp class="pgmark" + ><span class="png">94 /</span> 66</samp> + +<p>All the composers above named are musicians +of fame. John Stainer, organist of St. Paul's +Cathedral, was a Doctor of Music and Chevalier of +the Legion of Honor, and celebrated for his works +in sacred music, to which he mainly devoted his +time. He was born June 6, 1840. He died March +31, 1901.</p> + +<p>Rev. Timothy Richard Matthews, born at Colmworth, +Eng., Nov. 20, 1826, is a clergyman of the +Church of England, incumbent of a Lancaster +charge to which he was appointed by Queen Alexandra.</p> + +<p>Ferdinand Hiller, born 1811 at Frankfort-on-the-Main, +of Hebrew parentage, was one of Germany's +most eminent musicians. For many years he was +Chapel Master at Cologne, and organized the +Cologne Conservatory. His compositions are +mostly for instrumental performance, but he wrote +cantatas, motets, male choruses, and two oratorios, +one on the “Destruction of Jerusalem.” Died +May 10, 1855.</p> + +<p>The Very Rev. Arthur Penrhyn Stanley, Dean +of Westminster, was an author and scholar whom +all sects of Christians delighted to honor. His +writings on the New Testament and his published +researches in Palestine, made him an authority in +Biblical study, and his contributions to sacred +literature were looked for and welcomed as eagerly +as a new hymn by Bonar or a new poem by Tennyson. +Dean Stanley was born in 1815, and died +July 18th, 1881.</p> + +<a id="png:095" name="png:095"></a><samp class="pgmark" + ><span class="png">95 /</span> 67</samp> + + + +<h4 class="hymn"><span>THOMAS À KEMPIS.</span></h4> + + +<p>Thomas à Kempis, sub-prior of the Convent +of St. Agnes, was born at Hamerkin, Holland, +about the year 1380, and died at Zwoll, 1471. This +pious monk belonged to an order called the +“Brethren of the Common Life” founded by +Gerard de Groote, and his fame rests entirely upon +his one book, the <i>Imitation of Christ</i>, which +continues to be printed as a religious classic, and +is unsurpassed as a manual of private devotion. +His monastic life—as was true generally of the +monastic life of the middle ages—was not one of +useless idleness. The Brethren taught school and +did mechanical work. Besides, before the invention +of printing had been perfected and brought +into common service, the multiplication of books +was principally the work of monkish pens. Kempis +spent his days copying the Bible and good +books—as well as in exercises of devotion that +promoted religious calm.</p> + +<p>His idea of heaven, and the idea of his order, +was expressed in that clause of John's description +of the City of God, Rev. 22:3, “<i>and His servants +shall serve Him</i>.” Above all other heavenly joys +that was his favorite thought. We can well understand +that the pious quietude wrought in his mind +and manners by his habit of life made him a saint +in the eyes of the people. The frontispiece of one +edition of his <i>Imitatio Christi</i> pictures him as +<a id="png:096" name="png:096"></a><samp class="pgmark" + ><span class="png">96 /</span> 68</samp> +being addressed before the door of a convent by +a troubled pilgrim,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“O where is peace?—for thou its paths hast trod,”</div> +</div></div> + +<p class="runon">—and his answer completes the couplet,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“In poverty, retirement, and with God.”</div> +</div></div> + +<p>Of all that is best in inward spiritual life, much +can be learned from this inspired Dutchman. +He wrote no hymns, but in his old age he composed +a poem on “Heaven's Joys,” which is sometimes +called “Thomas à Kempis' Hymn”:</p> + +<div class="hymn"> +<div class="stanza"> +<div>High the angel choirs are raising</div> +<div class="i1"> Heart and voice in harmony;</div> +<div>The Creator King still praising</div> +<div class="i1"> Whom in beauty there they see.</div> +</div><div class="stanza"> +<div>Sweetest strains from soft harps stealing,</div> +<div>Trumpets' notes of triumph pealing,</div> +<div>Radiant wings and white stoles gleaming</div> +<div>Up the steps of glory streaming;</div> +<div>Where the heavenly bells are ringing;</div> +<div>“Holy! holy! holy!” singing</div> +<div class="i1"> To the mighty Trinity!</div> +<div>“Holy! holy! holy!” crying,</div> +<div>For all earthly care and sighing</div> +<div class="i1"> In that city cease to be!</div> +</div></div> + +<p>These lines are not in the hymnals of today—and +whether they ever found their way into choral +use in ancient times we are not told. Worse poetry +has been sung—and more un-hymnlike. Some +future composer will make a tune to the words of a +Christian who stood almost in sight of his hundredth +year—and of the eternal home he writes about.</p> + + + +<a id="png:089" name="png:089"></a><samp class="pgmark" + ><span class="png">89 /</span> opp 62</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Martin Luther"> + <tr valign="bottom"> + <td><a id="Illus5" name="Illus5" + ><img src="images/illus05-martinluther-cameo.jpg" alt= + "Martin Luther" width="229" height="253" /></a></td> + <td><table summary="Caption"> + <tr><td>Dr. Martin Luther</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<a id="png:097" name="png:097"></a><samp class="pgmark" + ><span class="png">97 /</span> 69</samp> + +<h4 class="hymn"><span>MARTIN LUTHER.</span></h4> + +<h4 class="quote">“<i>Ein Feste Burg Ist Unser Gott</i>.”</h4> + + +<p>Of Martin Luther Coleridge said, “He did as +much for the Reformation by his hymns as he did +by his translation of the Bible.” The remark is so +true that it has become a commonplace.</p> + +<p>The above line—which may be seen inscribed +on Luther's tomb at <ins class="transcriber" + title="Transcriber's note: original has 'Wittenburg'">Wittenberg</ins>—is the opening +sentence and key-note of the Reformer's grandest +hymn. The forty-sixth Psalm inspired it, and it +is in harmony with sublime historical periods +from its very nature, boldness, and sublimity. It +was written, according to Welles, in the memorable +year when the evangelical princes delivered their +protest at the Diet of Spires, from which the word and +the meaning of the word “Protestant” is derived. +“Luther used often to sing it in 1530, while the +Diet of Augsburg was sitting. It soon became the +favorite psalm with the people. It was one of the +watchwords of the Reformation, cheering armies +to conflict, and sustaining believers in the hours of +fiery trial.”</p> + +<p>“After Luther's death, Melancthon, his affectionate +coadjutor, being one day at Weimar with his +banished friends, Jonas and Creuziger, heard a +little maid singing this psalm in the street, and +said, ‘Sing on, my little girl, you little know whom +you comfort:’”</p> + +<div class="hymn"> +<div class="stanza"> +<div>A mighty fortress is our God,</div> +<div class="i1"> A bulwark never failing;</div> +<a id="png:098" name="png:098"></a><samp class="pgmark" + ><span class="png">98 /</span> 70</samp> +<div>Our helper He, amid the flood</div> +<div class="i1"> Of mortal ills prevailing.</div> +<div>For still our ancient foe</div> +<div>Doth seek to work us woe;</div> +<div>His craft and power are great,</div> +<div>And, armed with cruel hate,</div> +<div class="i1"> On earth is not his equal.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>The Prince of Darkness grim—</div> +<div>We tremble not for him:</div> +<div>His rage we can endure,</div> +<div>For lo! his doom is sure,</div> +<div class="i1"> One little word shall fell him.</div> +</div><div class="stanza"> +<div>That word above all earthly powers—</div> +<div class="i1"> No thanks to them—abideth;</div> +<div>The Spirit and the gifts are ours,</div> +<div class="i1"> Through Him who with us sideth.</div> +<div>Let goods and kindred go,</div> +<div>This mortal life also;</div> +<div>The body they may kill,</div> +<div>God's truth abideth still,</div> +<div class="i1"> His kingdom is for ever.</div> +</div></div> + +<p>Martin Luther was born in Eisleben, in Saxony, +Nov. 10, 1483. He was educated at the University +of Erfurth, and became an Augustinian monk +and Professor of Philosophy and Divinity in the +University of Wittenberg. In 1517 he composed +and placarded his ninety-five Theses condemning +certain practices of the Romish Church and three +years later the Pope published a bull excommunicating +him, which he burnt openly before a +sympathetic multitude in Wittenberg. His life +was a stormy one, and he was more than once in +<a id="png:099" name="png:099"></a><samp class="pgmark" + ><span class="png">99 /</span> 71</samp> +mortal danger by reason of his antagonism to the +papal authority, but he found powerful patrons, +and lived to see the Reformation an organized fact. +He died in his birthplace, Eisleben, Feb. 18th, +1546.</p> + +<p>The translation of the “Ein feste burg,” given +above, in part, is by Rev. Frederick Henry Hedge, +D.D., born in Cambridge, March 1805, a graduate +of Harvard, and formerly minister of the Unitarian +Church in Bangor, Me. Died, 1890.</p> + +<p>Luther wrote thirty-six hymns, to some of which +he fitted his own music, for he was a musician and +singer as well as an eloquent preacher. The tune +in which “Ein feste Burg” is sung in the hymnals, +was composed by himself. The hymn has also a +noble rendering in the music of Sebastian Bach, +8-4 time, found in <i>Hymns Ancient and Modern</i>.</p> + + + +<h4 class="hymn"><span>BARTHOLOMEW RINGWALDT.</span></h4> + +<h4 class="quote">“Great God, What Do I See and Hear?”</h4> + +<p>The history of this hymn is somewhat indefinite, +though common consent now attributes to Ringwaldt +the stanza beginning with the above line. +The imitation of the “Dies Irae” in German +which was first in use was printed in Jacob Klug's +“<i>Gesangbuch</i>” in 1535. Ringwaldt's hymn of +the Last Day, also inspired from the ancient Latin +original, appears in his <i>Handbuchlin</i> of 1586, +but does not contain this stanza. The first line is, +“The awful Day will surely come,” (Es ist +<a id="png:100" name="png:100"></a><samp class="pgmark" + ><span class="png">100 /</span> 72</samp> +gewisslich an der Zeit). Nevertheless through +the more than two hundred years that the hymn +has been translated and re-translated, and gone +through inevitable revisions, some vital identity +in the spirit and tone of the one seven-line stanza +has steadily connected it with Ringwaldt's name. +Apparently it is the single survivor of a great lost +hymn—edited and altered out of recognition. +But its power evidently inspired the added verses, +as we have them. Dr. Collyer found it, and, +regretting that it was too short to sing in public +service, composed stanzas 2d, 3d and 4th. It is +likely that Collyer first met with it in <i>Psalms and +Hymns for Public and Private Devotion</i>, Sheffield +1802, where it appeared anonymously. So far as +known this was its first publication in English. +Ringwaldt's stanza and two of Collyer's are here +given:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Great God, what do I see and hear!</div> +<div class="i1"> The end of things created!</div> +<div>The Judge of mankind doth appear</div> +<div class="i1"> On clouds of glory seated.</div> +<div>The trumpet sounds, the graves restore</div> +<div>The dead which they contained before;</div> +<div class="i1"> Prepare, my soul, to meet Him.</div> +</div><div class="stanza"> +<div>The dead in Christ shall first arise</div> +<div class="i1"> At the last trumpet sounding,</div> +<div>Caught up to meet Him in the skies,</div> +<div class="i1"> With joy their Lord surrounding.</div> +<div>No gloomy fears their souls dismay</div> +<div>His presence sheds eternal day</div> +<div class="i1"> On those prepared to meet Him.</div> +</div><div class="stanza"> +<a id="png:101" name="png:101"></a><samp class="pgmark" + ><span class="png">101 /</span> 73</samp> +<div>Far over space to distant spheres</div> +<div class="i1"> The lightnings are prevailing</div> +<div>Th' ungodly rise, and all their tears</div> +<div class="i1"> And sighs are unavailing.</div> +<div>The day of grace is past and gone;</div> +<div>They shake before the Judge's Throne</div> +<div class="i1"> All unprepared to meet Him.</div> +</div></div> + +<p><ins class="transcriber" + title="Transcriber's note: origninal has 'Batholomew'">Bartholomew</ins> Ringwaldt, pastor of the Lutheran +Church of Longfeld, Prussia, was born in 1531, +and died in 1599. His hymns appear in a collection +entitled <i>Hymns for the Sundays and Festivals +of the Whole Year</i>.</p> + +<p>Rev. William Bengo Collyer D.D., was born +at Blackheath near London, April 14, 1782, +educated at Homerton College and settled over a +Congregational Church in Peckham. In 1812 he +published a book of hymns, and in 1837 a <i>Service +Book</i> to which he contributed eighty-nine hymns. +He died Jan, 9, 1854.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Probably it was the customary singing of Ringwaldt's +hymn (in Germany) to Luther's tune that +gave it for some time the designation of “Luther's +Hymn,” the title by which the music is still known—an +air either composed or adapted by Luther, +and rendered perhaps unisonously or with extempore +chords. It was not until early in the last +century that Vincent Novello wrote to it the noble +arrangement now in use. It is a strong, even-time +harmony with lofty tenor range, and very +<a id="png:102" name="png:102"></a><samp class="pgmark" + ><span class="png">102 /</span> 74</samp> +impressive with full choir and organ or the vocal +volume of a congregation. In <i>Cheetham's Psalmody</i> +is it written with a trumpet obligato.</p> + +<p>Vincent Novello, born in London, Sept. 6, 1781, +the intimate friend of Lamb, Shelley, Keats, Hunt +and Hazlitt, was a professor of music who attained +great eminence as an organist and composer of +hymn-tunes and sacred pieces. He was the +founder of the publishing house of Novello and +Ewer, and father of a famous musical family. +Died at Nice, Aug. 9, 1861.</p> + + + +<h4 class="hymn"><span>ST. FRANCIS XAVIER.</span></h4> + +<h4 class="quote">“<i>O Deus, Ego Amo Te</i>.”</h4> + +<p>Francis Xavier, the celebrated Jesuit missionary, +called “The Apostle of the Indies,” was a Spaniard, +born in 1506. While a student in Paris he met +Ignatius Loyola, and joined him in the formation +of the new “Society for the Propagation of the +Faith.” He was sent out on a mission to the East +Indies and Japan, and gave himself to the work +with a martyr's devotion. The stations he established +in Japan were maintained more than a +hundred years. He died in China, Dec. 1552.</p> + +<p>His hymn, some time out of use, is being revived +in later singing-books as expressive of the purest +and highest Christian sentiment:</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1">O Deus, ego amo Te.</div> +<div class="i1">Nec amo Te, ut salves me,</div> +<div class="i1">Aut quia non amantes Te</div> +<div class="i1">Æterno punis igne.</div> +</div> +<a id="png:103" name="png:103"></a><samp class="pgmark" + ><span class="png">103 /</span> 75</samp> +<div class="stanza"> +<div>My God, I love Thee—not because</div> +<div class="i1"> I hope for heaven thereby;</div> +<div>Nor yet because who love Thee not</div> +<div class="i1"> Must burn eternally.</div> +</div></div> + +<p>After recounting Christ's vicarious sufferings +as the chief claim to His disciples' unselfish love, +the hymn continues,—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> Cur igitur non amem Te,</div> +<div class="i1"> O Jesu amantissime!</div> +<div class="i1"> Non, ut in cœlo salves me,</div> +<div class="i1"> Aut in æternum damnes me.</div> +</div><div class="stanza"> +<div>Then why, O blessed Jesus Christ,</div> +<div class="i1"> Should I not love Thee well?</div> +<div>Not for the sake of winning heaven,</div> +<div class="i1"> Nor of escaping hell;</div> +</div><div class="stanza"> +<div>Not with the hope of gaining aught,</div> +<div class="i1"> Nor seeking a reward,</div> +<div>But as Thyself hast lovéd me,</div> +<div class="i1"> Oh, ever-loving Lord!</div> +</div><div class="stanza"> +<div>E'en so I love Thee, and will love,</div> +<div class="i1"> And in Thy praise will sing;</div> +<div>Solely because Thou art my God</div> +<div class="i1"> And my eternal King.</div> +</div></div> + +<p>The translation is by Rev. Edward Caswall, +1814–1878, a priest in the Church of Rome. +Besides his translations, he published the <i>Lyra +Catholica</i>, the <i>Masque of Mary</i>, and several other +poetical works. (<a href="#png:131">Page 101</a>.)</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“St. Bernard”—apparently so named because +originally composed to Caswall's translation of +<a id="png:104" name="png:104"></a><samp class="pgmark" + ><span class="png">104 /</span> 76</samp> +one of Bernard of Clairvaux's hymns—is by +John Richardson, born in Preston, Eng., Dec. +4, 1817, and died there April 13, 1879. He was +an organist in Liverpool, and noted as a composer +of glees, but was the author of several sacred +tunes.</p> + + + +<h4 class="hymn"><span>SIR WALTER RALEIGH.</span></h4> + +<h4 class="quote">“Give Me My Scallop-Shell of Quiet.”</h4> + +<p>Few of the hymns of the Elizabethan era survive, +though the Ambrosian Midnight Hymn, “Hark, +'tis the Midnight Cry,” and the hymns of St. Bernard +and Bernard of Cluny, are still tones in the +church, and the religious poetry of Sir Walter +Raleigh comes down to us associated with the +history of his brilliant, though tragic career. The +following poem has some fine lines in the quaint +English style of the period, and was composed by +Sir Walter during his first imprisonment:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Give me my scallop-shell of quiet,</div> +<div class="i1"> My staff of faith to walk upon,</div> +<div>My scrip of joy—immortal diet—</div> +<div class="i1"> My bottle of salvation,</div> +<div>My gown of glory, hope's true gage—</div> +<div>And thus I take my pilgrimage.</div> +</div><div class="stanza"> +<div>Blood must be my body's balmer,</div> +<div>While my soul, like faithful palmer,</div> +<div>Travelleth toward the land of heaven;</div> +<div>Other balm will not be given.</div> +</div><div class="stanza"> +<div>Over the silver mountains</div> +<div>Where spring the nectar fountains,</div> +<a id="png:105" name="png:105"></a><samp class="pgmark" + ><span class="png">105 /</span> 77</samp> +<div>There will I kiss the bowl of bliss,</div> +<div>And drink my everlasting fill,</div> +<div>Upon every milken hill;</div> +<div>My soul will be a-dry before,</div> +<div>But after that will thirst no more.</div> +</div></div> + +<p>The musings of the unfortunate but high-souled +nobleman in expectation of ignominious +death are interesting and pathetic, but they have +no claim to a tune, even if they were less rugged +and unmetrical. But the poem stands notable +among the pious witnesses.</p> + + + +<h4 class="hymn"><span>MARY QUEEN OF SCOTS.</span></h4> + +<h4 class="quote">“<i>O Domine Deus, Speravi in Te</i>.”</h4> + +<p>This last passionate prayer of the unhappy +Mary Stuart just before her execution—in a +language which perhaps flowed from her pen more +easily than even her English or French—is another +witness of supplicating faith that struggles out of +darkness with a song. In her extremity the devoted +Catholic forgets her petitions to the Virgin, +and comes to Christ:</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> O Domine Deus, Speravi in Te;</div> +<div class="i1"> O care mi Jesu, nunc libera me!</div> +<div>In dura catena, in misera poena</div> +<div class="i2"> Desidero Te!</div> +<div>Languendo, gemendo, et genuflectendo</div> +<div>Adoro, imploro ut liberes me!</div> +</div><div class="stanza"> +<div>My Lord and my God! I have trusted in Thee;</div> +<div>O Jesus, my Saviour belov'd, set me free:</div> +<div>In rigorous chains, in piteous pains,</div> +<a id="png:106" name="png:106"></a><samp class="pgmark" + ><span class="png">106 /</span> 78</samp> +<div class="i2"> I am longing for Thee!</div> +<div>In weakness appealing, in agony kneeling,</div> +<div>I pray, I beseech Thee, O Lord, set me free!</div> +</div></div> + +<p>One would, at first thought, judge this simple +but eloquent cry worthy of an appropriate tone-expression—to +be sung by prison evangelists like +the Volunteers of America, to convicts in the jails +and penitentiaries. But its special errand and +burden are voiced so literally that hardened +hearers would probably misapply it—however +sincerely the petitioner herself meant to invoke +spiritual rather than temporal deliverance. The +hymn, if we may call it so, is <em>too</em> literal. Possibly +at some time or other it may have been set to +music but not for ordinary choir service.</p> + + + +<h4 class="hymn"><span>SAMUEL RUTHERFORD.</span></h4> + +<div class="hymn"> +<div class="stanza"> +<div>The sands of time are sinking,</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>But, glory, glory dwelleth</div> +<div>In Immanuel's Land.</div> +</div></div> + +<p>This hymn is biographical, but not autobiographical. +Like the discourses in Herodotus and +Plutarch, it is the voice of the dead speaking +through the sympathetic genius of the living after +long generations. The strong, stern Calvinist of +1636 in Aberdeen was not a poet, but he bequeathed +his spirit and life to the verse of a poet of +1845 in Melrose. Anne Ross Cousin read his two +hundred and twenty letters written during a two +<a id="png:107" name="png:107"></a><samp class="pgmark" + ><span class="png">107 /</span> 79</samp> +years' captivity for his fidelity to the purer faith, +and studied his whole history and experience till +her soul took his soul's place and felt what he felt. +Her poem of nineteen stanzas (152 lines) is the +voice of Rutherford the Covenanter, with the +prolixity of his manner and age sweetened by his +triumphant piety, and that is why it belongs with +the <i>Hymns of Great Witnesses</i>. The three or +four stanzas still occasionally printed and sung +are only recalled to memory by the above three +lines.</p> + +<p>Samuel Rutherford was born in Nisbet Parish, +Scotland, in 1600. His settled ministry was at +Anworth, in Galloway—1630–1651—with a break +between 1636 and 1638, when Charles I. angered +by his anti-prelatical writings, silenced and banished +him. Shut up in Aberdeen, but allowed, like +Paul in Rome, to live “in his own hired house” and +write letters, he poured out his heart's love in Epistles +to his Anworth flock and to the Non-conformists +of Scotland. When his countrymen rose against +the attempted imposition of a new holy Romish +service-book on their churches, he escaped to his +people, and soon after appeared in Edinburgh and +signed the covenant with the assembled ministers. +Thirteen years later, after Cromwell's death and +the accession of Charles II. the wrath of the prelates +fell on him at St. Andrews, where the Presbytery +had made him rector of the college. The +King's decree indicted him for treason, stripped +him of all his offices, and would have forced him to +<a id="png:108" name="png:108"></a><samp class="pgmark" + ><span class="png">108 /</span> 80</samp> +the block had he not been stricken with his last sickness. +When the officers came to take him he said, +“I am summoned before a higher Judge and Judicatory, +and I am behooved to attend them.” He +died soon after, in the year 1661.</p> + +<p>The first, and a few other of the choicest stanzas +of the hymn inspired by his life and death are here +given:</p> + +<div class="hymn"> +<div class="stanza"> +<div>The sands of time are sinking,</div> +<div class="i1"> The dawn of heaven breaks,</div> +<div>The summer morn I've sighed for—</div> +<div class="i1"> The fair, sweet morn—awakes.</div> +<div>Dark, dark hath been the midnight,</div> +<div class="i1"> But dayspring is at hand;</div> +<div>And glory, glory dwelleth</div> +<div class="i1"> In Immanuel's land.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Oh! well it is for ever—</div> +<div class="i1"> Oh! well for evermore:</div> +<div>My nest hung in no forest</div> +<div class="i1"> Of all this death-doomed shore;</div> +<div>Yea, let this vain world vanish,</div> +<div class="i1"> As from the ship the strand,</div> +<div>While glory, glory dwelleth</div> +<div class="i1"> In Immanuel's land.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>The little birds of Anworth—</div> +<div class="i1"> I used to count them blest;</div> +<div>Now beside happier altars</div> +<div class="i1"> I go to build my nest;</div> +<div>O'er these there broods no silence</div> +<div class="i1"> No graves around them stand;</div> +<div>For glory deathless dwelleth</div> +<div class="i1"> In Immanuel's land.</div> +</div> +<a id="png:109" name="png:109"></a><samp class="pgmark" + ><span class="png">109 /</span> 81</samp> +<div class="stanza"> +<div>I have borne scorn and hatred,</div> +<div class="i1"> I have borne wrong and shame,</div> +<div>Earth's proud ones have reproached me</div> +<div class="i1"> For Christ's thrice blesséd name.</div> +<div>Where God's seals set the fairest,</div> +<div class="i1"> They've stamped their foulest brand;</div> +<div>But judgment shines like noonday</div> +<div class="i1"> In Immanuel's land.</div> +</div><div class="stanza"> +<div>They've summoned me before them,</div> +<div class="i1"> But there I may not come;</div> +<div>My Lord says, “Come up hither;”</div> +<div class="i1"> My Lord says, “Welcome home;”</div> +<div>My King at His white throne</div> +<div class="i1"> My presence doth command,</div> +<div>Where glory, glory dwelleth,</div> +<div class="i1"> In Immanuel's land.</div> +</div></div> + +<p>A reminiscence of St. Paul in his second Epistle +to Timothy (chap. 4) comes with the last two +stanzas.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The tender and appropriate choral in B flat, +named “Rutherford” was composed by D'Urhan, +a French musician, probably a hundred years ago. +It was doubtless named by those who long afterwards +fitted it to the words, and knew whose spiritual +proxy the lady stood who indited the hymn. It +is reprinted in Peloubet's <i>Select Songs</i>, and in the +<i>Coronation Hymnal</i>. Naturally in the days of the +hymn's more frequent use people became accustomed +to calling “The sands of time are sinking,” +“Rutherford's Hymn.” Rutherford's own +<a id="png:110" name="png:110"></a><samp class="pgmark" + ><span class="png">110 /</span> 82</samp> +words certainly furnished the memorable refrain +with its immortal glow and gladness. One of his +joyful exclamations as he lay dying of his lingering +disease was, “Glory shineth in Immanuel's Land!”</p> + +<p>Chretien (Christian) Urhan, or D'Urhan, was +born at Montjoie, France, about 1788, and died, in +Paris, 1845. He was a noted violin-player, and composer, +also, of vocal and instrumental music.</p> + +<p>Mrs. Anne Ross (Cundell) Cousin, daughter of +David Ross Cundell, M.D., and widow of Rev. William +Cousin of the Free church of Scotland, was +born in Melrose (?), 1824. She wrote many poems, +most of which are beautiful meditations rather +than lyrics suitable for public song. Her “Rutherford +Hymn” was first published in the <i>Christian +Treasury</i>, 1857.</p> + + + +<h4 class="hymn"><span>GUSTAVUS ADOLPHUS.</span></h4> + +<h4 class="quote">“<i>Verzage Nicht Du Hauflein Klein</i>.”</h4> + +<p>The historian tells us that before the battle of +Lutzen, during the Thirty Years' War (1618–1648), +King Gustavus of Sweden, in the thick fog of an +autumn morning, with the Bohemian and Austrian +armies of Emperor Ferdinand in front of him, knelt +before his troops, and his whole army knelt with +him in prayer. Then ten thousand voices and the +whole concert of regimental bands burst forth in +this brave song:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Fear not, O little flock, the foe</div> +<div>Who madly seeks your overthrow,</div> +<a id="png:111" name="png:111"></a><samp class="pgmark" + ><span class="png">111 /</span> 83</samp> +<div class="i1"> Dread not his rage and power:</div> +<div>What though your courage sometimes faints,</div> +<div>His seeming triumph o'er God's saints</div> +<div class="i1"> Lasts but a little hour.</div> +</div><div class="stanza"> +<div>Be of good cheer, your cause belongs</div> +<div>To Him who can avenge your wrongs;</div> +<div class="i1"> Leave it to Him, our Lord:</div> +<div>Though hidden yet from all our eyes,</div> +<div>He sees the Gideon who shall rise</div> +<div class="i1"> To save us and His word.</div> +</div><div class="stanza"> +<div>As true as God's own word is true,</div> +<div>Nor earth nor hell with all their crew,</div> +<div class="i1"> Against us shall prevail:</div> +<div>A jest and by-word they are grown;</div> +<div>God is with us, we are His own,</div> +<div class="i1"> Our victory cannot fail.</div> +</div><div class="stanza"> +<div>Amen, Lord Jesus, grant our prayer!</div> +<div>Great Captain, now Thine arm make bare,</div> +<div class="i1"> Fight for us once again:</div> +<div>So shall Thy saints and martyrs raise</div> +<div>A mighty chorus to Thy praise,</div> +<div class="i1"> World without end. Amen.</div> +</div></div> + +<p>The army of Gustavus moved forward to victory +as the fog lifted; but at the moment of triumph a +riderless horse came galloping back to the camp. +It was the horse of the martyred King.</p> + +<p>The battle song just quoted—next to Luther's +“Ein feste Burg” the most famous German hymn—has +always since that day been called “Gustavus +Adolphus' Hymn”; and the mingled sorrow and +joy of the event at Lutzen named it also “King +Gustavus' Swan Song.” Gustavus Adolphus did +<a id="png:112" name="png:112"></a><samp class="pgmark" + ><span class="png">112 /</span> 84</samp> +not write hymns. He could sing them, and he could +make them historic—and it was this connection +that identified him with the famous battle song. Its +author was the Rev. Johan Michael Altenburg, a +Lutheran clergyman, who composed apparently +both hymn and tune on receiving news of the +king's victory at Leipsic a year before.</p> + +<p>Gustavus Adolphus was born in 1594. His +death on the battlefield occurred Nov. 5, 1632—when +he was in the prime of his manhood. He was +one of the greatest military commanders in history, +besides being a great ruler and administrator, and +a devout Christian. He was, during the Thirty +Years' War (until his untimely death), the leading +champion of Protestantism in Europe.</p> + +<p>The English translator of the battle song was +Miss Catherine Winkworth, born in London, Sept. +13, 1827. She was an industrious and successful +translator of German hymns, contributing many +results of her work to two English editions of the +<i>Lyra Germania</i>, to the <i>Church Book of England</i>, and +to <i>Christian Singers of Germany</i>. She died in 1878.</p> + +<p>The tune of “Ravendale” by Walter Stokes +(born 1847) is the best modern rendering of the +celebrated hymn.</p> + + + +<h4 class="hymn"><span>PAUL GERHARDT.</span></h4> + +<h4 class="quote">“<i>Befiehl Du Deine Wege.</i>”</h4> + +<p>Paul Gerhardt was one of those minstrels of experience +who are—</p> + +<a id="png:113" name="png:113"></a><samp class="pgmark" + ><span class="png">113 /</span> 85</samp> + +<div class="hymn"> +<div class="stanza"> +<div>“Cradled into poetry by wrong,</div> +<div>And learn in suffering what they teach in song.”</div> +</div></div> + +<p class="runon">He was a graduate of that school when he wrote +his “Hymn of Trust:”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Commit thou all thy griefs</div> +<div class="i1"> And ways into His hands;</div> +<div>To His sure trust and tender care</div> +<div class="i1"> Who earth and heaven commands.</div> +</div><div class="stanza"> +<div>Thou on the Lord rely,</div> +<div class="i1"> So, safe, shalt thou go on;</div> +<div>Fix on His work thy steadfast eye,</div> +<div class="i1"> So shall thy work be done.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Give to the winds thy fears;</div> +<div class="i1"> Hope, and be undismayed;</div> +<div>God hears thy sighs and counts thy tears,</div> +<div class="i1"> He shall lift up thy head.</div> +</div><div class="stanza"> +<div>Through waves and clouds and storms</div> +<div class="i1"> He gently clears thy way;</div> +<div>Wait thou His time, so shall this night</div> +<div class="i1"> Soon end in joyous day.</div> +</div></div> + +<p>Gerhardt was born at Grafenheinchen, Saxony, +1606. Through the first and best years of manhood's +strength (during the Thirty <ins class="transcriber" + title="Transcriber's note: original reads Year's">Years'</ins> War), +a wandering preacher tossed from place to place, +he was without a parish and without a home.</p> + +<p>After the peace of Westphalia he settled in the +little village of Mittenwalde. He was then forty-four +years old. Four years later he married and removed +to a Berlin church. During his residence +there he buried his wife, and four of his children, +<a id="png:114" name="png:114"></a><samp class="pgmark" + ><span class="png">114 /</span> 86</samp> +was deposed from the ministry because his Lutheran +doctrines offended the Elector Frederick, and +finally retired as a simple arch-deacon to a small +parish in Lubben, where he preached, toiled, and +suffered amid a rough and uncongenial people till +he died, Jan. 16, 1676.</p> + +<p>Few men have ever lived whose case more needed +a “Hymn of Trust”—and fewer still could have +written it themselves. Through all those trial +years he was pouring forth his soul in devout +verses, making in all no less than a hundred and +twenty-five hymns—every one of them a comfort +to others as well as to himself.</p> + +<p>He became a favorite, and for a time <em>the</em> favorite, +hymn-writer of all the German-speaking +people. Among these tones of calm faith and joy +we recognize today (in the English tongue),—</p> + +<p class="quote"><span> +Since Jesus is my Friend, +<br /> +Thee, O Immanuel, we praise, +<br /> +All my heart this night rejoices, +<br /> +How shall I meet Thee, +</span></p> +<p class="runon">—and the English translation of his +“O Haupt voll +Blut und Wunden,” turned into German by himself +from St. Bernard Clairvaux's “Salve caput +cruentatum,” and made dear to us in Rev. James +Alexander's beautiful lines—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O sacred head now wounded,</div> +<div class="i1"> With grief and shame weighed down,</div> +<div>Now scornfully surrounded</div> +<div class="i1"> With thorns, Thine only crown.</div> +</div></div> + +<a id="png:115" name="png:115"></a><samp class="pgmark" + ><span class="png">115 /</span> 87</samp> + + + +<h4 class="tune">THE TUNE.</h4> + +<p>A plain-song by Alexander Reinagle is used by +some congregations, but is not remarkably expressive. +Reinagle, Alexander Robert, (1799–1877) +of Kidlington, Eng., was organist to the +church of St. Peter-in-the-East, Oxford.</p> + +<p>The great “Hymn of Trust” could have found +no more sympathetic interpreter than the musician +of Gerhardt's own land and language, Schumann, +the gentle genius of Zwickau. It bears the name +“Schumann,” appropriately enough, and its elocution +makes a volume of each quatrain, notably +the one—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Who points the clouds their course,</div> +<div class="i1"> Whom wind and seas obey;</div> +<div>He shall direct thy wandering feet,</div> +<div class="i1"> He shall prepare thy way.</div> +</div></div> + +<p>Robert Schumann, Ph.D., was born in Zwickau, +Saxony, June 8, 1810. He was a music director +and conservatory teacher, and the master-mind of +the pre-Wagnerian period. His compositions became +popular, having a character of their own, +combining the intellectual and beautiful in art. +He published in Leipsic a journal promotive of his +school of music, and founded a choral society in +Dresden. Happy in the coöperation of his wife, herself +a skilled musician, he extended his work to Vienna +and the Netherlands; but his zeal wore him out, +and he died at the age of forty-six, universally +lamented as “the eminent man who had done so +much for the happiness of others.”</p> + +<a id="png:116" name="png:116"></a><samp class="pgmark" + ><span class="png">116 /</span> 88</samp> +<p>Gerhardt's Hymn (ten quatrains) is rarely +printed entire, and where six are printed only four +are usually sung. Different collections choose portions +according to the compiler's taste, the stanza +beginning—</p> + +<p class="quote"> +Give to the winds thy fears, +</p> + +<p class="runon">—being with some a favorite first verse.</p> + +<p>The translation of the hymn from the German is +John Wesley's.</p> + +<p>Purely legendary is the beautiful story of the +composition of the hymn, “Commit thou all thy +griefs”; how, after his exile from Berlin, traveling +on foot with his weeping wife, Gerhardt stopped +at a wayside inn and wrote the lines while he rested; +and how a messenger from Duke Christian found +him there, and offered him a home in Meresburg. +But the most ordinary imagination can fill in the +possible incidents in a life of vicissitudes such as +Gerhardt's was.</p> + + + +<h4 class="hymn"><span>LADY HUNTINGDON.</span></h4> + +<h4 class="quote">“When Thou My Righteous Judge Shalt Come.”</h4> + +<p>Selina Shirley, Countess of Huntingdon, born +1707, died 1791, is familiarly known as the titled +friend and patroness of Whitefield and his fellow-preachers. +She early consecrated herself to God, +and in the great spiritual awakening under Whitefield +and the Wesleys she was a punctual and +sympathetic helper. Uniting with the Calvinistic +Methodists, she nevertheless stood aloof from none +<a id="png:117" name="png:117"></a><samp class="pgmark" + ><span class="png">117 /</span> 89</samp> +who preached a personal Christ, and whose watchwords +were the salvation of souls and the purification +of the Church. For more than fifty years +she devoted her wealth to benevolence and spiritual +ministries, and died at the age of eighty-four. “I +have done my work,” was her last testimony. +“I have nothing to do but to go to my Father.”</p> + +<a id="png:123" name="png:123"></a><samp class="pgmark" + ><span class="png">123 /</span> opp 94</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Selina Huntingdon"> + <tr valign="bottom"> + <td><a id="Illus6" name="Illus6" + ><img src="images/illus06-ladyhuntingdon-cameo.jpg" alt= + "Lady Huntingdon" width="217" height="256" /></a></td> + <td><table summary="Caption"> + <tr><td>S. Huntingdon</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<p>At various times Lady Huntingdon expressed +her religious experience in verse, and the manful +vigor of her school of faith recalls the unbending +confidence of Job, for she was not a stranger to +affliction.</p> + +<div class="hymn"> +<div class="stanza"> +<div>God's furnace doth in Zion stand,</div> +<div class="i1"> But Zion's God sits by,</div> +<div>As the refiner views his gold,</div> +<div class="i1"> With an observant eye.</div> +</div><div class="stanza"> +<div>His thoughts are high, His love is wise,</div> +<div class="i1"> His wounds a cure intend;</div> +<div>And, though He does not always smile,</div> +<div class="i1"> He loves unto the end.</div> +</div></div> + +<p>Her great hymn, that keeps her memory green, +has the old-fashioned flavor. “Massa made God +BIG!” was the comment on Dr. Bellany made by +his old negro servant after that noted minister's +death. In Puritan piety the sternest self-depreciation +qualified every thought of the creature, while +every allusion to the Creator was a magnificat. +Lady Huntingdon's hymn has no flattering phrases +for the human subject. “Worthless worm,” and +“vilest of them all” indicate the true Pauline or +Oriental prostration of self before a superior +<a id="png:118" name="png:118"></a><samp class="pgmark" + ><span class="png">118 /</span> 90</samp> +being; but there is grandeur in the metre, the +awful reverence, and the scene of judgment in +the stanzas—always remembering the mighty +choral that has so long given the lyric its voice in +the church, and is ancillary to its fame:</p> + +<div class="hymn"> +<div class="stanza"> +<div>When Thou, my righteous Judge, shalt come</div> +<div>To take Thy ransomed people home,</div> +<div class="i1"> Shall I among them stand?</div> +<div>Shall such a worthless worm as I,</div> +<div>Who sometimes am afraid to die,</div> +<div class="i1"> Be found at Thy right hand?</div> +</div><div class="stanza"> +<div>I love to meet Thy people now,</div> +<div>Before Thy feet with them to bow,</div> +<div class="i1"> Though vilest of them all;</div> +<div>But can I bear the piercing thought,</div> +<div>What if my name should be left out,</div> +<div class="i1"> When Thou for them shalt call?</div> +</div><div class="stanza"> +<div>O Lord, prevent it by Thy grace:</div> +<div>Be Thou my only hiding place,</div> +<div class="i1"> In this th' accepted day;</div> +<div>Thy pardoning voice, oh let me hear,</div> +<div>To still my unbelieving fear,</div> +<div class="i1"> Nor let me fall, I pray.</div> +</div><div class="stanza"> +<div>Among Thy saints let me be found,</div> +<div>Whene'er the archangel's trump shall sound,</div> +<div class="i1"> To see Thy smiling face;</div> +<div>Then loudest of the throng I'll sing,</div> +<div>While heaven's resounding arches ring</div> +<div class="i1"> With shouts of sovereign grace.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The tune of “Meribah,” in which this hymn has +been sung for the last sixty or more years, is one of +<a id="png:119" name="png:119"></a><samp class="pgmark" + ><span class="png">119 /</span> 91</samp> +Dr. Lowell Mason's masterpieces. An earlier +German harmony attributed to Heinrich Isaac +and named “Innsbruck” has in some few cases +claimed association with the words, though composed +two hundred years before Lady Huntingdon +was born. It is strong and solemn, but its cold +psalm-tune movement does not utter the deep +emotion of the author's lines. “Meribah” was +inspired by the hymn itself, and there is nothing +invidious in saying it illustrates the fact, memorable +in all hymnology, of the natural obligation of +a hymn to its tune.</p> + +<p>Apropos of both, it is related that Mason was +once presiding at choir service in a certain church +where the minister gave out “When thou my +righteous Judge shalt come” and by mistake +directed the singers to “omit the second stanza.” +Mason sat at the organ, and while playing the last +strain, “Be found at thy right hand,” glanced +ahead in the hymnbook and turned with a start +just in time to command, “Sing the <em>next</em> verse!” +The choir did so, and “O Lord, prevent it by Thy +grace!” was saved from being a horrible prayer +to be kept out of heaven.</p> + + + +<h4 class="hymn"><span>ZINZENDORF.</span></h4> + +<h4 class="quote">“Jesus, Thy Blood and Righteousness.”</h4> + +<p>Nicolaus Ludwig, Count Von Zinzendorf, was +born at Dresden, May 26, 1700, and educated at +Halle and Wittenberg. From his youth he evinced +<a id="png:120" name="png:120"></a><samp class="pgmark" + ><span class="png">120 /</span> 92</samp> +marked seriousness of mind, and deep religious +sensibilities, and this character appeared in his +sympathy with the persecuted Moravians, to whom +he gave domicile and domain on his large estate. +For eleven years he was Councillor to the Elector +of Saxony, but subsequently, uniting with the +Brethren's Church, he founded the settlement +of Herrnhut, the first home and refuge of the +reorganized sect, and became a Moravian minister +and bishop.</p> + +<p>Zinzendorf was a man of high culture, as well +as profound and sincere piety and in his hymns +(of which he wrote more than two thousand) he +preached Christ as eloquently as with his voice. +The real birth-moment of his religious life is said +to have been simultaneous with his study of the +“Ecce Homo” in the Dusseldorf Gallery, a wonderful +painting of Jesus crowned with thorns. +Visiting the gallery one day when a young man, he +gazed on the sacred face and read the legend +superscribed, “All this I have done for thee; +What doest thou for me?” Ever afterwards his +motto was “I have but one passion, and that is +He, and only He”—a version of Paul's “For me +to live is Christ.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, Thy blood and righteousness</div> +<div>My beauty are, my glorious dress:</div> +<div>'Midst flaming worlds, in these arrayed,</div> +<div>With joy shall I lift up my head<ins class="transcriber" + title="Transcriber's note: original has comma">.</ins></div> +</div><div class="stanza"> +<div>Bold shall I stand in Thy great day,</div> +<div>For who aught to my charge shall lay?</div> +<a id="png:121" name="png:121"></a><samp class="pgmark" + ><span class="png">121 /</span> 93</samp> +<div>Fully absolved through these I am—</div> +<div>From sin and fear, from guilt and shame.</div> +</div><div class="stanza"> +<div>Lord, I believe were sinners more</div> +<div>Than sands upon the ocean shore,</div> +<div>Thou hast for all a ransom paid,</div> +<div>For all a full atonement made.</div> +</div></div> + +<p>Nearly all the hymns of the great Moravian are +now out of general use, having accomplished their +mission, like the forgotten ones of Gerhardt, and +been superseded by others. More sung in Europe, +probably, now than any of the survivors is, “Jesus, +geh voran,” (“Jesus, lead on,”) which has been +translated into English by Jane Borthwick<sup>*</sup> +(1854). Two others, both translated by John +Wesley, are with us, the one above quoted, and +“Glory to God, whose witness train.” “Jesus, +Thy blood,” which is the best known, frequently appears +with the alteration—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, Thy <em>robe</em> of righteousness</div> +<div>My beauty <em>is</em>, my glorious dress.</div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +Born in Edinburgh 1813.</p></div> + +<h4 class="tune">THE TUNE.</h4> + +<p>“Malvern,” and “Uxbridge” a pure Gregorian, +both by Lowell Mason, are common expressions +of the hymn—the latter, perhaps, generally preferred, +being less plaintive and speaking with a +surer and more restful emphasis.</p> + + +<a id="png:122" name="png:122"></a><samp class="pgmark" + ><span class="png">122 /</span> 94</samp> + + +<h4 class="hymn"><span>ROBERT SEAGRAVE.</span></h4> + +<h4 class="quote">“Rise, My Soul, and Stretch Thy Wings.”</h4> + + +<p>This hymn was written early in the 18th century, +by the Rev. Robert Seagrave, born at Twyford, +Leicestershire, Eng., Nov. 22, 1693. Educated +at Cambridge, he took holy orders in the Established +Church, but espoused the cause of the great +evangelistic movement, and became a hearty co-worker +with the Wesleys. Judging by the lyric +fire he could evidently put into his verses, one +involuntarily asks if he would not have written +more, and been in fact the song-leader of the +spiritual reformation if there had been no Charles +Wesley. There is not a hymn of Wesley's in use +on the same subject equal to the one immortal +hymn of Seagrave, and the only other near its +time that approaches it in vigor and appealing +power is Doddridge's “Awake my soul, stretch +every nerve.”</p> + +<p>But Providence gave Wesley the harp and appointed +to the elder poet a branch of possibly +equal usefulness, where he was kept too busy to +enter the singers' ranks.</p> + +<p title="Illustration of Lady Huntingdon originally opposite">For eleven +years he was the Sunday-evening +lecturer at Lorimer's Hall, London, and often +preached in Whitefield's Tabernacle. His hymn +is one of the most soul-stirring in the English +language:</p> + +<div class="hymn"><div class="stanza"> +<div>Rise, my soul, and stretch thy wings;</div> +<div class="i1"> Thy better portion trace;</div> +<a id="png:125" name="png:125"></a><samp class="pgmark" + ><span class="png">125 /</span> 95</samp> +<div>Rise from transitory things</div> +<div class="i1"> Toward Heaven, thy native place;</div> +<div>Sun and moon and stars decay,</div> +<div class="i1"> Time shall soon this earth remove;</div> +<div>Rise, my soul and haste away</div> +<div class="i1"> To seats prepared above.</div> +</div><div class="stanza"> +<div>Rivers to the ocean run,</div> +<div class="i1"> Nor stay in all their course;</div> +<div>Fire ascending seeks the sun;</div> +<div class="i1"> Both speed them to their source:</div> +<div>So a soul that's born of God</div> +<div class="i1"> Pants to view His glorious face,</div> +<div>Upward tends to His abode</div> +<div class="i1"> To rest in His embrace.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Cease, ye pilgrims, cease to mourn,</div> +<div class="i1"> Press onward to the prize;</div> +<div>Soon your Saviour will return</div> +<div class="i1"> Triumphant in the skies.</div> +<div>Yet a season, and you know</div> +<div class="i1"> Happy entrance will be given;</div> +<div>All our sorrows left below,</div> +<div class="i1"> And earth exchanged for heaven.</div> +</div></div> + +<p>This hymn must have found its predestinated +organ when it found—</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Amsterdam,” the work of James Nares, had +its birth and baptism soon after the work of +Seagrave; and they have been breath and bugle +to the church of God ever since they became one +song. In <i>The Great Musicians</i>, edited by Francis +Huffer, is found this account of James Nares:</p> + +<a id="png:126" name="png:126"></a><samp class="pgmark" + ><span class="png">126 /</span> 96</samp> + +<p>“He was born at Hanwell, Middlesex, in 1715; +was admitted chorister at the Chapel Royal, under +Bernard Gates, and when he was able to play the +organ was appointed deputy for Pigott, of St. +George's Chapel, Windsor, and became organist +at York Minster in 1734. He succeeded Greene +as organist and composer to the Chapel Royal in +1756, and in the same year was made Doctor of +Music at Cambridge. He was appointed master +of the children of the Chapel Royal in 1757, on +the death of Gates. This post he resigned in +1780, and he died in 1783, (February 10,) and +was buried in St. Margaret's Church, Westminster.</p> + +<p>“He had the reputation of being an excellent +trainer of boy's voices, many of his anthems having +been written to exhibit the accomplishments of +his young pupils. The degree of excellence the +boys attained was not won in those days without +the infliction of much corporal punishment.”</p> + +<p>Judging from the high pulse and action in the +music of “Amsterdam,” one would guess the +energy of the man who made boy choirs—and +made good ones. In the old time the rule was, +“Birds that can sing and won't sing, must be made +to sing"; and the rule was sometimes enforced +with the master's time-stick.</p> + +<p>A tune entitled “Excelsius,” written a hundred +years later by John Henry Cornell, so nearly +resembles “Amsterdam” as to suggest an intention +to amend it. It changes the modal note from G +<a id="png:127" name="png:127"></a><samp class="pgmark" + ><span class="png">127 /</span> 97</samp> +to A, but while it marches at the same pace it +lacks the jubilant modulations and the choral +glory of the 18th-century piece.</p> + + + + +<h4 class="hymn"><span>SIR JOHN BOWRING.</span></h4> + +<h4 class="quote">“In the Cross of Christ I Glory.”</h4> + +<p>In this hymn we see, sitting humbly at the feet +of the great author of our religion, a man who impressed +himself perhaps more than any other save +Napoleon Bonaparte upon his own generation, +and who was the wonder of Europe for his immense +attainments and the versatility of his powers. +Statesman, philanthropist, biographer, publicist, +linguist, historian, financier, naturalist, poet, +political economist—there is hardly a branch of +knowledge or a field of research from which he +did not enrich himself and others, or a human +condition that he did not study and influence.</p> + +<p>Sir John Bowring was born in 1792. When a +youth he was Jeremy Bentham's political pupil, +but gained his first fame by his vast knowledge of +European literature, becoming acquainted with +no less than thirteen<sup>*</sup> continental languages and +dialects. He served in consular appointments at +seven different capitals, carried important reform +measures in Parliament, was Minister Plenipotentiary +to China and Governor of Hong Kong, and +concluded a commercial treaty with Siam, where +every previous commissioner had failed. But in +<a id="png:128" name="png:128"></a><samp class="pgmark" + ><span class="png">128 /</span> 98</samp> +all his crowded years the pen of this tireless and +successful man was busy. Besides his political, +economic and religious essays, which made him +a member of nearly every learned society in +Europe, his translations were countless, and +poems and hymns of his own composing found +their way to the public, among them the tender +spiritual song,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>How sweetly flowed the Gospel sound</div> +<div class="i1"> From lips of gentleness and grace</div> +<div>When listening thousands gathered round,</div> +<div class="i1"> And joy and gladness filled the place,</div> +</div></div> + +<p class="runon">—and the more famous hymn indicated at the head +of this sketch. Knowledge of all religions only +qualified him to worship the Crucified with both +faith and reason. Though nominally a Unitarian, +to him, as to Channing and Martineau and Edmund +Sears, Christ was “all we know of God.”</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Exaggerated in some accounts to <em>forty</em>.</p></div> + +<p>Bowring died Nov. 23, 1872. But his hymn +to the Cross will never die:</p> + +<div class="hymn"><div class="stanza"> +<div>In the cross of Christ I glory,</div> +<div class="i1"> Towering o'er the wrecks of time;</div> +<div>All the light of sacred story</div> +<div class="i1"> Gathers round its head sublime.</div> +</div><div class="stanza"> +<div>When the woes of life o'ertake me</div> +<div class="i1"> Hopes deceive, and fears annoy,</div> +<div>Never shall the cross forsake me;</div> +<div class="i1"> Lo! it glows with peace and joy.</div> +</div><div class="stanza"> +<div>When the sun of bliss is beaming</div> +<div class="i1"> Light and love upon my way,</div> +<div>From the cross the radiance streaming</div> +<div class="i1"> Adds new lustre to the day.</div> +</div> +<a id="png:129" name="png:129"></a><samp class="pgmark" + ><span class="png">129 /</span> 99</samp> +<div class="stanza"> +<div>Bane and blessing, pain and pleasure</div> +<div class="i1"> By the cross are sanctified,</div> +<div>Peace is there that knows no measure,</div> +<div class="i1"> Joys that through all time abide.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Ithamar Conkey's “Rathbun” fits the adoring +words as if they had waited for it. Its air, swelling +through diatonic fourth and third to the supreme +syllable, bears on its waves the homage of the lines +from bar to bar till the four voices come home to +rest full and satisfied in the final chord—</p> + +<p class="quote"> +Gathers round its head sublime. +</p> + +<p>Ithamar Conkey, was born of Scotch ancestry, +in Shutesbury, Mass., May 5th, 1815. He was a +noted bass singer, and was for a long time connected +with the choir of the Calvary church, New +York City, and sang the oratorio solos. His tune +of “Rathbun” was composed in 1847, and published +in Greatorex's collection in 1851. He died +in Elizabeth, N.J., April 30, 1867.</p> + +<a id="png:130" name="png:130"></a><samp class="pgmark" + ><span class="png">130 /</span> 100</samp> + + + + +<h2 class="chap">CHAPTER III.</h2> +<hr class="chap" /> + + +<h1>HYMNS OF CHRISTIAN DEVOTION +AND EXPERIENCE.</h1> +<hr class="chap" /> + + +<h4 class="hymn">“<span>JESU DULCIS MEMORIA.</span>”</h4> + +<h4 class="quote">“Jesus the Very Thought of Thee.”</h4> + +<p>The original of this delightful hymn is one of +the devout meditations of Bernard of Clairvaux, +a Cistercian monk (1091–1153). He was born of +a noble family in or near Dijon, Burgundy, and +when only twenty-three years old established a +monastery at Clairvaux, France, over which he +presided as its first abbot. Educated in the +University of Paris, and possessing great natural +abilities, he soon made himself felt in both the +religious and political affairs of Europe. For more +than thirty years he was the personal power that +directed belief, quieted turbulence, and arbitrated +disputes, and kings and even popes sought his +counsel. It was his eloquent preaching that inspired +the second crusade.</p> + +<p>His fine poem of feeling, in fifty Latin stanzas, +has been a source of pious song in several languages:</p> + +<a id="png:131" name="png:131"></a><samp class="pgmark" + ><span class="png">131 /</span> 101</samp> + +<div class="hymn"> +<div class="stanza"> +<div>Jesu, dulcis memoria</div> +<div>Dans vera cordi gaudia,</div> +<div>Sed super mel et omnium</div> +<div>Ejus dulcis presentia.</div> +</div></div> + +<p class="runon">Literally—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus! a sweet memory</div> +<div>Giving true joys to the heart,</div> +<div>But sweet above honey and all things</div> +<div>His <em>presence</em> [is].</div> +</div></div> + +<p>The five stanzas (of Caswall's free translation) +now in use are familiar and dear to all English-speaking +believers:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, the very thought of Thee</div> +<div class="i1"> With sweetness fills my breast,</div> +<div>But sweeter far Thy face to see,</div> +<div class="i1"> And in Thy presence rest.</div> +</div><div class="stanza"> +<div>Nor voice can sing nor heart can frame</div> +<div class="i1"> Nor can the memory find,</div> +<div>A sweeter sound than Thy blest name,</div> +<div class="i1"> O Saviour of mankind.</div> +</div></div> + +<p>The Rev. Edward Caswall was born in Hampshire, +Eng., July 15, 1814, the son of a clergyman. +He graduated with honors at Brazenose College, +Oxford, and after ten years of service in the ministry +of the Church of England joined Henry Newman's +Oratory at Birmingham, was confirmed in the +Church of Rome, and devoted the rest of his life to +works of piety and charity. He died Jan. 2, 1878.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>No single melody has attached itself to this +hymn, the scope of selection being as large as the +<a id="png:132" name="png:132"></a><samp class="pgmark" + ><span class="png">132 /</span> 102</samp> +supply of appropriate common-metre tunes. Barnby's +“Holy Trinity,” Wade's “Holy Cross” and +Griggs' tune (of his own name) are all good, but +many, on the giving out of the hymn, would associate +it at once with the more familiar “Heber” +by George Kingsley and expect to hear it sung. +It has the uplift and unction of John Newton's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>How sweet the name of Jesus sounds</div> +<div class="i1"> In the believer's ear.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>GOD CALLING YET! SHALL I NOT HEAR?</span>”</h4> + + +<p>Gerhard Tersteegen, the original author of the +hymn, and one of the most eminent religious poets +of the Reformed German church in its early days, +was born in 1697, in the town of Mors, in Westphalia. +He was left an orphan in boyhood by the +death of his father, and as his mother's means were +limited, he was put to work as an apprentice when +very young, at Muhlheim on the <ins class="transcriber" + title="Transcriber's note: original reads 'Rhur'">Ruhr</ins>, and became +a ribbon weaver. Here, when about fifteen +years of age, he became deeply concerned for his +soul, and experienced a deep and abiding spiritual +work. As a Christian, his religion partook of the +ascetic type, but his mysticism did not make him +useless to his fellow-men.</p> + +<p>At the age of twenty-seven, he dedicated all his +resources and energies to the cause of Christ, +writing the dedication in his own blood. “God +graciously called me,” he says, “out of the world, +and granted me the desire to belong to Him, and +<a id="png:133" name="png:133"></a><samp class="pgmark" + ><span class="png">133 /</span> 103</samp> +to be willing to follow Him.” He gave up secular +employments altogether, and devoted his whole +time to religious instruction and to the poor. His +house became famous as the “Pilgrims' Cottage,” +and was visited by people high and humble from +all parts of Germany. In his lifetime he is said +to have written one hundred and eleven hymns. +Died April 3, 1769.</p> + +<div class="hymn"> +<div class="stanza"> +<div>God calling yet! shall I not hear?</div> +<div>Earth's pleasures shall I still hold dear?</div> +<div>Shall life's swift-passing years all fly,</div> +<div>And still my soul in slumber lie?</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>God calling yet! I cannot stay;</div> +<div>My heart I yield without delay.</div> +<div>Vain world, farewell; from thee I part;</div> +<div>The voice of God hath reached my heart.</div> +</div></div> + +<p>The hymn was translated from the German by +Miss Jane Borthwick, born in Edinburgh, 1813. +She and her younger sister, Mrs. Findlater, jointly +translated and published, in 1854, <i>Hymns From +the Land of Luther</i>, and contributed many poetical +pieces to the <i>Family Treasury</i>. She died in 1897.</p> + +<p>Another translation, imitating the German metre, +is more euphonious, though less literal and less +easily fitted to music not specially composed for it, +on account of its “feminine” rhymes:</p> + +<div class="hymn"> +<div class="stanza"> +<div>God calling yet! and shall I never hearken?</div> +<div>But still earth's witcheries my spirit darken;</div> +<div>This passing life, these passing joys all flying,</div> +<div>And still my soul in dreamy slumbers lying?</div> +</div></div> + +<a id="png:134" name="png:134"></a><samp class="pgmark" + ><span class="png">134 /</span> 104</samp> + + + +<h4 class="tune">THE TUNE.</h4> + +<p>Dr. Dykes' “Rivaulx” is a sober choral that +articulates the hymn-writer's sentiment with sincerity +and with considerable earnestness, but +breathes too faintly the interrogative and expostulary +tone of the lines. To voice the devout +solicitude and self-remonstrance of the hymn there +is no tune superior to “Federal St.”</p> + +<p>The Hon. Henry Kemble Oliver, author of “Federal +St.,” was born in Salem, Mass., March, 1800, +and was addicted to music from his childhood. +His father compelled him to relinquish it as a +profession, but it remained his favorite avocation, +and after his graduation from Harvard the cares +of none of the various public positions he held, +from schoolmaster to treasurer of the state of +Massachusetts, could ever wean him from the study +of music and its practice. At the age of thirty-one, +while sitting one day in his study, the last verse of +Anne Steele's hymn—</p> + +<p class="quote"> +So fades the lovely blooming flower, +</p> + +<p class="runon">—floated into his mind, and an unbidden melody +came with it. As he hummed it to himself the +words shaped the air, and the air shaped the +words.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Then gentle patience smiles on pain,</div> +<div>Then dying hope revives again,</div> +</div></div> +<p class="runon">—became—</p> +<div class="hymn"> +<div class="stanza"> +<div>See gentle patience smile on pain;</div> +<div>See dying hope revive again;</div> +</div></div> +<a id="png:135" name="png:135"></a><samp class="pgmark" + ><span class="png">135 /</span> 105</samp> + +<p class="runon">—and with the change of a word and a tense the +hymn created the melody, and soon afterward +the complete tune was made. Two years later it +was published by Lowell Mason, and Oliver gave +it the name of the street in Salem on which his +wife was born, wooed, won, and married. It adds +a pathos to its history that “Federal St.” was sung +at her burial.</p> + +<p>This first of Oliver's tunes was followed by +“Harmony Grove,” “Morning,” +“Walnut Grove,” “Merton,” “Hudson,” +“Bosworth,” “Salisbury +Plain,” several anthems and motets, and a “Te +Deum.”</p> + +<p>In his old age, at the great Peace Jubilee in +Boston, 1872, the baton was put into his hands, +and the gray-haired composer conducted the +chorus of ten thousand voices as they sang the +words and music of his noble harmony. The +incident made “Federal St.” more than ever a +feature of New England history. Oliver died in 1885.</p> + + + + +<h4 class="hymn" +>“<span>MY GOD, HOW ENDLESS IS THY LOVE.</span>”</h4> + + +<p>The spirited tune to this hymn of Watts, by +Frederick Lampe, variously named “Kent” and +“Devonshire,” historically reaches back so near +to the poet's time that it must have been one of the +earliest expressions of his fervent words.</p> + +<p>Johan Friedrich Lampe, born 1693, in Saxony, +was educated in music at Helmstadt, and came to +<a id="png:136" name="png:136"></a><samp class="pgmark" + ><span class="png">136 /</span> 106</samp> +England in 1725 as a band musician and composer +to Covent Garden Theater. His best-known secular +piece is the music written to Henry Carey's +burlesque, “The Dragon of Wantley.”</p> + +<p>Mrs. Rich, wife of the lessee of the theater, was +converted under the preaching of the Methodists, +and after her husband's death her house became +the home of Lampe and his wife, where Charles +Wesley often met him.</p> + +<p>The influence of Wesley won him to more serious +work, and he became one of the evangelist's +helpers, supplying tunes to his singing campaigns. +Wesley became attached to him, and after his +death—in Edinburgh, 1752—commemorated the +musician in a funeral hymn.</p> + +<p>In popular favor Bradbury's tune of “Rolland” +has now superseded the old music sung to Watts' lines—</p> + +<div class="hymn"> +<div class="stanza"> +<div>My God, how endless is Thy love,</div> +<div class="i1"> Thy gifts are every evening new,</div> +<div>And morning mercies from above</div> +<div class="i1"> Gently distil like early dew.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>I yield my powers to Thy command;</div> +<div class="i1"> To Thee I consecrate my days;</div> +<div>Perpetual blessings from Thy hand</div> +<div class="i1"> Demand perpetual songs of praise.</div> +</div></div> + +<p>William Batchelder Bradbury, a pupil of Dr. +Lowell Mason, and the pioneer in publishing +Sunday-school music, was born 1816, in York, Me. +His father, a veteran of the Revolution, was a +<a id="png:137" name="png:137"></a><samp class="pgmark" + ><span class="png">137 /</span> 107</samp> +choir leader, and William's love of music was inherited. +He left his father's farm, and came to +Boston, where he first heard a church-organ. +Encouraged by Mason and others to follow music +as a profession, he went abroad, studied at Leipsic, +and soon after his return became known as a +composer of sacred tunes. He died in Montclair, +N.J., 1868.</p> + + + +<h4 class="hymn" +>“<span>I'M NOT ASHAMED TO OWN MY LORD.</span>”</h4> + + +<p>The favorite tune for this spiritual hymn, also by +Watts, is old “Arlington,” one of the most useful +church melodies in the whole realm of English +psalmody. Its name clings to a Boston street, and +the beautiful chimes of Arlington St. church +(Unitarian) annually ring its music on special +occasions, as it has since the bells were tuned:</p> + +<div class="hymn"> +<div class="stanza"> +<div>I'm not ashamed to own my Lord</div> +<div class="i1"> Or to defend His cause,</div> +<div>Maintain the honor of His Word,</div> +<div class="i1"> The glory of His cross.</div> +</div><div class="stanza"> +<div>Jesus, my God!—I know His Name;</div> +<div class="i1"> His Name is all my trust,</div> +<div>Nor will He put my soul to shame</div> +<div class="i1"> Nor let my hope be lost.</div> +</div></div> + +<p>Dr. Thomas Augustine Arne, the creator of +“Arlington,” was born in London, 1710, the son +of a King St. upholsterer. He studied at Eton, and +though intended for the legal profession, gave his +whole mind to music. At twenty-three he began +<a id="png:138" name="png:138"></a><samp class="pgmark" + ><span class="png">138 /</span> 108</samp> +writing operas for his sister, Susanna (a singer +who afterwards became the famous tragic actress, +Mrs. Cibber).</p> + +<p>Arne's music to Milton's “Comus,” and to +“Rule Brittannia” established his reputation. He +was engaged as composer to Drury Lane Theater, +and in 1759 received from Oxford his degree of +Music Doctor. Later in life he turned his attention +to oratorios, and other forms of sacred music, and +was the first to introduce female voices in choir +singing. He died March 5, 1778, chanting hallelujahs, +it is said, with his last breath.</p> + + + + +<h4 class="hymn">“<span>IS THIS THE KIND RETURN?</span>”</h4> + + +<p>Dr. Watts in this hymn gave experimental piety +its hour and language of reflection and penitence:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Is this the kind return?</div> +<div class="i1"> Are these the thanks we owe,</div> +<div>Thus to abuse Eternal Love</div> +<div class="i1"> Whence all our blessings flow?</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Let past ingratitude</div> +<div class="i1"> Provoke our weeping eyes.</div> +</div></div> + +<p>United in loving wedlock with these words in +former years was “Golden Hill,” a chime of sweet +counterpoint too rare to bury its authorship under +the vague phrase “A Western Melody.” It was +caught evidently from a forest bird<sup>*</sup> that flutes its +clear solo in the sunsets of May and June. There +<a id="png:139" name="png:139"></a><samp class="pgmark" + ><span class="png">139 /</span> 109</samp> +can be no mistaking the imitation—the same compass, +the same upward thrill, the same fall and +warbled turn. Old-time folk used to call for +it, “Sing, my Fairweather Bird.” It lingers in a +few of the twenty- or thirty-years-ago collections, +but stronger voices have drowned it out of the new.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +The wood thrush.</p></div> + +<p>“Thacher,” (set to the same hymn,) faintly recalls +its melody. Nevertheless “Thacher” is a +good tune. Though commonly written in sharps, +contrasting the B flat of its softer and more liquid +rival of other days, it is one of Handel's strains, +and lends the meaning and pathos of the lyric text +to voice and instrument.</p> + + + + +<h4 class="hymn" +>“<span>WHEN I SURVEY THE WONDROUS CROSS.</span>”</h4> + + +<p>This crown of all the sacred odes of Dr. Watts +for the song-service of the church of God was +called by Matthew Arnold the “greatest hymn in +the English language.” The day the eminent +critic died he heard it sung in the Sefton Park +Presbyterian Church, and repeated the opening +lines softly to himself again and again after the +services. The hymn is certainly <em>one</em> of the greatest +in the language. It appeared as No. 7 in Watts' +third edition (about 1710) containing five stanzas. +The second line—</p> + +<div class="hymn"> +<div class="stanza"> +<div>On which the Prince of Glory died,</div> +</div></div> +<p class="runon">—read originally—</p> +<div class="hymn"> +<div class="stanza"> +<div>Where the young Prince of Glory died.</div> +</div></div> + +<a id="png:140" name="png:140"></a><samp class="pgmark" + ><span class="png">140 /</span> 110</samp> + +<p class="runon">Only four stanzas are now generally used. The +omitted one—</p> + +<div class="hymn"> +<div class="stanza"> +<div>His dying crimson like a robe</div> +<div class="i1"> Spreads o'er His body on the tree;</div> +<div>Then am I dead to all the globe,</div> +<div class="i1"> And all the globe is dead to me.</div> +</div></div> + +<p class="runon">—is a flash of tragic imagination, showing the +sanguine intensity of Christian vision in earlier +time, when contemplating the Saviour's passion; +but it is too realistic for the spirit and genius of +song-worship. That the great hymn was designed +by the writer for communion seasons, and was +inspired by Gal. 6:14, explains the two last lines if +not the whole of the highly colored verse.</p> + + +<h4 class="tune">THE TUNE.</h4> + + +<p>One has a wide field of choice in seeking the +best musical interpretation of this royal song of +faith and self-effacement:</p> + +<div class="hymn"> +<div class="stanza"> +<div>When I survey the wondrous Cross</div> +<div class="i1"> On which the Prince of Glory died,</div> +<div>My richest gain I count but loss,</div> +<div class="i1"> And pour contempt on all my pride.</div> +</div><div class="stanza"> +<div>Forbid it, Lord, that I should boast</div> +<div class="i1"> Save in the death of Christ my God;</div> +<div>All the vain things that charm me most,</div> +<div class="i1"> I sacrifice them to His blood.</div> +</div><div class="stanza"> +<div>See from His head, His hands, His feet,</div> +<div class="i1"> Sorrow and love flow mingled down;</div> +<div>Did e'er such love and sorrow meet;</div> +<div class="i1"> Or thorns compose so rich a crown?</div> +<a id="png:141" name="png:141"></a><samp class="pgmark" + ><span class="png">141 /</span> 111</samp> +</div><div class="stanza"> +<div>Were the whole realm of Nature mine,</div> +<div class="i1"> That were a present far too small;</div> +<div>Love so amazing, so divine,</div> +<div class="i1"> Demands my soul, my life, my all.</div> +</div></div> + +<p>To match the height and depth of these words +with fitting glory of sound might well have been +an ambition of devout composers. Rev. G.C. +Wells' tune in the <i>Revivalist</i>, with its emotional +chorus, I.B. Woodbury's “Eucharist” in the +<i>Methodist Hymnal</i>, Henry Smart's effective choral +in Barnby's <i>Hymnary</i> (No. 170), and a score +of others, have woven the feeling lines into melody +with varying success. Worshippers in spiritual +sympathy with the words may question if, after +all, old “Hamburg,” the best of Mason's loved +Gregorians, does not, alone, in tone and elocution, +rise to the level of the hymn.</p> + + + +<h4 class="hymn" +>“<span>LOVE DIVINE, ALL LOVES EXCELLING.</span>”</h4> + + +<p>This evergreen song-wreath to the Crucified, +was contributed by Charles Wesley, in 1746. It is +found in his collection of 1756, <i>Hymns for Those +That Seek and Those That Have Redemption in +the Blood of Jesus Christ</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Love Divine all loves excelling,</div> +<div class="i1"> Joy of Heaven to earth come down,</div> +<div>Fix in us Thy humble dwelling,</div> +<div class="i1"> All Thy faithful mercies crown.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Come Almighty to deliver,</div> +<div class="i1"> Let us all Thy life receive,</div> +<a id="png:142" name="png:142"></a><samp class="pgmark" + ><span class="png">142 /</span> 112</samp> +<div>Suddenly return, and never,</div> +<div class="i1"> Nevermore Thy temples leave.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Finish then Thy new creation;</div> +<div class="i1"> Pure and spotless let us be;</div> +<div>Let us see our whole salvation</div> +<div class="i1"> Perfectly secured by Thee.</div> +</div><div class="stanza"> +<div>Changed from glory into glory</div> +<div class="i1"> Till in Heaven we take our place,</div> +<div>Till we cast our crowns before Thee</div> +<div class="i1"> Lost in wonder, love and praise!</div> +</div></div> + +<p>The hymn has been set to H. Isaac's ancient +tune (1490), to Wyeth's “Nettleton” (1810), to +Thos. H. Bailey's (1777–1839) “Isle of Beauty, fare +thee well” (named from Thomas Moore's song), +to Edward Hopkins' “St. Joseph,” and to a multitude +of others more or less familiar.</p> + +<p>Most familiar of all perhaps, (as in the instance +of “Far from mortal cares retreating,”) is its +association with “Greenville,” the production of +that brilliant but erratic genius and freethinker, +Jean Jacques Rousseau. It was originally a love +serenade, (“Days of absence, sad and dreary”) +from the opera of <i>Le Devin du Village</i>, written +about 1752. The song was commonly known +years afterwards as “Rousseau's Dream.” But +the unbelieving philosopher, musician, and misguided +moralist builded better than he knew, and +probably better than he meant when he wrote his +immortal choral. Whatever he heard in his +“dream” (and one legend says it was a “song of +<a id="png:143" name="png:143"></a><samp class="pgmark" + ><span class="png">143 /</span> 113</samp> +angels”) he created a harmony dear to the church +he despised, and softened the hearts of the Christian +world towards an evil teacher who was inspired, +like Balaam, to utter one sacred strain.</p> + +<p>Rousseau was born in Geneva, 1712, but he +never knew his mother, and neither the affection +or interest of his father or of his other relatives +was of the quality to insure the best bringing up of +a child.</p> + +<p>He died July, 1778. But his song survives, while +the world gladly forgets everything else he wrote. +It is almost a pardonable exaggeration to say that +every child in Christendom knows “Greenville.”</p> + + + +<h4 class="hymn" +>“<span>WHEN ALL THY MERCIES, O MY GOD.</span>”</h4> + + +<p>This charming hymn was written by Addison, +the celebrated English poet and essayist, about +1701, in grateful commemoration of his delivery +from shipwreck in a storm off the coast of Genoa, +Italy. It originally contained thirteen stanzas, +but no more than four or six are commonly sung. +It has put the language of devotional gratitude +into the mouths of thousands of humble disciples +who could but feebly frame their own:</p> + +<div class="hymn"> +<div class="stanza"> +<div>When all Thy mercies, O my God</div> +<div class="i1"> My rising soul surveys,</div> +<div>Transported with the view I'm lost</div> +<div class="i1"> In wonder, love and praise.</div> +</div><div class="stanza"> +<div>Unnumbered comforts on my soul</div> +<div class="i1"> Thy tender care bestowed</div> +<a id="png:144" name="png:144"></a><samp class="pgmark" + ><span class="png">144 /</span> 114</samp> +<div>Before my infant heart conceived</div> +<div class="i1"> From whom those comforts flowed.</div> +</div><div class="stanza"> +<div>When in the slippery paths of youth</div> +<div class="i1"> With heedless steps I ran,</div> +<div>Thine arm unseen conveyed me safe,</div> +<div class="i1"> And led me up to man.</div> +</div></div> + +<p class="runon">Another hymn of Addison—</p> + +<p class="quote"> +How are Thy servants bless'd, O Lord, +</p> + +<p class="runon">—was probably composed after the same return +from a foreign voyage. It has been called his +“Traveller's Hymn.”</p> + +<p>Joseph Addison, the best English writer of his +time, was the son of Lancelot Addison, rector of +Milston, Wiltshire, and afterwards Dean of +Litchfield. The distinguished author was born in +Milston Rectory, May 1, 1672, and was educated +at Oxford. His excellence in poetry, both English +and Latin, gave him early reputation, and a +patriotic ode obtained for him the patronage of +Lord Somers. A pension from King William III. +assured him a comfortable income, which was +increased by further honors, for in 1704 he was +appointed Commissioner of Appeals, then secretary +of the Lord Lieutenant of Ireland, and in 1717 +Secretary of State. He died in Holland House, +Kensington, near London, June 17, 1719.</p> + +<p>His hymns are not numerous, (said to be only five), +but they are remarkable for the simple beauty +of their style, as well as for their Christian spirit. +Of his fine metrical version of the 23rd Psalm,—</p> + +<a id="png:145" name="png:145"></a><samp class="pgmark" + ><span class="png">145 /</span> 115</samp> + +<div class="hymn"> +<div class="stanza"> +<div>The Lord my pasture shall prepare,</div> +<div>And feed me with a shepherd's care,</div> +</div></div> + +<p class="runon">—one of his earliest productions, the tradition is +that he gathered its imagery when a boy living +at Netheravon, near Salisbury Plain, during his +lonely two-mile walks to school at Amesbury and +back again. All his hymns appeared first in the +<i>Spectator</i>, to which he was a prolific contributor.</p> + + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>The hymn “When all Thy mercies” still has +“Geneva” for its vocal mate in some congregational +manuals. The tune is one of the rare +survivals of the old “canon” musical method, the +parts coming in one after another with identical +notes. It is always delightful as a performance +with its glory of harmony and its sweet duet, and +for generations it had no other words than Addison's hymn.</p> + +<p>John Cole, author of “Geneva,” was born in +Tewksbury, Eng., 1774, and came to the United +States in his boyhood (1785). Baltimore, Md. +became his American home, and he was educated +there. Early in life he became a musician and +music publisher. At least twelve of his principal +song collections from 1800 to 1832 are mentioned +by Mr. Hubert P. Main, most of them sacred and +containing many of his own tunes.</p> + +<p>He continued to compose music till his death, +Aug. 17, 1855. Mr. Cole was leader of the +<a id="png:146" name="png:146"></a><samp class="pgmark" + ><span class="png">146 /</span> 116</samp> +regimental band known as “The Independent Blues,” +which played in the war of 1812, and was present +at the “North Point” fight, and other battles.</p> + +<p>Besides “Geneva,” for real feeling and harmonic +beauty “Manoah,” adapted from Haydn's +Creation, deserves mention as admirably suited +to “Addison's” hymn, and also “Belmont,” by +Samuel Webbe, which resembles it in style and +sentiment.</p> + +<p>Samuel Webbe, composer of “Belmont,” was +of English parentage but was born in Minorca, +Balearic Islands, in 1740, where his father at that +time held a government appointment; but his +father, dying suddenly, left his family poor, and +Samuel was apprenticed to a cabinet-maker. He +served his apprenticeship, and immediately repaired +to a London teacher and began the study +of music and languages. Surmounting great difficulties, +he became a competent musician, and made +himself popular as a composer of glees. He was +also the author of several masses, anthems, and +hymn-tunes, the best of which are still in occasional +use. Died in London, 1816.</p> + + + + +<h4 class="hymn" +>“<span>JESUS, I LOVE THY CHARMING NAME.</span>”</h4> + + +<p>When Dr. Doddridge, the author of this hymn, +during his useful ministry, had finished the preparation +of a pulpit discourse that strongly impressed +him, he was accustomed, while his heart +was yet glowing with the sentiment that had +<a id="png:147" name="png:147"></a><samp class="pgmark" + ><span class="png">147 /</span> 117</samp> +inspired him, to put the principal thoughts into +metre, and use the hymn thus written at the conclusion +of the preaching of the sermon. This hymn +of Christian ardor was written to be sung after a +sermon from Romans 8:35, “Who shall separate +us from the love of Christ?”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, I love Thy charming name,</div> +<div class="i1"> 'Tis music to mine ear:</div> +<div>Fain would I sound it out so loud</div> +<div class="i1"> That earth and heaven should hear.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>I'll speak the honors of Thy name</div> +<div class="i1"> With my last laboring breath,</div> +<div>Then speechless, clasp Thee in my arms,</div> +<div class="i1"> The conqueror of death.</div> +</div></div> +<p class="runon">Earlier copies have—</p> +<div class="hymn"> +<div class="stanza"> +<div class="i1"> The <em>antidote</em> of death.</div> +</div></div> + +<p>Philip Doddridge, D.D., was born in London, +June 26, 1702. Educated at Kingston Grammar +School and Kibworth Academy, he became a +scholar of respectable attainments, and was ordained +to the Non-conformist ministry. He was +pastor of the Congregational church at Northampton, +from 1729 until his death, acting meanwhile +as principal of the Theological School in +that place. In 1749 he ceased to preach and went +to Lisbon for his health, but died there about two +years later, of consumption, Oct. 26, 1752.</p> + +<a id="png:148" name="png:148"></a><samp class="pgmark" + ><span class="png">148 /</span> 118</samp> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>The hymn has been sometimes sung to “Pisgah,” +an old revival piece by J.C. Lowry (1820) +once much heard in camp-meetings, but it is a pedestrian +tune with too many quavers, and a headlong +tempo.</p> + +<p>Bradbury's “Jazer,” in three-four time, is a +melody with modulations, though more sympathetic, +but it is hard to divorce the hymn from its +long-time consort, old “Arlington.” It has the accent +of its sincerity, and the breath of its devotion.</p> + + + +<h4 class="hymn">“<span>LO, ON A NARROW NECK OF LAND.</span>”</h4> + + +<p>This hymn of Charles Wesley is always designated +now by the above line, the first of the <em>second</em> +stanza as originally written. It is said to have been +composed at Land's End, in Cornwall, with the +British Channel and the broad Atlantic in view +and surging on both sides around a “narrow neck +of land.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Lo! on a narrow neck of land,</div> +<div>Twixt two unbounded seas, I stand,</div> +<div class="i1"> Secure, insensible:</div> +<div>A point of time, a moment's space,</div> +<div>Removes me to that heavenly place,</div> +<div class="i1"> Or shuts me up in hell.</div> +</div><div class="stanza"> +<div>O God, mine inmost soul convert,</div> +<div>And deeply on my thoughtful heart</div> +<div class="i1"> Eternal things impress:</div> +<div>Give me to feel their solemn weight,</div> +<a id="png:149" name="png:149"></a><samp class="pgmark" + ><span class="png">149 /</span> 119</samp> +<div>And tremble on the brink of fate,</div> +<div class="i1"> And wake to righteousness.</div> +</div></div> + +<p>The preachers and poets of the great spiritual +movement of the eighteenth century in England +abated nothing in the candor of their words. The +terrible earnestness of conviction tipped their +tongues and pens with fire.</p> + + + +<h4 class="tune">THE TUNE.</h4> + +<p>Lady Huntingdon would have lent “Meribah” +gladly to this hymn, but Mason was not yet born. +Many times it has been borrowed for Wesley's +words since it came to its own, and the spirit of the +pious Countess has doubtless approved the loan. It +is rich enough to furnish forth her own lyric and +more than one other of like matter and metre.</p> + +<p>The muscular music of “Ganges” has sometimes +carried the hymn, and there are those who think its +thunder is not a whit more Hebraic than the words require.</p> + + + +<h4 class="hymn" +>“<span>COME YE SINNERS POOR AND NEEDY.</span>”</h4> + + +<p>Few hymns have been more frequently sung in +prayer-meetings and religious assemblies during the +last hundred and fifty years. Its author, Joseph +Hart, spoke what he knew and testified what he +felt. Born in London, 1712, and liberally educated, +he was in his young manhood very religious, but he +went so far astray as to indulge in evil practices, and +<a id="png:150" name="png:150"></a><samp class="pgmark" + ><span class="png">150 /</span> 120</samp> +even published writings, both original and translated, +against Christianity and religion of any kind. +But he could not drink at the Dead Sea and live. +The apples of Sodom sickened him. Conscience +asserted itself, and the pangs of remorse nearly +drove him to despair till he turned back to the +source he had forsaken. He alludes to this experience +in the lines—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Let not conscience make you linger,</div> +<div class="i1"> Nor of fitness fondly dream;</div> +<div>All the fitness He requireth</div> +<div class="i1"> Is to feel your need of Him.</div> +</div></div> + +<p>During Passion Week, 1767, he had an amazing +view of the sufferings of Christ, under the stress of +which his heart was changed. In the joy of this experience +he wrote—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come ye sinners poor and needy,</div> +</div></div> +<p class="runon">—and—</p> +<div class="hymn"> +<div class="stanza"> +<div>Come all ye chosen saints of God.</div> +</div></div> + +<p>Probably no two hymn-lines have been oftener +repeated than—</p> + +<div class="hymn"> +<div class="stanza"> +<div>If you tarry till you're better</div> +<div class="i1"> You will never come at all.</div> +</div></div> + +<p>The complete form of the original stanzas is:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come ye sinners poor and needy,</div> +<div class="i1"> Weak and wounded, sick and sore;</div> +<div>Jesus ready stands to save you, </div> +<div class="i1"> Full of pity, love and power.</div> +<div class="i2"> He is able,</div> +<div class="i1">He is willing; doubt no more.</div> +</div></div> + +<a id="png:151" name="png:151"></a><samp class="pgmark" + ><span class="png">151 /</span> 121</samp> + +<p>The whole hymn—ten stanzas—is not sung +now as one, but two, the second division beginning +with the line—</p> + +<p class="quote"> +Come ye weary, heavy laden. +</p> + +<p>Rev. Joseph Hart became minister of Jewin St. +Congregational Chapel, London, about 1760, +where he labored till his death, May 24, 1768.</p> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>A revival song by Jeremiah Ingalls (1764–1828), +written about 1804, with an easy, popular swing +and a <i>sforzando</i> chorus—</p> + +<p class="quote"> +Turn to the Lord and seek salvation, +</p> + +<p class="runon">—monopolized this hymn for a good many years. +The tunes commonly assigned to it have since been +“Greenville” and Von Weber's “Wilmot,” in which +last it is now more generally sung—dropping the +echo lines at the end of each stanza.</p> + +<p>Carl Maria Von Weber, son of a roving musician, +was born in Eutin, Germany, 1786. He developed +no remarkable genius till he was about twenty +years old, though being a fine vocalist, his singing +brought him popularity and gain; but in 1806 he +nearly lost his voice by accidently drinking nitric +acid. He was for several years private secretary to +Duke Ludwig at Stuttgart, and in 1813 Chapel-Master +at Prague, from which place he went to +Dresden in 1817 as Musik-Director.</p> + +<p>Von Weber's Korner songs won the hearts of all +Germany; and his immortal “Der Freischutz” +<a id="png:152" name="png:152"></a><samp class="pgmark" + ><span class="png">152 /</span> 122</samp> +(the Free Archer), and numerous tender melodies +like the airs to “John Anderson, my Jo” and “O +Poortith Cauld” have gone to all civilized nations. No +other composer had such feeling for beauty of sound.</p> + +<p>This beloved musician was physically frail and +delicate, and died of untimely decline, during a +visit to London in 1826.</p> + + + +<h4 class="hymn" +>“<span>O HAPPY SAINTS WHO DWELL IN LIGHT.</span>”</h4> + + +<p>Sometimes printed “O happy <em>souls</em>.” This poetical +and flowing hymn seems to have been forgotten +in the making up of most modern church +hymnals. Hymns on heaven and heavenly joys +abound in embarrassing numbers, but it is difficult +to understand why this beautiful lyric should +be <em>universally</em> neglected. It was written probably +about 1760, by Rev. John Berridge, from the text, +“Blessed are the dead who die in the Lord,”</p> + +<p>The first line of the second stanza—</p> + +<p class="quote"> +Released from sorrow, toil and strife, +</p> + +<p class="runon">—has been tinkered in some of the older hymn-books, +where it is found to read—,</p> + +<p class="quote"> +Released from sorrows toil and <em>grief</em>, +</p> + +<p class="runon">—not only committing a tautology, but destroying +the perfect rhyme with “life” in the next line. The +whole hymn, too, has been much altered by substituted +words and shifted lines, though not generally +to the serious detriment of its meaning and music.</p> + +<a id="png:153" name="png:153"></a><samp class="pgmark" + ><span class="png">153 /</span> 123</samp> + +<p>The Rev. John Berridge—friend of the Wesleys, +Whitefield, and Lady Huntingdon—was an eccentric +but very worthy and spiritual minister, born +the son of a farmer, in Kingston, Nottinghamshire, +Eng., Mar. 1, 1716. He studied at Cambridge, and +was ordained curate of Stapleford and subsequently +located as vicar of Everton, 1775. He died +Jan. 22, 1793. He loved to preach, and he was determined +that his tombstone should preach after +his voice was still. His epitaph, composed by himself, +is both a testimony and a memoir:</p> + +<blockquote> +<div>“Here lie the earthly remains of John Berridge, late vicar of +Everton, and an itinerant servant of Jesus Christ, who loved +his Master and His work, and after running His errands +many years, was called up to wait on Him above.</div> + +<div>“Reader, art thou born again?</div> + +<div>“No salvation without the new birth.</div> + +<div>“I was born in sin, February, 1716.</div> + +<div>“Remained ignorant of my fallen state till 1730.</div> + +<div>“Lived proudly on faith and works for salvation till 1751.</div> + +<div>“Admitted to Everton vicarage, 1755.</div> + +<div>“Fled to Jesus alone for refuge, 1756.</div> + +<div>“Fell asleep in Jesus Christ,—” (1793.)</div> +</blockquote> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>The once popular score that easily made the +hymn a favorite, was “Salem,” in the old <i>Psalmodist</i>. +It still appears in some note-books, though +the name of its composer is uncertain. Its notes +(in 6-8 time) succeed each other in syllabic modulations +that give a soft dactylic accent to the measure +and a wavy current to the lines:</p> + +<a id="png:154" name="png:154"></a><samp class="pgmark" + ><span class="png">154 /</span> 124</samp> + +<div class="hymn"> +<div class="stanza"> +<div>O happy saints that dwell in light,</div> +<div>And walk with Jesus clothed in white,</div> +<div>Safe landed on that peaceful shore,</div> +<div>Where pilgrims meet to part no more:</div> +</div><div class="stanza"> +<div>Released from sorrow, toil and strife,</div> +<div>Death was the gate to endless life,</div> +<div>And now they range the heavenly plains</div> +<div>And sing His love in melting strains.</div> +</div></div> + +<p class="runon">Another version reads:</p> + +<div class="hymn"><div class="stanza"> +<div>——and welcome to an endless life,</div> +<div>Their souls have now begun to prove</div> +<div>The height and depth of Jesus' love.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>THOU DEAR REDEEMER, DYING LAMB.</span>”</h4> + + +<p>The author, John Cennick, like Joseph Hart, +was led to Christ after a reckless boyhood and +youth, by the work of the Divine Spirit in his soul, +independent of any direct outward influence. +Sickened of his cards, novels, and playhouse +pleasures, he had begun a sort of mechanical +reform, when one day, walking in the streets of +London, he suddenly seemed to hear the text +spoken “I am thy salvation!” His consecration +began at that moment.</p> + +<p>He studied for the ministry, and became a +preacher, first under direction of the Wesleys, +then under Whitefield, but afterwards joined the +Moravians, or “Brethren.” He was born at Reading, +Derbyshire, Eng., Dec. 12, 1718<ins class="transcriber" + title="Transcriber's note: original has period">,</ins> and died in +London, July 4, 1755.</p> + +<a id="png:155" name="png:155"></a><samp class="pgmark" + ><span class="png">155 /</span> 125</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The word “Rhine” (in some collections—in +others “Emmons”) names a revival tune once so +linked with this hymn and so well known that few +religious people now past middle life could enjoy +singing it to any other. With a compass one note +beyond an octave and a third, it utters every line +with a clear, bold gladness sure to infect a meeting +with its own spiritual fervor.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Thou dear Redeemer, dying Lamb,</div> +<div class="i1"> I love to hear of Thee;</div> +<div>No music like Thy charming name,</div> +<div class="i1"> Nor half so sweet can be.</div> +</div></div> + +<p>The composer of the bright legato melody just +described was Frederick Burgmüller, a young +German musician, born in 1804. He was a remarkable +genius, both in composition and execution, +but his health was frail, and he did not live to +fulfil the rich possibilities that lay within him. He +died in 1824—only twenty years old. The tune +“Rhine” (“Emmons”) is from one of his marches.</p> + + + +<h4 class="hymn" +>“<span>WHILE THEE I SEEK, PROTECTING POWER.</span>”</h4> + + +<p>Helen Maria Williams wrote this sweet hymn, +probably about the year 1800. She was a brilliant +woman, better known in literary society for +her political verses and essays than by her hymns; +but the hymn here noted bears sufficient witness +to her deep religious feeling:</p> + +<a id="png:156" name="png:156"></a><samp class="pgmark" + ><span class="png">156 /</span> 126</samp> + +<div class="hymn"> +<div class="stanza"> +<div>While Thee I seek, Protecting Power,</div> +<div class="i1"> Be my vain wishes stilled,</div> +<div>And may this consecrated hour</div> +<div class="i1"> With better hopes be filled.</div> +<div>Thy love the power of thought bestowed;</div> +<div class="i1"> To Thee my thoughts would soar,</div> +<div>Thy mercy o'er my life has flowed,</div> +<div class="i1"> That mercy I adore.</div> +</div></div> + +<p>Miss Williams was born in the north of England, +Nov. 30, 1762, but spent much of her life in +London, and in Paris, where she died, Dec. 14, 1827.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Wedded so many years to the gentle, flowing +music of Pleyel's “Brattle Street,” few lovers of +the hymn recall its words without the melody of +that emotional choral.</p> + +<p>The plain psalm-tune, “Simpson,” by Louis +Spohr, divides the stanzas into quatrains.</p> + + + +<h4 class="hymn" +>“<span>JESUS MY ALL TO HEAVEN IS GONE.</span>”</h4> + + +<p>This hymn, by Cennick, was familiarized to the +public more than two generations ago by its revival +tune, sometimes called “Duane Street,” long-<ins class="transcriber" + title="Transcriber's note: original has 'meter'">metre</ins> +double. It is staffed in various keys, but +its movement is full of life and emphasis, and its +melody is contagious. The piece was composed +by Rev. George Coles, in 1835.</p> + +<p title="Illustration of Augusus Montague Toplady originally opposite">The +fact that this hymn of Cennick with Coles's +tune appears in the <i>New Methodist Hymnal</i> +indicates the survival of both in modern favor.</p> + +<a id="png:159" name="png:159"></a><samp class="pgmark" + ><span class="png">159 /</span> 127</samp> +<div class="hymn"> +<div class="stanza"> +<div>Jesus my all to heaven is gone,</div> +<div>He whom I fixed my hopes upon;</div> +<div>His track I see, and I'll pursue</div> +<div>The narrow way till Him I view.</div> +<div>The way the holy prophets went,</div> +<div>The road that leads from banishment,</div> +<div>The King's highway of holiness</div> +<div>I'll go for all Thy paths are peace.</div> +</div></div> + +<p>The memory has not passed away of the hearty +unison with which prayer-meeting and camp-meeting +assemblies used to “crescendo” the last +stanza—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Then will I tell to sinners round</div> +<div>What a dear Saviour I have found;</div> +<div>I'll point to His redeeming blood,</div> +<div>And say “Behold the way to God.”</div> +</div></div> + +<p>The Rev. George Coles was born in Stewkley, +Eng., Jan. 2, 1792, and died in New York City, +May 1, 1858. He was editor of the <i>N.Y. Christian +Advocate</i>, and <i>Sunday School Advocate</i>, for +several years, and was a musician of some ability, +besides being a good singer.</p> + + + +<h4 class="hymn" +>“<span>SWEET THE MOMENTS, RICH IN BLESSING.</span>”</h4> + + +<p>The Hon. and Rev. <a id="Shirley" name="Shirley">Walter Shirley</a>, +Rector of Loughgree, county of Galway, Ireland, revised this +hymn under the chastening discipline of a most +trying experience. His brother, the Earl of +Ferrars, a licentious man, murdered an old and +faithful servant in a fit of rage, and was executed +at Tyburn for the crime. Sir Walter, after the +<a id="png:160" name="png:160"></a><samp class="pgmark" + ><span class="png">160 /</span> 128</samp> +disgrace and long distress of the imprisonment, +trial, and final tragedy, returned to his little parish +in Ireland, humbled but driven nearer to the Cross.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sweet the moments, rich in blessing</div> +<div class="i1"> Which before the Cross I spend;</div> +<div>Life and health and peace possessing</div> +<div class="i1"> From the sinner's dying Friend.</div> +</div></div> + +<p>All the emotion of one who buries a mortifying +sorrow in the heart of Christ, and tries to forget, +trembles in the lines of the above hymn as he +changed and adapted it in his saddest but devoutest +hours. Its original writer was the Rev. James +Allen, nearly twenty years younger than himself, +a man of culture and piety, but a Christian of +shifting creeds. It is not impossible that he sent +his hymn to Shirley to revise. At all events it owes +its present form to Shirley's hand.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Truly <ins class="transcriber" + title="Transcriber's note: original has 'blessèd'">blesséd</ins> is the station</div> +<div class="i1"> Low before His cross to lie,</div> +<div>While I see Divine Compassion</div> +<div class="i1"> Beaming in His gracious eye.<sup>*</sup></div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +“Floating in His languid eye” seems to have been the +earlier version.</p></div> + +<p>The influence of Sir Walter's family misfortune +is evident also in the mood out of which breathed +his other trustful lines—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Peace, troubled soul, whose plaintive moan<br /></div> +<div>Hath taught these rocks the notes of woe,</div> +</div></div> + +<p class="runon">(changed now to “hath taught +<em>these scenes</em>” etc).</p> + +<p>Sir Walter Shirley, cousin of the Countess of +Huntingdon, was born 1725, and died in 1786. +<a id="png:161" name="png:161"></a><samp class="pgmark" + ><span class="png">161 /</span> 129</samp> +Even in his last sickness he continued to preach to +his people in his house, seated in his chair.</p> + +<p>Rev. James Oswald Allen was born at Gayle, +Yorkshire, Eng., June 24, 1743. He left the +University of Cambridge after a year's study, and +became an itinerant preacher, but seems to have +been a man of unstable religious views. After +roving from one Christian denomination to another +several times, he built a Chapel, and for forty +years ministered there to a small Independent +congregation. He died in Gayle, Oct. 31, 1804.</p> + +<p>The tune long and happily associated with +“Sweet the Moments” is “Sicily,” or the +“Sicilian Hymn”—from an old Latin hymn-tune, +“O Sanctissima.”</p> + + + +<h4 class="hymn" +>“<span>O FOR A CLOSER WALK WITH GOD.</span>”</h4> + + +<p>The author, William Cowper, son of a clergyman, +was born at Berkhampstead, Hertfordshire, +Eng., Nov. 15, 1731, and died at Dereham, +Norfolk, April 25, 1800. Through much of his +adult life he was afflicted with a mental ailment +inducing melancholia and at times partial insanity, +during which he once attempted suicide. He +sought literary occupation as an antidote to his +disorder of mind, and besides a great number of +lighter pieces which diverted him and his friends, +composed “The Task,” an able and delightful +moral and domestic poetic treatise in blank verse, +and in the same style of verse translated Homer's +<i>Odyssey</i> and <i>Iliad</i>.</p> + +<a id="png:162" name="png:162"></a><samp class="pgmark" + ><span class="png">162 /</span> 130</samp> + +<p>One of the most beloved of English poets, this +suffering man was also a true Christian, and wrote +some of our sweetest and most spiritual hymns. +Most of these were composed at Olney, where he +resided for a time with John Newton, his fellow +hymnist, and jointly with him issued the volume +known as the <i>Olney Hymns</i>.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Music more or less closely identified with this +familiar hymn is Gardiner's “Dedham,” and also +“Mear,” often attributed to Aaron Williams. Both, +about equally with the hymn, are seasoned by time, +but have not worn out their harmony—or their +fitness to Cowper's prayer.</p> + +<p>William Gardiner was born in Leicester, Eng., +March 15, 1770, and died there Nov. 11, 1853. +He was a vocal composer and a “musicographer” +or writer on musical subjects.</p> + +<p>One Aaron Williams, to whom “Mear” has by +some been credited, was of Welsh descent, a composer +of psalmody and clerk of the Scotch church +in London. He was born in 1734, and died in +1776. Another account, and the more probable +one, names a minister of Boston of still earlier +date as the author of the noble old harmony. It +is found in a small New England collection of +1726, but not in any English or Scotch collection. +“Mear” is presumably an American tune.</p> + +<a id="png:163" name="png:163"></a><samp class="pgmark" + ><span class="png">163 /</span> 131</samp> + + + +<h4 class="hymn" +>“<span>WHAT VARIOUS HINDRANCES WE MEET.</span>”</h4> + + +<p>Another hymn of Cowper's; and no one ever +suffered more deeply the plaintive regret in the +opening lines, or better wrought into poetic expression +an argument for prayer.</p> + +<div class="hymn"> +<div class="stanza"> +<div>What various hindrances we meet</div> +<div>In coming to a mercy-seat!</div> +<div>Yet who that knows the worth of prayer</div> +<div>But wishes to be often there?</div> +</div><div class="stanza"> +<div>Prayer makes the darkest clouds withdraw,</div> +<div>Prayer climbs the ladder Jacob saw.</div> +</div></div> + +<p>The whole hymn is (or once was) so thoroughly +learned by heart as to be fixed in the church among +its household words. Preachers to the diffident +do not forget to quote—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Have you no words? ah, think again;</div> +<div>Words flow apace when you <em>complain</em>.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Were half the breath thus vainly spent</div> +<div>To Heaven in supplication sent,</div> +<div>Our cheerful song would oftener be,</div> +<div>“Hear what the Lord hath done for me!”</div> +</div></div> + +<p>And there is all the lifetime of a proverb in the +couplet—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Satan trembles when he sees</div> +<div>The weakest saint upon his knees.</div> +</div></div> + + +<p>Tune, Lowell Mason's “Rockingham.”</p> + +<a id="png:164" name="png:164"></a><samp class="pgmark" + ><span class="png">164 /</span> 132</samp> + + + +<h4 class="hymn">“<span>MY GRACIOUS REDEEMER I LOVE.</span>”</h4> + + +<p>This is one of Benjamin Francis's lays of devotion. +The Christian Welshman who bore that +name was a Gospel minister full of Evangelical +zeal, who preached in many places, though his +pastoral home was with the Baptist church in +Shortwood, Wales. Flattering calls to London +could not tempt him away from his first and only +parish, and he remained there till his triumphant +death. He was born in 1734, and died in 1799.</p> + +<div class="hymn"> +<div class="stanza"> +<div>My gracious Redeemer I love,</div> +<div class="i1"> His praises aloud I'll proclaim,</div> +<div>And join with the armies above,</div> +<div class="i1"> To shout His adorable name.</div> +<div>To gaze on His glories divine</div> +<div class="i1"> Shall be my eternal employ;</div> +<div>To see them incessantly shine,</div> +<div class="i1"> My boundless, ineffable joy.</div> +</div></div> + + +<p>Tune, “Birmingham”—an English melody. +Anonymous.</p> + + + +<h4 class="hymn">“<span>BLEST BE THE TIE THAT BINDS.</span>”</h4> + + +<p>Perhaps the best hymn-expression of sacred +brotherhood, at least it has had, and still has the +indorsement of constant use. The author, John +Fawcett, D.D., is always quoted as the example +of his own words, since he sacrificed ambition +and personal interest to Christian affection.</p> + +<p>Born near Bradford, Yorkshire, Jan. 6, 1739, +and converted under the preaching of Whitefield, +<a id="png:165" name="png:165"></a><samp class="pgmark" + ><span class="png">165 /</span> 133</samp> +he joined the Methodists, but afterwards became +a member of the new Baptist church in Bradford. +Seven years later he was ordained over the Baptist +Society at Wainsgate. In 1772 he received a call +to succeed the celebrated Dr. Gill, in London, and +accepted. But at the last moment, when his +goods were packed for removal, the clinging love +of his people, weeping their farewells around him, +melted his heart. Their passionate regrets were +more than either he or his good wife could withstand.</p> + +<p>“I will <em>stay</em>,” he said; “you may unpack my +goods, and we will live for the Lord lovingly +together.”</p> + +<p>It was out of this heart experience that the +tender hymn was born.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Our fears, our hopes, our aims are one,</div> +<div class="i1"> Our comforts and our cares.</div> +</div></div> + +<p>Dr. Fawcett died July 25, 1817.</p> + +<p>Tune, “Boylston,” L. Mason; or “Dennis,” +H.G. Nägeli.</p> + + + +<h4 class="hymn">“<span>I LOVE THY KINGDOM, LORD.</span>”</h4> + + +<p>“Dr. Dwight's Hymn,” as this is known <i>par +eminence</i> among many others from his pen, is +one of the imperishable lyrics of the Christian +Church. The real spirit of the hundred and +twenty-second Psalm is in it, and it is worthy of +Watts in his best moments.</p> + +<a id="png:166" name="png:166"></a><samp class="pgmark" + ><span class="png">166 /</span> 134</samp> + +<p>Timothy Dwight was born at Northampton, +Mass, May 14, 1752, and graduated at Yale +College at the age of thirteen. He wrote several +religious poems of considerable length. In 1795 +he was elected President of Yale College, and in +1800 he revised Watts' Psalms, at the request of the +General Association of Connecticut, adding a number +of translations of his own.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I love Thy kingdom, Lord,</div> +<div class="i1"> The house of Thine abode,</div> +<div>The Church our blest Redeemer saved</div> +<div class="i1"> With His own precious blood.</div> +</div><div class="stanza"> +<div>I love Thy Church, O God;</div> +<div class="i1"> Her walls before Thee stand,</div> +<div>Dear as the apple of Thine eye,</div> +<div class="i1"> And graven on Thy hand.</div> +</div></div> + +<p>Dr. Dwight died Jan. 11, 1817.</p> + +<p>Tune, “St. Thomas,” Aaron Williams, (1734–1776.)</p> + +<p>Mr. Hubert P. Main, however, believes the +author to be Handel. It appeared as the second +movement of a four-movement tune in Williams's +1762 collection, which contained pieces by the +great masters, with his own; but while not credited +to Handel, Williams did not claim it himself.</p> + + + +<h4 class="hymn">“<span>MID SCENES OF CONFUSION.</span>”</h4> + + +<p>This hymn, common in chapel hymnbooks +half a century and more ago, is said to have been +written by the Rev. David Denham, about 1826.</p> + +<a id="png:167" name="png:167"></a><samp class="pgmark" + ><span class="png">167 /</span> 135</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Home, Sweet Home” was composed, according +to the old account, by John Howard Payne as +one of the airs in his opera of “Clari, the Maid of +Milan,” which was brought out in London at +Drury Lane in 1823. But Charles Mackay, the +English poet, in the London Telegraph, asserts +that Sir Henry Bishop, an eminent musician, in +his vain search for a Sicilian national air, <em>invented</em> +one, and that it was the melody of “Home, sweet +Home,” which he afterwards set to Howard Payne's +words. Mr. Mackay had this story from Sir +Henry himself.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Mid scenes of confusion and creature complaints</div> +<div>How sweet to my soul is communion with saints,</div> +<div>To find at the banquet of mercy there's room</div> +<div>And feel in the presence of Jesus at home.</div> +<div class="i1"> Home, home, sweet, sweet home!</div> +<div>Prepare me, dear Savior for glory, my home.</div> +</div></div> + +<p>John Howard Payne, author at least, of the +original <em>words</em> of “Home, Sweet Home,” was born +in New York City June 9, 1791. He was a singer, +and became an actor and theatrical writer. He composed +the words of his immortal song in the year +1823, when he was himself homeless and hungry +and sheltered temporarily in an attic in Paris.</p> + +<p>His fortunes improved at last, and he was appointed +to represent his native country as consul +in Tunis, where he died, Apr. 9, 1852.</p> + +<a id="png:168" name="png:168"></a><samp class="pgmark" + ><span class="png">168 /</span> 136</samp> + + + +<h4 class="hymn" +>“<span>O, COULD I SPEAK THE MATCHLESS WORTH.</span>”</h4> + + +<p>The writer of this hymn of worshiping ardor +and exalted Christian love was an English Baptist +minister, the Rev. Samuel Medley. He was born +at Cheshunt, Hertfordshire, June 23, 1738, and at +eighteen years of age entered the Royal Navy, +where, though he had been piously educated, he +became dissipated and morally reckless. Wounded +in a sea fight off Cape Lagos, and in dread of amputation +he prayed penitently through nearly a +whole night, and in the morning the surprised +surgeon told him his limb could be saved.</p> + +<p>The voice of his awakened conscience was not +wholly disregarded, though it was not till some +time after he left the navy that his vow to begin a +religious life was sincerely kept. After teaching +school for four years, he began to preach in 1766, +Wartford in Hertfordshire being the first scene of +his godly labors. He died in Liverpool July 17, +1799, at the end of a faithful ministry there of +twenty-seven years. A small edition of his hymns +was published during his lifetime, in 1789.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O could I speak the matchless worth,</div> +<div>O could I sound the glories forth</div> +<div class="i1"> Which in my Saviour shine,</div> +<div>I'd soar and touch the heavenly strings</div> +<div>And vie with Gabriel while he sings,</div> +<div class="i1"> In notes almost divine!</div> +</div></div> + +<a id="png:169" name="png:169"></a><samp class="pgmark" + ><span class="png">169 /</span> 137</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Colebrook,” a plain choral; but with a noble +movement, by Henry Smart, is the English music +to this fine lyric, but Dr. Mason's “Ariel” is the +American favorite. It justifies its name, for it has +wings—in both full harmony and duet—and its +melody feels the glory of the hymn at every bar.</p> + +<a id="png:157" name="png:157"></a><samp class="pgmark" + ><span class="png">157 /</span> opp 126</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Augustus Toplady"> + <tr valign="bottom"> + <td><a id="Illus7" name="Illus7" + ><img src="images/illus07-augustusmontaguetoplady-cameo.jpg" + alt="Augustus Montague Toplady" width="216" height="238" /></a></td> + <td><table summary="Caption"> + <tr><td>Augustus Montague Toplady</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + +<h4 class="hymn">“<span>ROCK OF AGES CLEFT FOR ME.</span>”</h4> + + +<p>Augustus Montagu Toplady, author of this +almost universal hymn, was born at Farnham, +Surrey, Eng., Nov. 4, 1740. Educated at <ins class="transcriber" + title="Transcriber's note: original has 'Westminister'">Westminster</ins> +School, and Trinity College, Dublin, he +took orders in the Established Church. In his +doctrinal debates with the Wesleys he was a harsh +controversialist; but his piety was sincere, and +marked late in life by exalted moods. Physically +he was frail, and his fiery zeal wore out his body. +Transferred from his vicarage at Broad Hembury, +Devonshire, to Knightsbridge, London, at +twenty-eight years of age, his health began to +fail before he was thirty-five, and in one of his +periods of illness he wrote—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When languor and disease invade</div> +<div class="i1"> This trembling house of clay,</div> +<div>'Tis sweet to look beyond my pains</div> +<div class="i1"> And long to fly away.</div> +</div></div> + +<p class="runon">And the same homesickness for heaven appears +under a different figure in another hymn—</p> + +<a id="png:170" name="png:170"></a><samp class="pgmark" + ><span class="png">170 /</span> 138</samp> + +<div class="hymn"> +<div class="stanza"> +<div>At anchor laid remote from home,</div> +<div>Toiling I cry, “Sweet Spirit, come!</div> +<div>Celestial breeze, no longer stay,</div> +<div>But swell my sails, and speed my way!”</div> +</div></div> + +<p>Possessed of an ardent religious nature, his +spiritual frames exemplified in a notable degree +the emotional side of Calvinistic piety. Edward +Payson himself, was not more enraptured in +immediate view of death than was this young +London priest and poet. Unquestioning faith +became perfect certainty. As in the bold metaphor +of “Rock of Ages,” the faith finds voice in—</p> + +<p class="quote"> +A debtor to mercy alone, +</p> + +<p class="runon">—and other hymns in his collection of 1776, two +years before the end came. Most of this devout +writing was done in his last days, and he continued +it as long as strength was left, until, on the +11th of August, 1778, he joyfully passed away.</p> + +<p>Somehow there was always something peculiarly +heartsome and “filling” to pious minds in the +lines of Toplady in days when his minor hymns +were more in vogue than now, and they were often +quoted, without any idea whose making they were. +“At anchor laid” was crooned by good old ladies +at their spinning-wheels, and godly invalids found +“When languor and disease invade” a comfort +next to their Bibles.</p> + +<p>“Rock of Ages” is said to have been written +after the author, during a suburban walk, had +been forced to shelter himself from a thunder +<a id="png:171" name="png:171"></a><samp class="pgmark" + ><span class="png">171 /</span> 139</samp> +shower, under a cliff. This is, however, but one of +several stories about the birth-occasion of the +hymn.</p> + +<p>It has been translated into many languages. +One of the foreign dignitaries visiting Queen +Victoria at her “Golden Jubilee” was a native of +Madagascar, who surprised her by asking leave +to sing, but delighted her, when leave was given, +by singing “Rock of Ages.” It was a favorite of +hers—and of Prince Albert, who whispered it +when he was dying. People who were school-children +when Rev. Justus Vinton came home to +Willington, Ct., with two Karen pupils, repeat to-day +the “la-pa-ta, i-oo-i-oo” caught by sound +from the brown-faced boys as they sang their +native version of “Rock of Ages.”</p> + +<p>Gen. J.E.B. Stuart, the famous Confederate +Cavalry leader, mortally wounded at Yellow +Tavern, Va., and borne to a Richmond hospital, +called for his minister and requested that “Rock +of Ages” be sung to him.</p> + +<p>The last sounds heard by the few saved from +the wreck of the steamer “London” in the Bay of +Biscay, 1866, were the voices of the helpless passengers +singing “Rock of Ages” as the ship went +down.</p> + +<p>A company of Armenian Christians sang “Rock +of Ages” in their native tongue while they were +being massacred in Constantinople.</p> + +<p>No history of this grand hymn of faith forgets +the incident of Gladstone writing a Latin +<a id="png:172" name="png:172"></a><samp class="pgmark" + ><span class="png">172 /</span> 140</samp> +translation of it while sitting in the House of Commons. +That remarkable man was as masterly in his +scholarly recreations as in his statesmanship. +The supreme Christian sentiment of the hymn +had permeated his soul till it spoke to him in a +dead language as eloquently as in the living one; +and this is what he made of it:</p> + + + +<h4 class="tune">TOPLADY.</h4> + +<div class="hymn"> +<div class="stanza"> +<div>Rock of ages, cleft for me,</div> +<div>Let me hide myself in Thee;</div> +<div>Let the water and the blood,</div> +<div>From Thy riven side which flowed,</div> +<div>Be of sin the double cure,</div> +<div>Cleanse me from its guilt and power.</div> +</div><div class="stanza"> +<div>Not the labor of my hands</div> +<div>Can fulfil Thy law's demands;</div> +<div>Could my zeal no respite know,</div> +<div>Could my tears for ever flow,</div> +<div>All for sin could not atone,</div> +<div>Thou must save, and Thou alone.</div> +</div><div class="stanza"> +<div>Nothing in my hand I bring,</div> +<div>Simply to Thy cross I cling;</div> +<div>Naked, come to Thee for dress,</div> +<div>Helpless, look to Thee for grace:</div> +<div>Foul, I to the fountain fly;</div> +<div>Wash, me, Saviour, or I die.</div> +</div><div class="stanza"> +<div>Whilst I draw this fleeting breath,</div> +<div>When my eyestrings break in death;</div> +<div>When I soar through tracts unknown,</div> +<div>See Thee on Thy judgment throne,</div> +<div>Rock of ages, cleft for me,</div> +<div>Let me hide myself in Thee.</div> +</div></div> +<a id="png:173" name="png:173"></a><samp class="pgmark" + ><span class="png">173 /</span> 141</samp> + + +<h4 class="tune">GLADSTONE.</h4> + +<div class="hymn"><div class="stanza"> +<div>Jesus, pro me perforatus,</div> +<div>Condar intra tuum latus;</div> +<div>Tu per lympham profluentem,</div> +<div>Tu per sanguinem tepentem,</div> +<div>In peccata mi redunda,</div> +<div>Tolle culpam, sordes munda!</div> +</div><div class="stanza"> +<div>Coram Te nec justus forem</div> +<div>Quamvis tota vi laborem,</div> +<div>Nec si fide nunquam cesso,</div> +<div>Fletu stillans indefesso;</div> +<div>Tibi soli tantum munus—</div> +<div>Salva me, Salvator Unus!</div> +</div><div class="stanza"> +<div>Nil in manu mecum fero,</div> +<div>Sed me versus crucem gero:</div> +<div>Vestimenta nudus oro,</div> +<div>Opem debilis imploro,</div> +<div>Fontem Christi quæro immundus,</div> +<div>Nisi laves, moribundus.</div> +</div><div class="stanza"> +<div>Dum hos artus vita regit,</div> +<div>Quando nox sepulcro legit;</div> +<div>Mortuos quum stare jubes,</div> +<div>Sedens Judex inter nubes;—</div> +<div>Jesus, pro me perforatus,</div> +<div>Condar intra tuum latus!</div> +</div></div> + +<p>The wonderful hymn has suffered the mutations +common to time and taste.</p> + +<div class="hymn"> +<div class="stanza"> +<div>When I soar thro' tracts unknown</div> +</div></div> + +<p class="runon">—becomes—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When I soar to worlds unknown,</div> +</div></div> + +<p class="runon">—getting rid of the unpoetic word, and bettering +the elocution, but missing the writer's thought +<a id="png:174" name="png:174"></a><samp class="pgmark" + ><span class="png">174 /</span> 142</samp> +(of the unknown <em>path</em>,—instead of going to many +“worlds”). The Unitarians have their version, +with substitutes for the “atonement lines.”</p> + +<p>But the Christian lyric maintains its life and +inspiration through the vicissitudes of age and +use, as all intrinsically superior things can and +will,—and as in the twentieth line,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When my eyestrings break in death;</div> +</div></div> + +<p class="runon">—modernized to—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When my eyelids close in death,</div> +</div></div> + +<p class="runon">—the hymn will ever adapt itself to the new +exigencies of common speech, without losing its +vitality and power.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>A happy inspiration of +<a id="RockofAges" name="RockofAges">Dr. Thomas Hastings</a> +made the hymn and music inevitably one. Almost +anywhere to call for the tune of “Toplady” +(namesake of the pious poet) is as unintelligible +to the multitude as “Key” would be to designate +the “Star-spangled Banner.” The common people—thanks +to Dr. Hastings—have learned “Rock +of Ages” by <em>sound</em>.</p> + +<p>Thomas Hastings was born in Washington, Ct., +1784. For eight years he was editor of the <i>Western +Recorder,</i> but he gave his life to church music, +and besides being a talented tone-poet he wrote as +many as six hundred hymns. In 1832, by invitation +from twelve New York churches, he went +<a id="png:177" name="png:177"></a><samp class="pgmark" + ><span class="png">177 /</span> 143</samp> +to that city, and did the main work of his life +there, dying, in 1872, at the good old age of eighty-nine. +His musical collections number fifty-three. +He wrote his famous tune in 1830.</p> + +<a id="png:175" name="png:175"></a><samp class="pgmark" + ><span class="png">175 /</span> opp 142</samp> + +<div class="illus"> +<table cellspacing="40" summary="Portrait of Thomas Hastings"> + <tr valign="bottom"> + <td><a id="Illus8" name="Illus8" + ><img src="images/illus08-thomashastings-cameo.jpg" alt= + "Thomas Hastings" width="203" height="289" /></a></td> + <td><table summary="Caption"> + <tr><td>Thomas Hastings</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn">“<span>MY SOUL BE ON THY GUARD</span>”</h4> + + +<p>Strangely enough, this hymn, a trumpet note +of Christian warning and resolution, was written +by one who himself fell into unworthy ways.<sup>*</sup> But +the one strong and spiritual watch-song by which +he is remembered appeals for him, and lets us +know possibly, something of his own conflicts. +We can be thankful for the struggle he once +made, and for the hymn it inspired. It is a voice +of caution to others.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +I have been unable to verify this statement found in Mr. Butterworth's +“Story of the Hymns.”—T.B.</p></div> + +<p>George Heath, the author, was an English minister, +born in 1781; died 1822. For a time he was +pastor of a Presbyterian Church at Honiton, Devonshire, +and was evidently a prolific writer, having +composed a hundred and forty-four hymns, +an edition of which was printed.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>No other has been so familiarly linked with the +words as Lowell Mason's “Laban” (1830). It has +dash and animation enough to reënforce the hymn, +and give it popular life, even if the hymn had less +earnestness and vigor of its own.</p> + +<a id="png:178" name="png:178"></a><samp class="pgmark" + ><span class="png">178 /</span> 144</samp> +<div class="hymn"> +<div class="stanza"> +<div>Ne'er think the <ins class="transcriber" + title="Transcriber's note: original has 'vic'try'">vict'ry</ins> won</div> +<div class="i1"> Nor lay thine armor down:</div> +<div>Thy arduous work will not be done</div> +<div class="i1"> Till thou hast gained thy crown.</div> +</div><div class="stanza"> +<div>Fight on, my soul till death</div> +<div class="i1"> Shall bring thee to thy God;</div> +<div>He'll take thee at thy parting breath</div> +<div class="i1"> To His divine abode.</div> +</div></div> + + +<h4 class="hymn">“<span>PEOPLE OF THE LIVING GOD.</span>”</h4> + + +<p>Montgomery <em>felt</em> every line of this hymn as he +committed it to paper. He wrote it when, after +years in the “swim” of social excitements and +ambitions, where his young independence swept +him on, he came back to the little church of his +boyhood. His father and mother had gone to the +West Indies as missionaries, and died there. He +was forty-three years old when, led by divine light, +he sought readmission to the Moravian “meeting” +at Fulneck, and anchored happily in a haven of +peace.</p> + +<div class="hymn"> +<div class="stanza"> +<div>People of the living God</div> +<div class="i1"> I have sought the world around,</div> +<div>Paths of sin and sorrow trod,</div> +<div class="i1"> Peace and comfort nowhere found:</div> +</div><div class="stanza"> +<div>Now to you my spirit turns—</div> +<div class="i1"> Turns a fugitive unblest;</div> +<div>Brethren, where your altar burns,</div> +<div class="i1"> Oh, receive me into rest.</div> +</div></div> + +<p>James Montgomery, son of Rev. John Montgomery, +was born at Irvine, Ayeshire, Scotland, +<a id="png:179" name="png:179"></a><samp class="pgmark" + ><span class="png">179 /</span> 145</samp> +Nov. 4, 1771, and educated at the Moravian +Seminary at Fulneck, Yorkshire, Eng. He became +the editor of the <i>Sheffield Iris</i>, and his +pen was busy in non-professional as well as professional +work until old age. He died in Sheffield, +April 30, 1854.</p> + +<p>His literary career was singularly successful; +and a glance through any complete edition of his +poems will tell us why. His hymns were all +published during his lifetime, and all, as well as +his longer pieces, have the purity and polished +beauty, if not the strength, of Addison's work. +Like Addison, too, he could say that he had written +no line which, dying, he would wish to blot.</p> + +<p>The best of Montgomery was in his hymns. +These were too many to enumerate here, and the +more enduring ones too familiar to need enumeration. +The church and the world will not soon +forget “The Home in Heaven,”—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Forever with the Lord,</div> +<div>Amen, so let it be.</div> +<div>Life from the dead is in that word;</div> +<div>'Tis immortality.</div> +</div></div> + +<p class="runon">Nor—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O where shall rest be found,</div> +</div></div> + +<p class="runon">—with its impressive couplet—</p> + +<div class="hymn"> +<div class="stanza"> +<div>'Tis not the whole of life to live</div> +<div>Nor all of death to die.</div> +</div></div> + +<p class="runon">Nor the haunting sweetness of—</p> + +<div class="hymn"> +<div class="stanza"> +<div>There is a calm for those who weep.</div> +</div></div> + +<a id="png:180" name="png:180"></a><samp class="pgmark" + ><span class="png">180 /</span> 146</samp> + +<p class="runon">Nor, indeed, the hymn of Christian love just now +before us.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The melody exactly suited to the gentle trochaic +step of the home-song, “People of the living God,” +is “Whitman,” composed for it by Lowell Mason. +Few Christians, in America, we venture to say, +could hear an instrument play “Whitman” without +mentally repeating Montgomery's words.</p> + + + +<h4 class="hymn">“<span>TO LEAVE MY DEAR FRIENDS.</span>”</h4> + + +<p>This hymn, called “The Bower of Prayer,” was +dear to Christian hearts in many homes and +especially in rural chapel worship half a century +ago and earlier, and its sweet legato melody still +lingers in the memories of aged men and women.</p> + +<p>Elder John Osborne, a New Hampshire preacher +of the “Christian” (<i>Christ-ian</i>) denomination, +is said to have composed the tune (and possibly +the words) about 1815—though apparently the +music was arranged from a flute interlude in one +of Haydn's themes. The warbling notes of the +air are full of heart-feeling, and usually the best +available treble voice sang it as a solo.</p> + +<div class="hymn wide"><div class="stanza"> +<div>To leave my dear friends and from neighbors to part,</div> +<div>And go from my home, it affects not my heart</div> +<div>Like the thought of absenting myself for a day</div> +<div>From that blest retreat I have chosen to pray,</div> +<div class="i5"> I have chosen to pray.</div> +</div><div class="stanza"> +<a id="png:181" name="png:181"></a><samp class="pgmark" + ><span class="png">181 /</span> 147</samp> +<div>The early shrill notes of the loved nightingale</div> +<div>That dwelt in the bower, I observed as my bell:</div> +<div>It called me to duty, while birds in the air</div> +<div>Sang anthems of praises as I went to prayer,</div> +<div class="i5"> As I went to prayer.<sup>*</sup></div> +</div><div class="stanza"> +<div>How sweet were the zephyrs perfumed by the pine,</div> +<div>The ivy, the balsam, the wild eglantine,</div> +<div>But sweeter, O, sweeter superlative were</div> +<div>The joys that I tasted in answer to prayer,</div> +<div class="i5"> In answer to prayer.</div> +</div></div> + + +<hr class="footnote" /> +<div class="footnote"><p>* +The <i>American Vocalist</i> omits this stanza as too fanciful +as well as too crude</p></div> + + +<h4 class="hymn">“<span>SAVIOUR, THY DYING LOVE.</span>”</h4> + + +<p>This hymn of grateful piety was written in +1862, by Rev. S. Dryden Phelps, D.D., of New +Haven, and first published in <i>Pure Gold</i>, 1871; +afterwards in the (earlier) <i>Baptist Hymn and +Tune Book</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Saviour, Thy dying love</div> +<div class="i1"> Thou gavest me,</div> +<div>Nor should I aught withhold</div> +<div class="i1"> Dear Lord, from Thee.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Give me a faithful heart,</div> +<div class="i1"> Likeness to Thee,</div> +<div>That each departing day</div> +<div class="i1"> Henceforth may see</div> +<div>Some work of love begun,</div> +<div>Some deed of kindness done,</div> +<div>Some wand'rer sought and won,</div> +<div class="i1"> Something for Thee.</div> +</div></div> + +<p>The penultimate line, originally “Some sinful +wanderer won,” was altered by the author himself. +<a id="png:182" name="png:182"></a><samp class="pgmark" + ><span class="png">182 /</span> 148</samp> +The hymn is found in most Baptist hymnals, +and was inserted by Mr. Sankey in <i>Gospel Hymns +No. 1</i>. It has since won its way into several +revival collections and undenominational manuals.</p> + +<p>Rev. Sylvester Dryden Phelps, D.D., was born +in Suffield, Ct., May 15, 1816, and studied at the +Connecticut Literary Institution in that town. +An early call to the ministry turned his talents to +the service of the church, and his long settlement—comprising +what might be called his principal +life work—was in New Haven, where he was +pastor of the First Baptist church twenty-nine +years. He died there Nov. 23, 1895.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The Rev. Robert Lowry admired the hymn, and +gave it a tune perfectly suited to its metre and +spirit. It has never been sung in any other. +The usual title of it is “Something for Jesus.” +The meaning and sentiment of both words and +music are not unlike Miss Havergal's—</p> + +<p class="quote"> +I gave my life for thee. +</p> + + + +<h4 class="hymn">“<span>IN SOME WAY OR OTHER.</span>”</h4> + + +<p>This song of Christian confidence was written +by Mrs. Martha A.W. Cook, wife of the Rev. +Parsons Cook, editor of the <i>Puritan Recorder</i>, +Boston.</p> + +<p>It was published in the <i>American Messenger</i> in +1870, and is still in use here, as a German +<a id="png:183" name="png:183"></a><samp class="pgmark" + ><span class="png">183 /</span> 149</samp> +version of it is in Germany. The first stanza follows, +in the two languages:</p> + +<div class="hymn"> +<div class="stanza"> +<div>In some way or other the Lord will provide.</div> +<div class="i2"> It may not be my way,</div> +<div class="i2"> It may not be thy way,</div> +<div class="i2"> And yet in His own way</div> +<div class="i2"> The Lord will provide.</div> +</div><div class="stanza"> +<div>Sei's so oder anders, der Herr wird's versehn;</div> +<div class="i2"> Mag's nicht sein, wie ich will,</div> +<div class="i2"> Mag's nicht sein, wie du willst,</div> +<div class="i2"> Doch wird's sein, wie Er will:</div> +<div class="i2"> Der Herr wird's versehn.</div> +</div></div> + +<p>In the English version the easy flow of the two +last lines into one sentence is an example of +rhythmic advantage over the foreign syntax.</p> + +<p>Mrs. Cook was married to the well-known +clergyman and editor, Parsons Cook, (1800–1865) +in Bridgeport, Ct., and survived him at his death +in Lynn, Mass. She was Miss Martha Ann +Woodbridge, afterwards Mrs. Hawley, and a +widow at the time of her re-marriage as Mr. Cook's +second wife.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Professor Calvin S. Harrington, of Wesleyan +University, Middletown, Ct., set music to the +words as printed in <i>Winnowed Hymns</i> (1873) and +arranged by Dr. Eben Tourjee, organizer of the +great American Peace Jubilee in Boston. In the +<i>Gospel Hymns</i> it is, however, superseded by the +more popular composition of Philip Phillips.</p> + +<a id="png:184" name="png:184"></a><samp class="pgmark" + ><span class="png">184 /</span> 150</samp> + +<p>Dr. Eben Tourjee, late Dean of the College of +Music in Boston University, and founder and head +of the New England Conservatory, was born in Warwick, +R.I., June 1, 1834. With only an academy +education he rose by native genius, from a +hard-working boyhood to be a teacher of music +and a master of its science. From a course of +study in Europe he returned and soon made his +reputation as an organizer of musical schools and +sangerfests. The New England Conservatory of +Music was first established by him in Providence, +but removed in 1870 to Boston, its permanent +home. His doctorate of music was conferred +upon him by Wesleyan University. Died in Boston, +April 12, 1891.</p> + +<p>Philip Phillips, known as “the singing Pilgrim,” +was born in Jamestown, Chautauqua, Co., N.Y., +Aug. 13, 1834. He compiled twenty-nine collections +of sacred music for Sunday schools, +gospel meetings, etc.; also a <i>Methodist Hymn and +Tune Book</i>, 1866. He composed a great number +of tunes, but wrote no hymns. Some of his books +were published in London, for he was a cosmopolitan +singer, and traveled through Europe and +Australia as well as America. Died in Delaware, +O., June 25, 1875.</p> + + + +<h4 class="hymn">“<span>NEARER, MY GOD, TO THEE.</span>”</h4> + + +<p>Mr. William Stead, fond of noting what is +often believed to be the “providential chain of +<a id="png:185" name="png:185"></a><samp class="pgmark" + ><span class="png">185 /</span> 151</samp> +causes” in everything that happens, recalls the +fact that Benjamin Flower, editor of the <i>Cambridge +Intelligencer</i>, while in jail (1798) at the +instigation of Bp. Watson for an article defending +the French Revolution, and criticising the Bishop's +political course, was visited by several sympathizing +ladies, one of whom was Miss Eliza Gould. +The young lady's first acquaintance with him +there in his cell led to an attachment which eventuated +in marriage. Of that marriage Sarah +Flower was born. By the theory of providential +sequences Mr. Stead makes it appear that the +forgotten vindictiveness of a British prelate “was +the <i>causa causans</i> of one of the most spiritual and +aspiring hymns in the Christian Hymnary.”</p> + +<p>“Nearer, My God, to Thee” was on the lips of +President McKinley as he lay dying by a murderer's +wicked shot. It is dear to President Roosevelt +for its memories of the battle of Las Quasimas, +where the Rough Riders sang it at the burial of +their slain comrades. Bishop Marvin was saved +by it from hopeless dejection, while practically an +exile during the Civil War, by hearing it sung in +the wilds of Arkansas, by an old woman in a log +hut.</p> + +<p>A letter from Pittsburg, Pa., to a leading Boston +paper relates the name and experience of a forger +who had left the latter city and wandered eight +years a fugitive from justice. On the 5th of +November, (Sunday,) 1905, he found himself in +Pittsburg, and ventured into the Dixon Theatre, +<a id="png:186" name="png:186"></a><samp class="pgmark" + ><span class="png">186 /</span> 152</samp> +where a religious service was being held, to hear +the music. The hymn “Nearer, My God, to Thee” +so overcame him that he went out weeping bitterly. +He walked the floor of his room all night, and in +the morning telephoned for the police, confessed +his name and crime, and surrendered himself to be +taken back to the Boston authorities.</p> + +<p>Mrs. Sarah Flower Adams, author of the noble +hymn (supposed to have been written in 1840), +was born at Harlow, Eng., Feb. 22, 1805, and died +there in 1848. At her funeral another of her +hymns was sung, ending—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When falls the shadow, cold in death</div> +<div>I yet will sing with fearless breath,</div> +<div>As comes to me in shade or sun,</div> +<div>“Father, Thy will, not mine, be done.”</div> +</div></div> + +<p>The attempts to <em>evangelize</em> “Nearer, My God, to +Thee” by those who cannot forget that Mrs. +Adams was a Unitarian, are to be deplored. Such +zeal is as needless as trying to sectarianize an Old +Testament Psalm. The poem is a perfect religious +piece—to be sung as it stands, with thanks that it +was ever created.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>In English churches (since 1861) the hymn was +and may still be sung to “Horbury,” composed +by Rev. John B. Dykes, and “St. Edmund,” by +Sir Arthur Sullivan. Both tunes are simple and +appropriate, but such a hymn earns and inevitably +<a id="png:187" name="png:187"></a><samp class="pgmark" + ><span class="png">187 /</span> 153</samp> +acquires a single tune-voice, so that its music instantly +names it by its words when played on instruments. +Such a voice was given it by Lowell +Mason's “Bethany,” (1856). (Why not “Bethel,” +instead, every one who notes the imagery of the +words must wonder.) “Bethany” appealed to the +popular heart, and long ago (in America) hymn +and tune became each other's property. It is +even simpler than the English tunes, and a single +hearing fixes it in memory.</p> + + + +<h4 class="hymn">“<span>I NEED THEE EVERY HOUR.</span>”</h4> + + +<p>Mrs. Annie Sherwood Hawks, who wrote this +hymn in 1872, was born in Hoosick, N.Y., in 1835.</p> + +<p>She sent the hymn (five stanzas) to Dr. Lowry, +who composed its tune, adding a chorus, to make +it more effective. It first appeared in a small +collection of original songs prepared by Lowry +and Doane for the National Baptist Sunday School +Association, which met at Cincinnati, O., November, +1872, and was sung there.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I need Thee every hour,</div> +<div class="i1"> Most gracious Lord,</div> +<div>No tender voice like Thine</div> +<div class="i1"> Can peace afford.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>I need Thee, Oh, I need Thee,</div> +<div>Every hour I need Thee;</div> +<div>Oh, bless me now, my Saviour,</div> +<div class="i1"> I come to Thee!</div> +</div></div> + +<a id="png:188" name="png:188"></a><samp class="pgmark" + ><span class="png">188 /</span> 154</samp> + +<p>One instance, at least, of a hymn made doubly +impressive by its chorus will be attested by all who +have sung or heard the pleading words and music +of Mrs. Hawks' and Dr. Lowry's “I need Thee, +Oh, I need Thee.”</p> + + + +<h4 class="hymn">“<span>I GAVE MY LIFE FOR THEE.</span>”</h4> + + +<p>This was written in her youth by Frances Ridley +Havergal, and was suggested by the motto over the +head of Christ in the great picture, “Ecce Homo,” +in the Art Gallery of Dusseldorf, Prussia, where she +was at school. The sight—as was the case with +young Count Zinzendorf—seems to have had +much to do with the gifted girl's early religious +experience, and indeed exerted its influence on +her whole life. The motto read “I did this for +thee; what doest thou for me?” and the generative +effect of the solemn picture and its question soon +appeared in the hymn that flowed from Miss +Havergal's heart and pen.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I gave my life for thee,</div> +<div class="i1"> My precious blood I shed,</div> +<div>That thou might'st ransomed be</div> +<div class="i1"> And quickened from the dead.</div> +<div>I gave my life for thee:</div> +<div>What hast thou given for me?</div> +</div></div> + +<p>Miss Frances Ridley Havergal, sometimes called +“The Theodosia of the 19th century,” was born +at Astley, Worcestershire, Eng., Dec. 14, 1836. +Her father, Rev. William Henry Havergal, a +<a id="png:189" name="png:189"></a><samp class="pgmark" + ><span class="png">189 /</span> 155</samp> +clergyman of the Church of England, was himself +a poet and a skilled musician, and much of the +daughter's ability came to her by natural bequest +as well as by education. Born a poet, she became +a fine instrumentalist, a composer and an accomplished +linguist. Her health was frail, but her life +was a devoted one, and full of good works. Her +consecrated <em>words</em> were destined to outlast her by +many generations.</p> + +<p>“Writing is <em>praying</em> with me,” she said. Death +met her in 1879, when still in the prime of womanhood.</p> + +<a id="png:193" name="png:193"></a><samp class="pgmark" + ><span class="png">193 /</span> opp 158</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Frances Ridley Havergal"> + <tr valign="bottom"> + <td><a id="Illus9" name="Illus9" + ><img src="images/illus09-francesridleyhavergal-cameo.jpg" + alt="Frances Ridley Havergal" width="203" height="248" /></a></td> + <td><table summary="Caption"> + <tr><td>Frances Ridley Havergal</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The music that has made this hymn of Miss +Havergal familiar in America is named from its +first line, and was composed by the lamented +Philip P. Bliss (christened Philipp Bliss<sup>*</sup>), a pupil +of Dr. George F. Root.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Mr. Bliss himself changed the spelling of his name, preferring to let the +third P. do duty alone, as a middle initial.</p></div> + +<p>He was born in Rome, Pa., Jan. 9, 1838, and less +than thirty-nine years later suddenly ended his life, +a victim of the awful railroad disaster at Ashtabula +O., Dec. 29, 1876, while returning from a visit to +his aged mother. His wife, Lucy Young Bliss, +perished with him there, in the swift flames that +enveloped the wreck of the train.</p> + +<p>The name of Mr. Bliss had become almost a +household word through his numerous popular +Christian melodies, which were the American +<a id="png:190" name="png:190"></a><samp class="pgmark" + ><span class="png">190 /</span> 156</samp> +beginning of the series of <i>Gospel Hymns</i>. Many +of these are still favorite prayer-meeting tunes +throughout the country and are heard in song-service +at Sunday-school and city mission meetings.</p> + + +<h4 class="hymn">“<span>JESUS KEEP ME NEAR THE CROSS.</span>”</h4> + + +<p>This hymn, one of the best and probably most +enduring of Fanny J. Crosby's sacred lyrics, was +inspired by Col. 1:29.</p> + +<p>Frances Jane Crosby (Mrs. Van Alstyne) the +blind poet and hymnist, was born in Southeast, +N.Y., March 24, 1820. She lost her eyesight at +the age of six. Twelve years of her younger life +were spent in the New York Institution for the +Blind, where she became a teacher, and in 1858 +was happily married to a fellow inmate, Mr. +Alexander Van Alstyne, a musician.</p> + +<p>George F. Root was for a time musical instructor +at the Institution, and she began early to write +words to his popular song-tunes. “Rosalie, the +Prairie Flower,” and the long favorite melody, +“There's Music in the Air” are among the many +to which she supplied the text and the song name.</p> + +<p>She resides in Bridgeport, Ct., where she enjoys +a serene and happy old age. She has written over +six thousand hymns, and possibly will add other +pearls to the cluster before she goes up to join the +singing saints.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, keep me near the Cross,</div> +<div class="i1"> There a precious Fountain</div> +<a id="png:191" name="png:191"></a><samp class="pgmark" + ><span class="png">191 /</span> 157</samp> +<div>Free to all, a healing stream,</div> +<div class="i1"> Flows from Calv'ry's mountain.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>In the Cross, in the Cross</div> +<div class="i1"> Be my glory ever,</div> +<div>Till my raptured soul shall find</div> +<div class="i1"> Rest beyond the river.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Near the Cross! O Lamb of God,</div> +<div class="i1"> Bring its scenes before me;</div> +<div>Help me walk from day to day</div> +<div class="i1"> With its shadows o'er me.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +</div></div> + +<p>William Howard Doane, writer of the music to +this hymn, was born in Preston, Ct., Feb. 3, 1831. +He studied at Woodstock Academy, and subsequently +acquired a musical education which earned +him the degree of Doctor of Music conferred upon +him by Denison University in 1875. Having a +mechanical as well as musical gift, he patented +more than seventy inventions, and was for some +years engaged with manufacturing concerns, both +as <ins class="transcriber" + title="Transcriber's note: Original reads 'employe'">employee</ins> +and manager, but his interest in song-worship +and in Sunday-school and church work +never abated, and he is well known as a trainer of +choirs and composer of some of the best modern +devotional tunes. His home is in Cincinnati, O.</p> + + + +<h4 class="hymn">“<span>I WOULD NOT LIVE ALWAY.</span>”</h4> + + +<p>This threnody (we may almost call it) of W.A. +Muhlenberg, illustrating one phase of Christian +<a id="png:192" name="png:192"></a><samp class="pgmark" + ><span class="png">192 /</span> 158</samp> +experience, was the outpouring of a poetic melancholy +not uncommon to young and finely strung souls. +He composed it in his twenties,—long before he became +“Doctor” Muhlenberg,—and for years afterwards +tried repeatedly to alter it to a more cheerful +tone. But the poem had its mission, and it had +fastened itself in the public imagination, either by +its contagious sentiment or the felicity of its tune, +and the author was obliged to accept the fame of it +as it originally stood.</p> + +<p>William Augustus Muhlenberg D.D. was born +in Philadelphia, Sept. 16, 1796, the great-grandson +of Dr. Henry M. Muhlenberg, founder of the Lutheran +church in America. In 1817 he left his ancestral +communion, and became an Episcopal +priest.</p> + +<p title="Illustration of Frances Ridley Havergal originally opposite">As +Rector of St. James church, Lancaster, Pa., +he interested himself in the improvement of ecclesiastical +hymnody, and did much good reforming +work. After a noble and very active life as promoter +of religious education and Christian union, +and as a friend and benefactor of the poor, he +died April, 8, 1877, in St. Luke's Hospital, N.Y.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>This was composed by Mr. George Kingsley in +1833, and entitled “Frederick” (dedicated to the +Rev. Frederick T. Gray). Issued first as sheet +music, it became popular, and soon found a place +in the hymnals. Dr. Louis Benson says of the +<a id="png:195" name="png:195"></a><samp class="pgmark" + ><span class="png">195 /</span> 159</samp> +conditions and the fancy of the time, “The standard +of church music did not differ materially from +that of parlor music.... Several editors have +attempted to put a newer tune in the place of Mr. +Kingsley's. It was in vain, simply because words +and melody both appeal to the same taste.”</p> + + + +<h4 class="hymn" +>“<span>SUN OF MY SOUL, MY SAVIOUR DEAR.</span>”</h4> + + +<p>This gem from Keble's <i>Christian Year</i> illustrates +the life and character of its pious author, and, like +all the hymns of that celebrated collection, is an +incitive to spiritual thought for the thoughtless, as +well as a language for those who stand in the Holy +of Holies.</p> + +<p>The Rev. John Keble was born in Caln, St. Aldwyn, +April 25, 1792. He took his degree of A.M. +and was ordained and settled at Fairford, where he +began the parochial work that ceased only with his +life. He died at Bournmouth, March 29, 1866.</p> + +<p>His settlement at Fairford, in charge of three +small curacies, satisfied his modest ambition, +though altogether they brought him only about £100 +per year. Here he preached, wrote his hymns and +translations, performed his pastoral work, and +was happy. Temptation to wider fields and larger +salary never moved him.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The music to this hymn of almost unparalleled +poetic and spiritual beauty was arranged from a +<a id="png:196" name="png:196"></a><samp class="pgmark" + ><span class="png">196 /</span> 160</samp> +German Choral of Peter Ritter (1760–1846) by +William Henry Monk, Mus. Doc., born London, +1823. Dr. Monk was a lecturer, composer, editor, +and professor of vocal music at King's College. +This noble tune appears sometimes under the +name “Hursley” and supersedes an earlier one +(“Halle”) by Thomas Hastings.</p> + +<div class="hymn"><div class="stanza"> +<div>Sun of my soul, my Saviour dear,</div> +<div>It is not night if Thou be near.</div> +<div>O may no earth-born cloud arise</div> +<div>To hide Thee from Thy servants' eyes.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Abide with me from morn till eve,</div> +<div>For without Thee I cannot live</div> +<div>Abide with me when night is nigh,</div> +<div>For without Thee I cannot die.</div> +</div></div> + +<p>The tune “Hursley” is a choice example of polyphonal +sweetness in uniform long notes of perfect +chord.</p> + +<p>The tune of “Canonbury,” by Robert Schumann, +set to Keble's hymn, “New every morning +is the love,” is deservedly a favorite for flowing +long metres, but it could never replace +“Hursley” with “Sun of my soul.”</p> + + + +<h4 class="hymn">“<span>DID CHRIST O'ER SINNERS WEEP?</span>”</h4> + + +<p>The Rev. Benjamin Beddome wrote this tender +hymn-poem while pastor of the Baptist Congregation +at Bourton-on-the-water, Gloucestershire, +Eng. He was born at Henley, Chatwickshire, Jan. +<a id="png:197" name="png:197"></a><samp class="pgmark" + ><span class="png">197 /</span> 161</samp> +23, 1717. Settled in 1743, he remained with the +same church till his death, Sept. 3, 1795. His +hymns were not collected and published till 1818.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Dennis,” a soft and smoothly modulated harmony, +is oftenest sung to the words, and has no +note out of sympathy with their deep feeling.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Did Christ o'er sinners weep,</div> +<div class="i1"> And shall our cheeks be dry?</div> +<div>Let floods of penitential grief</div> +<div class="i1"> Burst forth from every eye.</div> +</div><div class="stanza"> +<div>The Son of God in tears</div> +<div class="i1"> Admiring angels see!</div> +<div>Be thou astonished, O my soul;</div> +<div class="i1"> He shed those tears for thee.</div> +</div><div class="stanza"> +<div>He wept that we might weep;</div> +<div class="i1"> Each sin demands a tear:</div> +<div>In heaven alone no sin is found,</div> +<div class="i1"> And there's no weeping there.</div> +</div></div> + +<p>The tune of “Dennis” was adapted by Lowell +Mason from Johann Georg Nägeli, a Swiss music +publisher, composer and poet. He was born in +Zurich, 1768. It is told of him that his irrepressible +genius once tempted him to violate the ethics +of authorship. While publishing Beethoven's three +great solo sonatas (Opus 31) he interpolated two +bars of his own, an act much commented upon in +musical circles, but which does not seem to have +cost him Beethoven's friendship. Possibly, like +<a id="png:198" name="png:198"></a><samp class="pgmark" + ><span class="png">198 /</span> 162</samp> +Murillo to the servant who meddled with his paintings, +the great master forgave the liberty, because +the work was so good.</p> + +<p>Nägeli's compositions are mostly vocal, for school +and church use, though some are of a gay and playful +nature. The best remembered of his secular and +sacred styles are his blithe aria to the song of Moore, +“Life let us cherish, while yet the taper glows” +and the sweet choral that voices Beddome's hymn.</p> + + + +<h4 class="hymn">“<span>MY JESUS, I LOVE THEE.</span>”</h4> + + +<p>The real originator of the <i>Coronation Hymnal</i>, +a book into whose making went five years of prayer, +was Dr. A.J. Gordon, late Pastor of the Clarendon +St. Baptist church, Boston. While the volume was +slowly taking form and plan he was wont to hum to +himself, or cause to be played by one of his family, +snatches and suggestions of new airs that came to +him in connection with his own hymns, and +others which seemed to have no suitable music. +The anonymous hymn, “My Jesus, I Love Thee,” +he found in a London hymn-book, and though the +tune to which it had been sung in England was +sent to him some time later, it did not sound sympathetic. +Dissatisfied, and with the ideal in his +mind of what the feeling should be in the melody +to such a hymn, he meditated and prayed over the +words till in a moment of inspiration the beautiful +air sang itself to him<sup>*</sup> which with its simple concords +has carried the hymn into the chapels of every denomination.</p> + + +<hr class="footnote" /> +<div class="footnote"><p>* +The fact that this sweet melody recalls to some a similar tune sung +sixty years ago reminds us again of the story of the tune +“America.” It is not impossible that an unconscious +<em>memory</em> helped to shape the air that came +to Dr. Gordon's mind; though unborrowed similarities have been inevitable +in the whole history of music.</p></div> + +<a id="png:199" name="png:199"></a><samp class="pgmark" + ><span class="png">199 /</span> 163</samp> +<div class="hymn"><div class="stanza"> +<div>My Jesus, I love Thee, I know Thou art mine,</div> +<div>For Thee all the pleasures of sin I resign;</div> +<div>My gracious Redeemer, my Saviour art Thou,</div> +<div>If ever I loved Thee, my Jesus, 'tis now.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>I will love Thee in life, I will love Thee in death,</div> +<div>And praise Thee as long as Thou lendest me breath,</div> +<div>And say when the death-dew lies cold on my brow,</div> +<div>If ever I loved Thee, my Jesus, 'tis now.</div> +</div><div class="stanza"> +<div>In mansions of glory and endless delight</div> +<div>I'll ever adore Thee, unveiled to my sight,</div> +<div>And sing, with the glittering crown on my brow,</div> +<div>If ever I loved Thee, my Jesus, 'tis now.</div> +</div></div> + +<p>The memory of the writer returns to a day in a +railway-car en route to the great Columbian Fair in +Chicago when the tired passengers were suddenly +surprised and charmed by the music of this melody. +A young Christian man and woman, husband and +wife, had begun to sing “My Jesus, I love Thee.” +Their voices (a tenor and soprano) were clear and +sweet, and every one of the company sat up to listen +with a look of mingled admiration and relief. +Here was something, after all, to make a long journey +less tedious. They sang all the four verses and +paused. There was no clapping of hands, for a reverential +hush had been cast over the audience by +<a id="png:200" name="png:200"></a><samp class="pgmark" + ><span class="png">200 /</span> 164</samp> +the sacred music. Instead of the inevitable applause +that follows mere entertainment, a gentle +but eager request for more secured the repetition of +the delightful duet. This occurred again and again, +till every one in the car—and some had never heard +the tune or words before—must have learned them +by heart. Fatigue was forgotten, miles had been +reduced to furlongs in a weary trip, and a company +of strangers had been lifted to a holier plane of +thought.</p> + +<p>Besides this melody there are four tunes by Dr. +Gordon in his collection, three of them with his own +words. In all there are eleven of his hymns. Of +these the “Good morning in Glory,” set to his +music, is an emotional lyric admirable in revival +meetings, and the one beginning “O Holy Ghost, +Arise” is still sung, and called for affectionately as +“Gordon's Hymn.”</p> + +<p>Rev. Adoniram Judson Gordon D.D. was born +in New Hampton, N.H., April 19, 1836, and died in +Boston, Feb. 2d, 1895, after a life of unsurpassed +usefulness to his fellowmen and devotion to his +Divine Master. Like Phillips Brooks he went to his +grave “in all his glorious prime,” and his loss is +equally lamented. He was a descendant of John +Robinson of Leyden.</p> + +<a id="png:201" name="png:201"></a><samp class="pgmark" + ><span class="png">201 /</span> 165</samp> + + + + +<h2 class="chap">CHAPTER IV.</h2> +<hr class="chap" /> + + +<h1>MISSIONARY HYMNS.</h1> +<hr class="chap" /> + + +<h4 class="hymn" +>“<span>JESUS SHALL REIGN WHERE'ER THE SUN.</span>”</h4> + + +<p>One of Watts' sublimest hymns, this Hebrew +ode to the final King and His endless dominion +expands the majestic prophesy in the seventy-second +Psalm:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus shall reign where'er the sun</div> +<div>Does his successive journeys run,</div> +<div>His kingdom stretch from shore to shore</div> +<div>Till moons shall wax and wane no more.</div> +</div></div> + +<p>The hymn itself could almost claim to be known +“where'er the sun” etc., for Christian missionaries +have sung it in every land, if not in every language.</p> + +<p>One of the native kings in the South Sea Islands, +who had been converted through the ministry of +English missionaries, substituted a Christian for +a pagan constitution in 1862. There were five +thousand of his subjects gathered at the ceremonial, +and they joined as with one voice in singing +this hymn.</p> + +<a id="png:202" name="png:202"></a><samp class="pgmark" + ><span class="png">202 /</span> 166</samp> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>“Old Hundred” has often lent the notes of +its great plain-song to the sonorous lines, and +“Duke Street,” with superior melody and scarcely +inferior grandeur, has given them wings; but +the choice of many for music that articulates the +life of the hymn would be the tune of “Samson,” +from Handel's Oratorio so named. It appears as +No. 469 in the <i>Evangelical Hymnal</i>.</p> + +<p>Handel had no peer in the art or instinct of +making a note speak a word.</p> + + + + +<h4 class="hymn" +>“<span>JOY TO THE WORLD! THE LORD IS COME!</span>”</h4> + + +<p>This hymn, also by Watts, is often sung as a +Christmas song; but “The Saviour Reigns” and “He +Rules the World” are bursts of prophetic triumph +always apt and stimulating in missionary meetings.</p> + +<p>Here, again, the great Handel lends appropriate +aid, for “Antioch,” the popular tone-consort of +the hymn, is an adaptation from his “Messiah.” +The arrangement has been credited to Lowell +Mason, but he seems to have taken it from an +English collection by Clark of Canterbury.</p> + + + +<h4 class="hymn" +>“<span>O'ER THE GLOOMY HILLS OF DARKNESS.</span>”</h4> + +<h4 class="quote"><i>Dros y brinian tywyl niwliog</i>.</h4> + + +<p>This notable hymn was written, probably about +1750, by the Rev. William Williams, a Welsh +Calvinistic Methodist, born at Cefnycoed, Jan. +<a id="png:203" name="png:203"></a><samp class="pgmark" + ><span class="png">203 /</span> 167</samp> +7, 1717, near <ins class="transcriber" + title="Transcriber's note: original has 'Llandover'">Llandovery</ins>. He began the study of +medicine, but took deacon's orders, and was for +a time an itinerant preacher, having left the +established Church. Died at Pantycelyn, Jan. +1, 1781.</p> + +<p>His hymn, like the two preceding, antedates +the great Missionary Movement by many years.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O'er the gloomy hills of darkness</div> +<div class="i1"> Look my soul! be still, and gaze!</div> +<div>See the promises advancing</div> +<div class="i1"> To a glorious Day of grace!</div> +<div class="i2"> Blessed Jubilee,</div> +<div>Let thy glorious morning dawn!</div> +</div><div class="stanza"> +<div>Let the dark, benighted pagan,</div> +<div class="i1"> Let the rude barbarian see</div> +<div>That divine and glorious conquest</div> +<div class="i1"> Once obtained on Calvary.</div> +<div class="i2"> Let the Gospel</div> +<div>Loud resound from pole to pole.</div> +</div></div> + +<p>This song of anticipation has dropped out of the +modern hymnals, but the last stanza lingers in +many memories.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Fly abroad, thou mighty Gospel!</div> +<div class="i1"> Win and conquer, never cease;</div> +<div>May thy lasting wide dominion</div> +<div class="i1"> Multiply and still increase.</div> +<div class="i2"> Sway Thy scepter,</div> +<div>Saviour, all the world around!</div> +</div></div> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>Oftener than any other the music of “Zion” +has been the expression of William Williams' +<a id="png:204" name="png:204"></a><samp class="pgmark" + ><span class="png">204 /</span> 168</samp> +Missionary Hymn. It was composed by Thomas +Hastings, in Washington, Ct., 1830.</p> + + + +<h4 class="hymn" +>“<span>HASTEN, LORD, THE GLORIOUS TIME.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Hasten, Lord, the glorious time</div> +<div class="i1"> When beneath Messiah's sway</div> +<div>Every nation, every clime</div> +<div class="i1"> Shall the Gospel call obey.</div> +<div>Mightiest kings its power shall own,</div> +<div class="i1"> Heathen tribes His name adore,</div> +<div>Satan and his host o'erthrown</div> +<div class="i1"> Bound in chains shall hurt no more.</div> +</div></div> + +<p>Miss Harriet Auber, the author of this melodious +hymn, was a daughter of James Auber of London, +and was born in that city, Oct. 4, 1773. After +leaving London she led a secluded life at Broxbourne +and Hoddesdon, in Hertfordshire, writing +devotional poetry and sacred songs and paraphrases.</p> + +<p>Her <i>Spirit of the Psalms</i>, published in 1829, +was a collection of lyrics founded on the Biblical +Psalms. “Hasten Lord,” etc., is from Ps. 72, known +for centuries to Christendom as one of the Messianic +Psalms. Her best-known hymns have the +same inspiration, as—</p> + +<p class="quote"><span> +Wide, ye heavenly gates, unfold. +<br /> +Sweet is the work, O Lord. +<br /> +With joy we hail the sacred day. +</span></p> + +<p>Miss Auber died in Hoddesdon, Jan. 20, 1862. +She lived to witness and sympathise with the +pioneer missionary enterprise of the 19th century, +<a id="png:205" name="png:205"></a><samp class="pgmark" + ><span class="png">205 /</span> 169</samp> +and, although she could not stand among the +leaders of the battle-line in extending the conquest +of the world for Christ, she was happy in having +written a campaign hymn which they loved to sing. +(It is curious that so pains-taking a work as +Julian's <i>Dictionary of Hymns and Hymn-writers</i> +credits “With joy we hail the sacred day” to both +Miss Auber and Henry Francis Lyte. Coincidences +are known where different hymns by different +authors begin with the same line; and in this +case one writer was dead before the other's works +were published. Possibly the collector may have +seen a forgotten hymn of Lyte's, with that first line.)</p> + +<p>The tune that best interprets this hymn in spirit +and in living <em>music</em> is Lowell Mason's “Eltham.” +Its harmony is like a chime of bells.</p> + + + +<h4 class="hymn">“<span>LET PARTY NAMES NO MORE.</span>”</h4> + +<div class="hymn"> +<div class="stanza"> +<div>Let party names no more</div> +<div class="i1"> The Christian world o'erspread;</div> +<div>Gentile and Jew, and bond and free,</div> +<div class="i1"> Are one in Christ the Head.</div> +</div></div> + +<p>This hymn of Rev. Benjamin Beddome sounds +like a prelude to the grand rally of the Christian +Churches a generation later for united advance +into foreign fields. It was an after-sermon hymn—like +so many of Watts and Doddridge—and +spoke a good man's longing to see all sects stand +shoulder to shoulder in a common crusade.</p> + +<p>Tune—Boylston.</p> + +<a id="png:206" name="png:206"></a><samp class="pgmark" + ><span class="png">206 /</span> 170</samp> + + + +<h4 class="hymn" +>“<span>WATCHMAN, TELL US OF THE NIGHT.</span>”</h4> + + +<p>The tune written to this pealing hymn of Sir +John Bowring by Lowell Mason has never been +superseded. In animation and vocal splendor +it catches the author's own clear call, echoing the +shout of Zion's sentinels from city to city, and +happily reproducing in movement and phrase the +great song-dialogue. Words and music together, +the piece ranks with the foremost missionary +lyrics. Like the greater Mason-Heber world-song, +it has acquired no arbitrary name, appearing +in Mason's own tune-books under its first hymn-line +and likewise in many others. A few hymnals +have named it “Bowring,” (and why not?) and +some later ones simply “Watchman.”</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i3">1.</div> +<div>Watchman, tell us of the night.</div> +<div class="i1"> What its signs of promise are!</div> +<div class="i2"> (Antistrophe)</div> +<div>Traveler, on yon mountain height.</div> +<div class="i1"> See that glory-beaming star!</div> +</div> +<div class="stanza"> +<div class="i3">2</div> +<div>Watchman, does its beauteous ray</div> +<div class="i1"> Aught of hope or joy foretell?</div> +<div class="i2"> (Antistrophe)</div> +<div>Trav'ler, yes; it brings the day,</div> +<div class="i1"> Promised day of Israel.</div> +</div> +<div class="stanza"> +<div class="i3">3</div> +<div>Watchman, tell us of the night;</div> +<div class="i1"> Higher yet that star ascends.</div> +<div class="i2"> (Antistrophe)</div> +<a id="png:207" name="png:207"></a><samp class="pgmark" + ><span class="png">207 /</span> 171</samp> +<div>Trav'ler, blessedness and light</div> +<div class="i1"> Peace and truth its course portends.</div> +</div> +<div class="stanza"> +<div class="i3">4</div> +<div>Watchman, will its beams alone</div> +<div class="i1"> Gild the spot that gave them birth?</div> +<div class="i2"> (Antistrophe)</div> +<div>Trav'ler, ages are its own.</div> +<div class="i1"> See! it bursts o'er all the earth.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>YE CHRISTIAN HERALDS, GO PROCLAIM.</span>”</h4> + + +<p>In some versions “Ye Christian <em>heroes</em>,” etc.</p> + +<p>Professor David R. Breed attributes this stirring +hymn to Mrs. Vokes (or Voke) an English or +Welsh lady, who is supposed to have written it +somewhere near 1780, and supports the claim by +its date of publication in <i>Missionary and Devotional +Hymns</i> at Portsea, Wales, in 1797. In +this Dr. Breed follows (he says) “the accepted +tradition.” On the other hand the <i>Coronation +Hymnal</i> (1894) refers the authorship to a Baptist +minister, the Rev. Bourne Hall Draper, of Southampton +(Eng.), born 1775, and this choice has the +approval of Dr. Charles Robinson. The question +occurs whether, when the hymn was published in +good faith as Mrs. Vokes', it was really the work +of a then unknown youth of twenty-two.</p> + +<p>The probability is that the hymn owns a mother +instead of a father—and a grand hymn it is; one +of the most stimulating in Missionary song-literature.</p> + +<p>The stanza—</p> + +<a id="png:208" name="png:208"></a><samp class="pgmark" + ><span class="png">208 /</span> 172</samp> +<div class="hymn"> +<div class="stanza"> +<div>God shield you with a wall of fire!</div> +<div>With flaming zeal your breasts inspire;</div> +<div>Bid raging winds their fury cease,</div> +<div>And hush the tumult into peace,</div> +</div></div> + +<p class="runon">—has been tampered with by editors, altering the +last line to “Calm the troubled seas,” etc., (for the +sake of the longer vowel;) but the substitution, +“<em>He'll</em> shield you,” etc., in the first line, turns a +prayer into a mere statement.</p> + +<p>The hymn was—and should remain—a God-speed +to men like William Carey, who had already +begun to think and preach his immortal motto, +“Attempt great things for God; expect great things +of God.”</p> + + +<h4 class="tune">THE TUNE</h4> + +<p class="runon">Is the “Missionary Chant,” and no other. Its +composer, Heinrich Christopher Zeuner, was born +in Eisleben, Saxony, Sept. 20, 1795. He came to +the United States in 1827, and was for many +years organist at Park Street Church, Boston, and +for the Handel and Haydn Society. In 1854 he +removed to Philadelphia where he served three +years as organist to St. Andrews Church, and Arch +Street Presbyterian. He became insane in 1857, and +in November of that year died by his own hand.</p> + +<p>He published an oratorio “The Feast of Tabernacles,” +and two popular books, the <i>American +Harp,</i> 1832, and <i>The Ancient Lyre</i>, 1833. His +compositions are remarkably spirited and vigorous, +and his work as a tune-maker was much +<a id="png:209" name="png:209"></a><samp class="pgmark" + ><span class="png">209 /</span> 173</samp> +in demand during his life, and is sure to continue, +in its best examples, as long as good sacred music +is appreciated.</p> + +<p>To another beautiful missionary hymn of Mrs. +Vokes, of quieter tone, but songful and sweet, +Dr. Mason wrote the tune of “Migdol.” It is its +musical twin.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Soon may the last glad song arise</div> +<div>Through all the millions of the skies.</div> +<div>That song of triumph which records</div> +<div>That “all the earth is now the Lord's.”</div> +</div></div> + + + +<h4 class="hymn" +>“<span>ON THE MOUNTAIN TOP APPEARING.</span>”</h4> + + +<p>This admired and always popular church hymn +was written near the beginning of the last century +by the Rev. Thomas Kelly, born in Dublin, 1760. +He was the son of the Hon. Chief Baron Thomas +Kelly of that city, a judge of the Irish Court of +Common Pleas. His father designed him for the +legal profession, but after his graduation at +Trinity College he took holy orders in the Episcopal +Church, and labored as a clergyman among the +scenes of his youth for more than sixty years, +becoming a Nonconformist in his later ministry. +He was a sweet-souled man, who made troops of +friends, and was honored as much for his piety as +for his poetry, music, and oriental learning.</p> + +<p>“I expect never to die,” he said, when Lord +Plunkett once told him he would reach a great age. +He finished his earthly work on the 14th of May, +<a id="png:210" name="png:210"></a><samp class="pgmark" + ><span class="png">210 /</span> 174</samp> +1855, when he was eighty-five years old. But he +still lives. His zeal for the coming of the Kingdom +of Christ prompted his best hymn.</p> + +<div class="hymn"> +<div class="stanza"> +<div>On the mountain-top appearing,</div> +<div class="i1"> Lo! the sacred herald stands,</div> +<div>Joyful news to Zion bearing,</div> +<div class="i1"> Zion long in hostile lands;</div> +<div class="i2"> Mourning captive,</div> +<div>God himself will loose thy bands.</div> +</div><div class="stanza"> +<div>Has the night been long and mournful?</div> +<div class="i1"> Have thy friends unfaithful proved?</div> +<div>Have thy foes been proud and scornful,</div> +<div class="i1"> By thy sighs and tears unmoved?</div> +<div class="i2"> Cease thy mourning;</div> +<div>Zion still is well beloved.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + + +<p title="Illustration of Reginald Heber originally opposite">To presume that +Kelly made both words and +music together is possible, for he was himself a +composer, but no such original tune seems to +survive. In modern use Dr. Hastings' “Zion” is +most frequently attached to the hymn, and was +probably written for it.</p> + + + +<h4 class="hymn" +>“<span>YE CHRISTIAN HEROES, WAKE TO GLORY.</span>”</h4> + + +<p>This rather crude parody on the “<ins class="transcriber" + title="Transcriber's note: original reads 'Marsellaise'">Marseillaise</ins> +Hymn” (see <a href="#png:379">Chap. 9</a>) is printed in the <i>American +Vocalist,</i> among numerous samples of early New +England psalmody of untraced authorship. It +might have been sung at primitive missionary +meetings, to spur the zeal and faith of a Francis +<a id="png:213" name="png:213"></a><samp class="pgmark" + ><span class="png">213 /</span> 175</samp> +Mason or a Harriet Newell. It expresses, at least, +the new-kindled evangelical spirit of the long-ago +consecrations in American church life that first +sent the Christian ambassadors to foreign lands, +and followed them with benedictions.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ye Christian heroes, wake to glory:</div> +<div class="i1"> Hark, hark! what millions bid you rise!</div> +<div>See heathen nations bow before you,</div> +<div class="i1"> Behold their tears, and hear their cries.</div> +<div>Shall pagan priest, their errors breeding,</div> +<div class="i1"> With darkling hosts, and flags unfurled,</div> +<div>Spread their delusions o'er the world,</div> +<div class="i1"> Though Jesus on the Cross hung bleeding?</div> +<div class="i3"> To arms! To arms!</div> +<div class="i2"> Christ's banner fling abroad!</div> +<div>March on! March on! all hearts resolved</div> +<div class="i1"> To bring the world to God.</div> +</div><div class="stanza"> +<div>O, Truth of God! can man resign thee,</div> +<div class="i1"> Once having felt thy glorious flame?</div> +<div>Can rolling oceans e'er prevent thee,</div> +<div class="i1"> Or gold the Christian's spirit tame?</div> +<div>Too long we slight the world's undoing;</div> +<div class="i1"> The word of God, salvation's plan,</div> +<div>Is yet almost unknown to man,</div> +<div class="i1"> While millions throng the road to ruin.</div> +<div class="i3"> To arms! to arms!</div> +<div class="i1"> The Spirit's sword unsheath:</div> +<div>March on! March on! all hearts resolved,</div> +<div class="i2"> To victory or death.</div> +</div></div> + + +<h4 class="hymn">“<span>HAIL TO THE LORD'S ANOINTED.</span>”</h4> + + +<p>James Montgomery (says Dr. Breed) is “distinguished +as the only layman besides Cowper +<a id="png:214" name="png:214"></a><samp class="pgmark" + ><span class="png">214 /</span> 176</samp> +among hymn-writers of the front rank in the +English language.” How many millions have +recited and sung his fine and exhaustively descriptive +poem,—</p> + +<p class="quote"> +Prayer is the soul's sincere desire, +</p> + +<p class="runon">—selections from almost any part of which are +perfect definitions, and have been standard hymns +on prayer for three generations. English Hymnology +would as unwillingly part with his missionary +hymns,—</p> + +<p class="quote"><span> +The king of glory we proclaim. +<br /> +Hark, the song of jubilee! +</span></p> + +<p class="runon">—and, noblest of all, the lyric of prophecy and +praise which heads this paragraph.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hail to the Lord's anointed,</div> +<div class="i1"> King David's greater Son!</div> +<div>Hail, in the time appointed</div> +<div class="i1"> His reign on earth begun.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Arabia's desert ranger</div> +<div class="i1"> To Him shall bow the knee,</div> +<div>The Ethiopian stranger</div> +<div class="i1"> His glory come to see.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Kings shall fall down before Him</div> +<div class="i1"> And gold and incense bring;</div> +<div>All nations shall adore Him,</div> +<div class="i1"> His praise all people sing.</div> +</div></div> + +<p>The hymn is really the seventy-second Psalm +in metre, and as a version it suffers nothing by +<a id="png:215" name="png:215"></a><samp class="pgmark" + ><span class="png">215 /</span> 177</samp> +comparison with that of Watts. Montgomery +wrote it as a Christmas ode. It was sung Dec. +25, 1821, at a Moravian Convocation, but in 1822 +he recited it at a great missionary meeting in +Liverpool, and Dr. Adam Clarke was so charmed +with it that he inserted it in his famous <i>Commentary</i>. +In no long time afterwards it found its +way into general use.</p> + +<p>The spirit of his missionary parents was Montgomery's +Christian legacy, and in exalted poetical +moments it stirred him as the divine afflatus kindled +the old prophets.</p> + + +<h4 class="tune">THE TUNE.</h4> + + +<p>The music editors in some hymnals have borrowed +the favorite choral variously named “Webb” +in honor of its author, and “The Morning Light +is Breaking” from the first line of its hymn. +Later hymnals have chosen Sebastian Wesley's +“Aurelia” to fit the hymn, with a movement similar +to that of “Webb”; also a German B flat +melody “Ellacombe,” undated, with livelier step +and a ringing chime of parts. No one of these +is inappropriate.</p> + +<p>Samuel Sebastian Wesley, grandson of Charles +Wesley the great hymnist, was born in London, +1810. Like his father, Samuel, he became a +distinguished musician, and was organist at +Exeter, Winchester and Gloucester Cathedrals. +Oxford gave him the degree of Doctor of Music. +<a id="png:216" name="png:216"></a><samp class="pgmark" + ><span class="png">216 /</span> 178</samp> +He composed instrumental melodies besides many +anthems, services, and other sacred pieces for +choir and congregational singing. Died in Gloucester, +April 19, 1876.</p> + +<a id="png:211" name="png:211"></a><samp class="pgmark" + ><span class="png">211 /</span> opp 174</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Bishop Heber"> + <tr valign="bottom"> + <td><a id="Illus10" name="Illus10" + ><img src="images/illus10-reginaldheber-cameo.jpg" alt= + "Bishop Reginald Heber" width="213" height="260" /></a></td> + <td><table summary="Caption"> + <tr><td>The Right Rev. Reginald Heber, D.D.</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn" +>“<span>FROM GREENLAND'S ICY MOUNTAINS.</span>”</h4> + + +<p>The familiar story of this hymn scarcely needs +repeating; how one Saturday afternoon in the +year 1819, young Reginald Heber, Rector of +Hodnet, sitting with his father-in-law, Dean +Shipley, and a few friends in the Wrexham +Vicarage, was suddenly asked by the Dean to +“write something to sing at the missionary meeting +tomorrow,” and retired to another part of the room +while the rest went on talking; how, very soon after, +he returned with three stanzas, which were hailed +with delighted approval; how he then insisted +upon adding another octrain to the hymn and +came back with—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Waft, waft, ye winds, His story,</div> +<div>And you, ye waters, roll;</div> +</div></div> + +<p class="runon">—and how the great lyric was sung in Wrexham +Church on Sunday morning for the first time in its +life. The story is old but always fresh. Nothing +could better have emphasized the good Dean's +sermon that day in aid of “The Society for the +Propagation of the Gospel in Foreign Parts,” than +that unexpected and glorious lyric of his poet son-in-law.</p> + +<a id="png:217" name="png:217"></a><samp class="pgmark" + ><span class="png">217 /</span> 179</samp> + +<p>By common consent Heber's “Missionary Hymn” +is the silver trumpet among all the rallying bugles +of the church.</p> + + +<h4 class="tune">THE TUNE.</h4> + + +<p>The union of words and music in this instance +is an example of spiritual affinity. “What God +hath joined together let no man put asunder.” +The story of the tune is a record of providential +birth quite as interesting as that of the hymn. In +1823, a lady in Savannah, Ga., having received +and admired a copy of Heber's lyric from England, +desired to sing it or hear it sung, but knew no +music to fit the metre. She finally thought of a +young clerk in a bank close by, Lowell Mason by +name, who sometimes wrote music for recreation, +and sent her son to ask him if he would make a +tune that would sing the lines. The boy returned +in half an hour with the composition that doubled +Heber's fame and made his own.</p> + +<p>In the words of Dr. Charles Robinson, “Like +the hymn it voices, it was done at a stroke, and +it will last through the ages.”</p> + + + +<h4 class="hymn" +>“<span>THE MORNING LIGHT IS BREAKING.</span>”</h4> + + +<p>Not far behind Dr. Heber's <i>chef-d'œuvre</i> in +lyric merit is the still more famous missionary +hymn of Dr. S.F. Smith, author of “My Country, +'Tis of Thee.” Another missionary hymn of his +which is widely used is—</p> + +<a id="png:218" name="png:218"></a><samp class="pgmark" + ><span class="png">218 /</span> 180</samp> + +<div class="hymn"> +<div class="stanza"> +<div>Yes, my native land, I love thee,</div> +<div> All thy scenes, I love them well.</div> +<div>Friends, connections, happy country,</div> +<div> Can I bid you all farewell?</div> +<div class="i2"> Can I leave you</div> +<div>Far in heathen lands to dwell?</div> +</div></div> + +<p>Drs. Nutter and Breed speak of “The Morning +Light is Breaking,” and its charm as a hymn of +peace and promise, and intimate that it has “gone +farther and been more frequently sung than any +other missionary hymn.” Besides the English, +there are versions of it in four Latin nations, the +Italian, Spanish, Portuguese and French, and +oriental translations in Chinese and several East +Indian tongues and dialects, as well as one in +Swedish. It author had the rare felicity, while on +a visit to his son, a missionary in Burmah, of +hearing it sung by native Christians in their language, +and of being welcomed with an ovation +when they knew who he was.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The morning light is breaking!</div> +<div class="i1"> The darkness disappears;</div> +<div>The sons of earth are waking</div> +<div class="i1"> To penitential tears;</div> +<div>Each breeze that sweeps the ocean</div> +<div class="i1"> Brings tidings from afar,</div> +<div>Of nations in commotion,</div> +<div class="i1"> Prepared for Zion's war.</div> +</div><div class="stanza"> +<div>Rich dews of grace come o'er us</div> +<div class="i1"> In many a gentle shower,</div> +<div>And brighter scenes before us</div> +<div class="i1"> Are opening every hour.</div> +<a id="png:219" name="png:219"></a><samp class="pgmark" + ><span class="png">219 /</span> 181</samp> +<div>Each cry to heaven going</div> +<div class="i1"> Abundant answer brings,</div> +<div>And heavenly gales are blowing</div> +<div class="i1"> With peace upon their wings.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Blest river of Salvation,</div> +<div class="i1"> Pursue thy onward way;</div> +<div>Flow thou to every nation,</div> +<div class="i1"> Nor in thy richness stay.</div> +<div>Stay not till all the lowly</div> +<div class="i1"> Triumphant reach their home;</div> +<div>Stay not till all the holy</div> +<div class="i1">Proclaim, “The Lord is come!”</div> +</div></div> + +<p>Samuel Francis Smith, D.D., was born in +Boston in 1808, and educated in Harvard University +(1825–1829). He prepared for the ministry, +and was pastor of Baptist churches at Waterville, +Me., and Newton, Mass., before entering the +service of the American Baptist Missionary union +as editor of its <i>Missionary Magazine</i>.</p> + +<p>He was a scholarly and graceful writer, both in +verse and prose, and besides his editorial work, +he was frequently an invited participant or guest +of honor on public occasions, owing to his fame +as author of the national hymn. His pure and gentle +character made him everywhere beloved and +reverenced, and to know him intimately in his +happy old age was a benediction. He died suddenly +and painlessly in his seat on a railway train, +November 16, 1895 in his eighty-eighth year.</p> + +<p>Dr. Smith wrote twenty-six hymns now more or +<a id="png:220" name="png:220"></a><samp class="pgmark" + ><span class="png">220 /</span> 182</samp> +less in use in church worship, and eight for Sabbath +school collections.</p> + + +<h4 class="tune">THE TUNE.</h4> + + +<p>“Millennial Dawn” is the title given it by a Boston +compiler, about 1844, but since the music and +hymn became “one and indivisable” it has been +named “Webb,” and popularly <em>known</em> as “Morning +Light” or oftener still by its first hymn-line, +“The morning light is breaking.”</p> + +<p>George James Webb was born near Salisbury, +Wiltshire, Eng., June 24, 1803. He studied music +in Salisbury and for several years played the +organ at Falmouth Church. When still a young +man (1830), he came to the United States, and +settled in Boston where he was long the leading +organist and music teacher of the city. He was +associate director of the Boston Academy of Music +with Lowell Mason, and joint author and editor +with him of several church-music collections. Died +in Orange, N.J., Nov. 7, 1887.</p> + +<a id="png:229" name="png:229"></a><samp class="pgmark" + ><span class="png">229 /</span> opp 190</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of George James Webb"> + <tr valign="bottom"> + <td><a id="Illus11" name="Illus11" + ><img src="images/illus11-georgejameswebb-cameo.jpg" alt= + "George James Webb" width="214" height="307" /></a></td> + <td><table summary="Caption"> + <tr><td>George James Webb</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<p>Dr. Webb's own account of the tune “Millennial +Dawn” states that he wrote it at sea while on +his way to America—and to secular words and +that he had no idea who first adapted it to the +hymn, nor when.</p> + + + +<h4 class="hymn" +>“<span>IF I WERE A VOICE, A PERSUASIVE VOICE.</span>”</h4> + + +<p>This animating lyric was written by Charles +Mackay. Sung by a good vocalist, the fine solo +air composed (with its organ chords) by I.B. +Woodbury, is still a feature in some missionary +meetings, especially the fourth stanza—</p> +<a id="png:221" name="png:221"></a><samp class="pgmark" + ><span class="png">221 /</span> 183</samp> + +<div class="hymn"> +<div class="stanza"> +<div>If I were a voice, an immortal voice,</div> +<div class="i1"> I would fly the earth around:</div> +<div>And wherever man to his idols bowed,<br /></div> +<div>I'd publish in notes both long and loud</div> +<div class="i1"> The Gospel's joyful sound.</div> +<div>I would fly, I would fly, on the wings of day,<br /></div> +<div>Proclaiming peace on my world-wide way,<br /></div> +<div>Bidding the saddened earth rejoice—<br /></div> +<div>If I were a voice, an immortal voice,</div> +<div class="i1"> I would fly, I would fly,</div> +<div>I would fly on the wings of day.</div> +</div></div> + +<p>Charles Mackay, the poet, was born in Perth, +Scotland, 1814, and educated in London and +Brussels; was engaged in editorial work on the +<i>London Morning Chronicle</i> and <i>Glasgow Argus</i>, +and during the Corn Law agitation wrote popular +songs, notably “The Voice of the Crowd” and +“There's a Good Time Coming,” which (like the +far inferior poetry of Ebenezer Elliot) won the lasting +love of the masses for a superior man who could +be “The People's Singer and Friend.” He came +to the United States in 1857 as a lecturer, and +again in 1862, remaining three years as war +correspondent of the <i>London Times</i>. Glasgow +University made him LL.D. in 1847. His numerous +songs and poems were collected in a London +edition. Died Dec. 24, 1889.</p> + +<p>Isaac Baker Woodbury was born in Beverly, +Mass., 1819, and rose from the station of a blacksmith's +apprentice to be a tone-teacher in the +church. He educated himself in Europe, returned +<a id="png:222" name="png:222"></a><samp class="pgmark" + ><span class="png">222 /</span> 184</samp> +and sang his life songs, and died in 1858 at the +age of thirty-nine.</p> + +<p>A tune preferred by many as the finer music is +the one written to the words by Mr. Sankey, +<i>Sacred Songs</i>, No. 2.</p> + + + +<h4 class="hymn">“<span>SPEED AWAY! SPEED AWAY!</span>”</h4> + + +<p>This inspiriting song of farewell to departing +missionaries was written in 1890 to Woodbury's +appropriate popular melody by Fanny J. Crosby, +at the request of Ira D. Sankey. The key-word +and refrain are adapted from the original song by +Woodbury (1848), but in substance and language +the three hymn-stanzas are the new and +independent work of this later writer.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Speed away! speed away on your mission of light,</div> +<div>To the lands that are lying in darkness and night;</div> +<div>'Tis the Master's command; go ye forth in His name,</div> +<div>The wonderful gospel of Jesus proclaim;</div> +<div>Take your lives in your hand, to the work while 'tis day,</div> +<div>Speed away! speed away! speed away!</div> +</div><div class="stanza"> +<div>Speed away, speed away with the life-giving Word,</div> +<div>To the nations that know not the voice of the Lord;</div> +<div>Take the wings of the morning and fly o'er the wave,</div> +<div>In the strength of your Master the lost ones to save;</div> +<div>He is calling once more, not a moment's delay,</div> +<div>Speed away! speed away! speed away!</div> +</div><div class="stanza"> +<div>Speed away, speed away with the message of rest,</div> +<div>To the souls by the tempter in bondage oppressed;</div> +<div>For the Saviour has purchased their ransom from sin,</div> +<a id="png:223" name="png:223"></a><samp class="pgmark" + ><span class="png">223 /</span> 185</samp> +<div>And the banquet is ready. O gather them in;</div> +<div>To the rescue make haste, there's no time for delay,</div> +<div>Speed away! speed away! speed away!</div> +</div></div> + + + +<h4 class="hymn">“<span>ONWARD CHRISTIAN SOLDIERS!</span>”</h4> + + +<p>Rev. Sabine Baring-Gould, the author of this +rousing hymn of Christian warfare, a rector of the +Established Church of England and a writer of +note, was born at Exeter, Eng., Jan. 28, 1834. +Educated at Clare College, Cambridge, he entered +the service of the church, and was appointed +Rector of East Mersea, Essex, in 1871. He was +the author of several hymns, original and translated, +and introduced into England from Flanders, +numbers of carols with charming old Christmas +music. The “Christian Soldiers” hymn is one of his +(original) processionals, and the most inspiring.</p> + +<div class="hymn"><div class="stanza"> +<div>Onward, Christian soldiers,</div> +<div class="i1"> Marching as to war,</div> +<div>With the cross of Jesus</div> +<div class="i1"> Going on before.</div> +<div>Christ the Royal Master</div> +<div>Leads against the foe;</div> +<div>Forward into battle,</div> +<div class="i1"> See, His banners go!</div> +<div class="i2"> Onward, Christian soldiers, etc.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Like a mighty army</div> +<div class="i1"> Moves the Church of God;</div> +<div>Brothers, we are treading</div> +<div class="i1"> Where the saints have trod;</div> +<a id="png:224" name="png:224"></a><samp class="pgmark" + ><span class="png">224 /</span> 186</samp> +<div>We are not divided,</div> +<div class="i1"> All one body we,</div> +<div>One in hope, in doctrine,</div> +<div class="i1"> One in charity.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Sir Arthur Seymour Sullivan, Doctor of Music, +who wrote the melody for this hymn, was born in +London, May 13, 1842. He gained the Mendelssohn +Scholarship at the Royal Academy of +Music, and also at the Conservatory of Leipsic. +He was a fertile genius, and his compositions included +operettas, symphonies, overtures, anthems, +hymn-tunes, an oratorio (“The Prodigal Son”), +and almost every variety of tone production, vocal +and instrumental. Queen Victoria knighted him +in 1883.</p> + +<p>The grand rhythm of “Onward, Christian +Soldiers”—hymn and tune—is irresistible whether +in band march or congregational worship. Sir +Arthur died in London, November 22, 1900.</p> + + + +<h4 class="hymn">“<span>O CHURCH ARISE AND SING</span>”</h4> + + +<p>Designed originally for children's voices, the +hymn of five stanzas beginning with this line was +written by Hezekiah Butterworth, author of the +<i>Story of the Hymns</i> (1875), <i>Story</i> +<!-- HTMLTidy complains about an "ins" inside an "i", hence the + multiple italic tags --> +<ins class="transcriber" + title="Transcriber's note: original reads 'oft he'"><i>of the</i></ins> +<i>Tunes</i> (1890), and many popular books of historic +interest for the young, the most widely read of +which is <i>Zigzag Journeys in Many Lands</i>. He +<a id="png:225" name="png:225"></a><samp class="pgmark" + ><span class="png">225 /</span> 187</samp> +also composed and published many poems and +hymns. He was born in Warren, R.I., Dec. 22, +1839, and for twenty-five years was connected +with the <i>Youth's Companion</i> as regular contributor +and member of its editorial staff. He died in +Warren, R.I., Sept. 5, 1905.</p> + +<p>The hymn “O Church, arise” was sung in +Mason's tune of “Dort” until Prof. Case wrote a +melody for it, when it took the name of the “Convention +Hymn.”</p> + +<p>Professor Charles Clinton Case, music composer +and teacher, was born in Linesville, Pa., June, +1843. Was a pupil of George F. Root and pursued +musical study in Chicago, Ill., Ashland, O., and +South Bend, Ind. He was associated with Root, +McGranahan, and others in making secular and +church music books, and later with D.L. Moody +in evangelical work.</p> + +<p>As author and compiler he has published numerous +works, among them <i>Church Anthems</i>, the <i>Harvest +Song</i> and <i>Case's Chorus Collection</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O Church! arise and sing</div> +<div>The triumphs of your King,</div> +<div class="i1"> Whose reign is love;</div> +<div>Sing your enlarged desires,</div> +<div>That conquering faith inspires,</div> +<div>Renew your signal fires,</div> +<div class="i1"> And forward move!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Beneath the glowing arch</div> +<div>The ransomed armies march,</div> +<div class="i1"> We follow on;</div> +<a id="png:226" name="png:226"></a><samp class="pgmark" + ><span class="png">226 /</span> 188</samp> +<div>Lead on, O cross of Light,</div> +<div>From conquering height to height,</div> +<div>And add new victories bright</div> +<div class="i1"> To triumphs won!</div> +</div></div> + + + +<h4 class="hymn">“<span>THE BANNER OF IMMANUEL!</span>”</h4> + + +<p>This hymn, set to music and copyrighted in +Buffalo as a floating waif of verse by an unknown +author, and used in Sunday-school work, first +appeared in Dr. F.N. Peloubet's <i>Select Songs</i> +(Biglow and Main, 1884) with a tune by Rev. +George Phipps.</p> + +<p>The hymn was written by Rev. Theron Brown, +a Baptist minister, who was pastor (1859–1870) of +churches in South Framingham and Canton, Mass. +He was born in Willimantic, Ct., April 29, 1832.</p> + +<p>Retired from pastoral work, owing to vocal +disability, he has held contributory and editorial +relations with the <i>Youth's Companion</i> for more +than forty years, for the last twenty years a member +of the office staff.</p> + +<p>Between 1880 and 1890 he contributed hymns +more or less regularly to the quartet and antiphonal +chorus service at the Ruggles St. Church, +Boston, the “Banner of Immanuel” being one of the +number. <i>The Blount Family</i>, <i>Nameless Women of +the Bible</i>, <i>Life Songs</i> (a volume of poems), and several +books for boys, are among his published works.</p> + +<div class="hymn wide"> +<div class="stanza"> +<div>The banner of Immanuel! beneath its glorious folds</div> +<div>For life or death to serve and fight we pledge our loyal souls.</div> +<a id="png:227" name="png:227"></a><samp class="pgmark" + ><span class="png">227 /</span> 189</samp> +<div>No other flag such honor boasts, or bears so proud a name,</div> +<div>And far its red-cross signal flies as flies the lightning's flame.</div> +</div><div class="stanza"> +<div class="stars i3">* * * * * *</div> +</div><div class="stanza"> +<div>Salvation by the blood of Christ! the shouts of triumph ring;</div> +<div>No other watchword leads the host that serves so grand a King.</div> +<div>Then rally, soldiers of the Cross! Keep every fold unfurled,</div> +<div>And by Redemption's holy sign we'll conquer all the world.</div> +</div></div> + +<p>The Rev. George Phipps, composer of the tune, +“Immanuel's Banner,” was born in Franklin, +Mass., Dec. 11, 1838, was graduated at Amherst +College, 1862, and at Andover Theological Seminary, +1865. Settled as pastor of the Congregational +Church in Wellesley, Mass., ten years, and at +Newton Highlands fifteen years.</p> + +<p>He has written many Sunday-school melodies, +notably the music to “My Saviour Keeps Me Company.”</p> + +<a id="png:228" name="png:228"></a><samp class="pgmark" + ><span class="png">228 /</span> 190</samp> + + + + +<h2 class="chap">CHAPTER V.</h2> +<hr class="chap" /> + +<h1>HYMNS OF SUFFERING AND +TRUST.</h1> +<hr class="chap" /> + + +<p>One inspiring chapter in the compensations of +life is the record of immortal verses that were +sorrow-born. It tells us in the most affecting way +how affliction refines the spirit and “the agonizing +throes of thought bring forth glory.” Often a broken +life has produced a single hymn. It took the long +living under trial to shape the supreme experience.</p> + +<p class="ctrhymn"><span> +—The anguish of the singer<br /> +Made the sweetness of the song. +</span></p> + +<p title="Illustration of George James Webb originally opposite">Indeed, +if there had been no sorrow there would have been no song.</p> + + + +<h4 class="hymn" +>“<span>MY LORD, HOW FULL OF SWEET CONTENT.</span>”</h4> + + +<p>Jeanne M.B. de la Mothe—known always as +Madame Guyon—the lady who wrote these words +in exile, probably sang more “songs in the night” +than any hymn-writer outside of the Dark Ages. +She was born at Montargis, France, in 1648, and +<a id="png:231" name="png:231"></a><samp class="pgmark" + ><span class="png">231 /</span> 191</samp> +died in her seventieth year, 1771, in the ancient +city of Blois, on the Loire.</p> + +<p>A convent-educated girl of high family, a wife at +the age of fifteen, and a widow at twenty-eight, +her early piety, ridiculed in the dazzling but corrupt +society of Louis XIV's time, blossomed through +a long life in religious ministries and flowers of +sacred poetry.</p> + +<p>She became a mystic, and her book <i>Spiritual +Torrents</i> indicates the impetuous ardors of her +soul. It was the way Divine Love came to her. +She was the incarnation of the spiritualized Book +of Canticles. An induction to these intense subjective +visions and raptures had been the remark +of a pious old Franciscan father, “Seek God in +your heart, and you will find Him.”</p> + +<p>She began to teach as well as enjoy the new +light so different from the glitter of the traditional +worship. But her “aggressive holiness” was obnoxious +to the established Church. “Quietism” was +the brand set upon her written works and the +offense that was punished in her person. Bossuet, +the king of preachers, was her great adversary. +The saintly Fenelon was her friend, but he could +not shield her. She was shut up like a lunatic in +prison after prison, till, after four years of dungeon +life in the Bastile, expecting every hour to be executed +for heresy, she was banished to a distant +province to end her days.</p> + +<p>Question as we may the usefulness of her pietistic +books, the visions of her excessively exalted +<a id="png:232" name="png:232"></a><samp class="pgmark" + ><span class="png">232 /</span> 192</samp> +moods, and the passionate, almost erotic phraseology +of her <i>Contemplations</i>, Madame Guyon has +held the world's admiration for her martyr spirit, +and even her love-flights of devotion in poetry and +prose do not conceal the angel that walked in the +flame.</p> + +<p>Today, when religious persecution is unknown, +we can but dimly understand the perfect triumph +of her superior soul under suffering and the transports +of her utter absorption in God that could +make the stones of her dungeon “look like jewels.” +When we emulate a faith like hers—with all the +weight of absolute certainty in it—we can sing her +hymn:</p> + +<div class="hymn"> +<div class="stanza"> +<div>My Lord, how full of sweet content</div> +<div>I pass my years of banishment.</div> +<div>Where'er I dwell, I dwell with Thee,</div> +<div>In heaven or earth, or on the sea.</div> +</div><div class="stanza"> +<div>To me remains nor place nor time:</div> +<div>My country is in every clime;</div> +<div>I can be calm and free from care</div> +<div>On any shore, since God is there.</div> +</div></div> + +<p>And could a dearer <i>vade mecum</i> enrich a Christian's +outfit than these lines treasured in memory?</p> + +<div class="hymn"> +<div class="stanza"> +<div>While place we seek or place we shun,</div> +<div>The soul finds happiness in none;</div> +<div>But, with a God to guide our way,</div> +<div>'Tis equal joy to go or stay.</div> +</div></div> + +<p>Cowper, and also Dr. Thomas Upham, translated +(from the French) the religious poems of Madame +Guyon. This hymn is Cowper's translation.</p> + +<a id="png:233" name="png:233"></a><samp class="pgmark" + ><span class="png">233 /</span> 193</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>A gentle and sympathetic melody entitled “Alsace” +well represents the temper of the words—and +in name links the nationalities of writer and +composer. It is a choral arranged from a sonata +of the great Ludwig von Beethoven, born in +Bonn, Germany, 1770, and died in Vienna, Mar. +1827. Like the author of the hymn he felt the +hand of affliction, becoming totally deaf soon after +his fortieth year. But, in spite of the privation, he +kept on writing sublime and exquisite strains +that only his soul could hear. His fame rests upon +his oratorio, “The Mount of Olives,” the opera +of “Fidelio” and his nine wonderful “Symphonies.”</p> + + + +<h4 class="hymn" +>“<span>NO CHANGE IN TIME SHALL EVER SHOCK.</span>”</h4> + + +<p>Altered to common metre from the awkward +long metre of Tate and Brady, the three or four +stanzas found in earlier hymnals are part of their +version (probably Tate's) of the 31st Psalm—and +it is worth calling to mind here that there is no +hymn treasury so rich in tuneful faith and reliance +upon God in trouble as the Book of Psalms. This +feeling of the Hebrew poet was never better expressed +(we might say, translated) in English than +by the writer of this single verse—</p> + +<div class="hymn"> +<div class="stanza"> +<div>No change of time shall ever shock</div> +<div class="i1"> My trust, O Lord, in Thee,</div> +<a id="png:234" name="png:234"></a><samp class="pgmark" + ><span class="png">234 /</span> 194</samp> +<div>For Thou hast always been my Rock,</div> +<div class="i1"> A sure defense to me.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The sweet, tranquil choral long ago wedded +to this hymn is lost from the church collections, +and its very name forgotten. In fact the hymn +itself is now seldom seen. If it ever comes back, +old “Dundee” (Guillaume Franc 1500–1570) will +sing for it, or some new composer may rise up to put +the spirit of the psalm into inspired notes.</p> + + + +<h4 class="hymn" +>“<span>WHY DO WE MOURN DEPARTED FRIENDS?</span>”</h4> + + +<p>This hymn of holy comfort, by Dr. Watts, was +long associated with a remarkable tune in C +minor, “a queer medley of melody” as Lowell +Mason called it, still familiar to many old people +as “China.” It was composed by Timothy Swan +when he was about twenty-six years of age (1784) +and published in 1801 in the <i>New England Harmony.</i> +It may have sounded consolatory to mature +mourners, singers and hearers in the days when +religious emotion habitually took a sad key, but +its wild and thrilling chords made children weep. +The tune is long out of use—though, strange to +say, one of the most recent hymnals prints the +hymn with a <em>new minor</em> tune.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Why do we mourn departed friends,</div> +<div class="i1"> Or shake at death's alarms?</div> +<a id="png:235" name="png:235"></a><samp class="pgmark" + ><span class="png">235 /</span> 195</samp> +<div>'Tis but the voice that Jesus sends</div> +<div class="i1"> To call them to His arms.</div> +</div><div class="stanza"> +<div>Are we not tending upward too</div> +<div class="i1"> As fast as time can move?</div> +<div>Nor should we wish the hours more slow</div> +<div class="i1"> To keep us from our Love.</div> +</div><div class="stanza"> +<div>The graves of all His saints He blessed</div> +<div class="i1"> And softened every bed:</div> +<div>Where should the dying members rest</div> +<div class="i1"> But with their dying Head?</div> +</div></div> + +<p>Timothy Swan was born in Worcester, Mass., +July 23, 1758, and died in Suffield, Ct., July 23, +1842. He was a self-taught musician, his only +“course of study” lasting three weeks,—in a country +singing school at Groton. When sixteen years +old he went to Northfield, Mass., and learned the +hatter's trade, and while at work began to practice +making psalm-tunes. “Montague,” in two parts, +was his first achievement. From that time for +thirty years, mostly spent in Suffield, Ct., he wrote +and taught music while supporting himself by his +trade. Many of his tunes were published by himself, +and had a wide currency a century ago.</p> + +<p>Swan was a genius in his way, and it was a true +comment on his work that “his tunes were remarkable +for their originality as well as singularity—unlike +any other melodies.” “China,” his +masterpiece, will be long kept track of as a curio, +and preserved in replicates of old psalmody to illustrate +self-culture in the art of song. But the major +<a id="png:236" name="png:236"></a><samp class="pgmark" + ><span class="png">236 /</span> 196</samp> +mode will replace the minor when tender voices +on burial days sing—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Why do we mourn departed friends?</div> +</div></div> + +<p>Another hymn of Watts,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>God is the refuge of His saints</div> +<div class="i1"> When storms of sharp distress invade,</div> +</div></div> + +<p class="runon">—sung to Lowell Mason's liquid tune of +“Ward,” and the priceless stanza,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus can make a dying bed</div> +<div class="i1"> Feel soft as downy pillows are,</div> +</div></div> + +<p class="runon">doubly prove the claim of the Southampton bard +to a foremost place with the song-preachers of +Christian trust.</p> + +<p>The psalm (Amsterdam version), “God is the +refuge,” etc., is said to have been sung by John +Howland in the shallop of the Mayflower when +an attempt was made to effect a landing in spite +of tempestuous weather. A tradition of this had +doubtless reached Mrs. Hemans when she wrote—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Amid the storm they sang, etc.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>FATHER, WHATE'ER OF EARTHLY BLISS.</span>”</h4> + + +<p>This hymn had originally ten stanzas, of which +the three usually sung are the three last. The +above line is the first of the eighth stanza, altered +from—</p> + +<p class="quote"> +And O, whate'er of earthly bliss. +</p> +<a id="png:237" name="png:237"></a><samp class="pgmark" + ><span class="png">237 /</span> 197</samp> + + +<p>Probably for more than a century the familiar +surname “Steele” attached to this and many other +hymns in the hymn-books conveyed to the general +public no hint of a mind and hand more feminine +than Cowper's or Montgomery's. Even intelligent +people, who had chanced upon sundry copies of +<i>The Spectator</i>, somehow fell into the habit of +putting “Steele” and “Addison” in the same +category of hymn names, and Sir Richard Steele +got a credit he never sought. But since stories +of the hymns began to be published—and made +the subject of evening talks in church conference +rooms—many have learned what “Steele” in the +hymn-book means. It introduces us now to a +very retiring English lady, Miss Anna Steele, a +Baptist minister's daughter. She was born in 1706, +at Broughton, Hampshire, in her father's parsonage, +and in her father's parsonage she spent her +life, dying there Nov. 1778.</p> + +<p>She was many years a severe sufferer from +bodily illness, and a lasting grief of mind and heart +was the loss of her intended husband, who was +drowned the day before their appointed wedding. +It is said that this hymn was written under the +recent sorrow of that loss.</p> + +<p>In 1760 and 1780 volumes of her works in +verse and prose were published with her name, +“Theodosia,” and reprinted in 1863 as “<i>Hymns, +Psalms, and Poems</i>, by Anna Steele.” The hymn +“Father, whate'er,” etc., is estimated as her best, +though some rank it only next to her—</p> + +<a id="png:238" name="png:238"></a><samp class="pgmark" + ><span class="png">238 /</span> 198</samp> + +<p class="quote"> +Dear Refuge of my weary soul. +</p> + +<p>Other more or less well-known hymns of this +devout and loving writer are,—</p> + +<p class="quote"><span> +Lord, how mysterious are Thy ways, +<br /> +O Thou whose tender mercy hears, +<br /> +Thou lovely Source of true delight, +<br /> +Alas, what hourly dangers rise, +<br /> +So fades the lovely blooming flower. +</span></p> + +<p class="runon">—to a stanza of which latter the world owes the +tune of “Federal St.”</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The true musical mate of the sweet hymn-prayer +came to it probably about the time of its +hundredth birthday; but it came to stay. Lowell +Mason's “Naomi” blends with it like a symphony +of nature.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Father, whate'er of earthly bliss</div> +<div class="i1"> Thy sovereign will denies,</div> +<div>Accepted at Thy throne of grace</div> +<div class="i1"> Let this petition rise.</div> +</div><div class="stanza"> +<div>Give me a calm and thankful heart</div> +<div class="i1"> From every murmer free.</div> +<div>The blessings of Thy grace impart,</div> +<div class="i1"> And make me live to Thee.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>GUIDE ME, O THOU GREAT JEHOVAH.</span>”</h4> + + +<p>This great hymn has a double claim on the name +of Williams. We do not have it exactly in its +<a id="png:239" name="png:239"></a><samp class="pgmark" + ><span class="png">239 /</span> 199</samp> +original form as written by Rev. William Williams, +“The Watts of Wales,” familiarly known as “Williams +of Pantycelyn.” His fellow countryman and +contemporary, Rev. Peter Williams, or “Williams +of Carmarthen,” who translated it from Welsh +into English (1771) made alterations and substitutions +in the hymn with the result that only the +first stanza belongs indisputably to Williams of +Pantycelyn, the others being Peter's own or the +joint production of the two. As the former, however, +is said to have approved and revised the English +translation, we may suppose the hymn retained +the name of its original author by mutual consent.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Guide me, O Thou Great Jehovah,</div> +<div class="i1"> Pilgrim through this barren land.</div> +<div>I am weak, but Thou art mighty,</div> +<div class="i1"> Hold me by Thy powerful hand;</div> +<div class="i2"> Bread of heaven,</div> +<div class="i1"> Feed me till I want no more.</div> +</div><div class="stanza"> +<div>Open Thou the crystal Fountain</div> +<div class="i1"> Whence the healing streams do flow,</div> +<div>Let the fiery cloudy pillar</div> +<div class="i1"> Lead me all my journey through.</div> +<div class="i2"> Strong Deliverer,</div> +<div class="i1"> Be Thou still my Strength and Shield!</div> +</div><div class="stanza"> +<div>When I tread the verge of Jordan</div> +<div class="i1"> Bid my anxious fears subside;</div> +<div>Death of death, and hell's destruction,</div> +<div class="i1"> Land me safe on Canaan's side.</div> +<div class="i2"> Songs of praises</div> +<div class="i1"> I will ever give to Thee.</div> +</div> +<a id="png:240" name="png:240"></a><samp class="pgmark" + ><span class="png">240 /</span> 200</samp> +<div class="stanza"> +<div>Musing on my habitation,</div> +<div class="i1"> Musing on my heavenly home,</div> +<div>Fills my heart with holy longing;</div> +<div class="i1"> Come, Lord Jesus, quickly come.</div> +<div class="i2"> Vanity is all I see,</div> +<div class="i1"> Lord, I long to be with Thee.</div> +</div></div> + +<p>The second and third stanzas have not escaped +the touch of critical editors. The line,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Whence the healing streams do flow</div> +</div></div> + +<p class="runon">—becomes,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Whence the healing waters flow,</div> +</div></div> + +<p class="runon">—with which alteration there is no fault to find +except that it is needless, and obliterates the ancient +mark. But the third stanza, besides losing its +second line for—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Bid the swelling stream divide,</div> +</div></div> + +<p class="runon">—is weakened by a more needless substitution. +Its original third line—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Death of death, and hell's destruction,</div> +</div></div> + +<p class="runon">—is exchanged for the commonplace—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Bear me through the swelling current.</div> +</div></div> + +<p>That is modern taste; but when modern taste +meddles with a stalwart old hymn it is sometimes +more nice than wise.</p> + +<p>It is probable that the famous hymn was sung +in America before it obtained a European +<a id="png:241" name="png:241"></a><samp class="pgmark" + ><span class="png">241 /</span> 201</samp> +reputation. Its history is as follows: Lady Huntingdon +having read one of Williams' books with much +spiritual satisfaction, persuaded him to prepare +a collection of hymns, to be called the <i>Gloria in +Excelsis</i>, for special use in Mr. Whitefield's +Orphans' House in America. In this collection +appeared the original stanzas of “Guide me, O +Thou Great Jehovah.” In 1774, two years after its +publication in the <i>Gloria in Excelsis</i>, it was republished +in England in Mr. Whitefield's collections of +hymns.</p> + +<p>The Rev. Peter Williams was born in the parish +of Llansadurnen, Carmarthenshire, Wales, Jan. +7, 1722, and was educated in Carmarthen College. +He was ordained in the Established Church and +appointed to a curacy, but in 1748 joined the +Calvinistic Methodists. He was an Independent +of the Independents however, and preached where +ever he chose. Finally he built a chapel for himself +on his paternal estate, where he ministered during +the rest of his life. Died Aug. 8, 1796.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>If “Sardius,” the splendid old choral (triple +time) everywhere identified with the hymn, be not +its original music, its age at least entitles it to its +high partnership. <i>The Sacred Lyre</i> (1858) ascribes +it to Ludovic Nicholson, of Paisley, Scotland, +violinist and amateur composer, born 1770; died +1852; but this is not beyond dispute. Of several +<a id="png:242" name="png:242"></a><samp class="pgmark" + ><span class="png">242 /</span> 202</samp> +names one more confidently referred to as its author +is F.H. Barthelemon (1741–1808).</p> + + + +<h4 class="hymn">“<span>PEACE, TROUBLED SOUL</span>”</h4> + + +<p class="runon">Is the brave faith-song of a Christian under deep +but blameless humiliation—Sir Walter Shirley.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +See <a href="#Shirley">page 127</a></p></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Apparently the favorite in several (not recent) +hymnals for the subdued but confident spirit of +this hymn of Sir Walter Shirley is Mazzinghi's +“Palestine,” appearing with various tone-signatures +in different books. The treble and alto lead in a +sweet duet with slur-flights, like an obligato to the +bass and tenor. The melody needs rich and cultured +voices, and is unsuited for congregational singing. +So, perhaps, is the hymn itself.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Peace, troubled soul, whose plaintive moan</div> +<div class="i1"> Hath taught these rocks the notes of woe;</div> +<div>Cease thy complaint—suppress thy groan,</div> +<div class="i1"> And let thy tears forget to flow;</div> +<div>Behold the precious balm is found,</div> +<div>To lull thy pain, to heal thy wound.</div> +</div><div class="stanza"> +<div>Come, freely come, by sin oppressed,</div> +<div class="i1"> Unburden here thy weighty load;</div> +<div>Here find thy refuge and thy rest,</div> +<div class="i1"> And trust the mercy of thy God.</div> +<div>Thy God's thy Saviour—glorious word!</div> +<div>For ever love and praise the Lord.</div> +</div></div> + +<a id="png:243" name="png:243"></a><samp class="pgmark" + ><span class="png">243 /</span> 203</samp> +<p>As now sung the word “scenes” is substituted +for “rocks” in the second line, eliminating the +poetry. Rocks give an <em>echo</em>; and the vivid thought +in the author's mind is flattened to an unmeaning +generality.</p> + +<p>Count Joseph Mazzinghi, son of Tommasso +Mazzinghi, a Corsican musician, was born in London, +1765. He was a boy of precocious talent. +When only ten years of age he was appointed organist +of the Portuguese Chapel, and when nineteen +years old was made musical director and composer +at the King's Theatre. For many years he held the +honor of Music Master to the Princess of Wales, +afterwards Queen Caroline, and his compositions +were almost numberless. Some of his songs and +glees that caught the popular fancy are still remembered +in England, as “The Turnpike Gate,” “The +Exile,” and the rustic duet, “When a Little Farm +We Keep.”</p> + +<p>Of sacred music he composed only one mass and +six hymn-tunes, of which latter “Palestine” is one. +Mazzinghi died in 1844, in his eightieth year.</p> + + + +<h4 class="hymn" +>“<span>BEGONE UNBELIEF, MY SAVIOUR IS NEAR.</span>”</h4> + + +<p>The Rev. John Newton, author of this hymn, +was born in London, July 24, 1725. The son of a +sea-captain, he became a sailor, and for several +years led a reckless life. Converted, he took holy +orders and was settled as curate of Olney, Buckinghamshire, +and afterwards Rector of St. Mary of +<a id="png:244" name="png:244"></a><samp class="pgmark" + ><span class="png">244 /</span> 204</samp> +Woolnoth, London, where he died, Dec. 21, 1807. +It was while living at Olney that he and Cowper +wrote and published the <i>Olney Hymns</i>. His defiance +to doubt in these lines is the blunt utterance +of a sailor rather than the song of a poet:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Begone, unbelief, my Saviour is near,</div> +<div>And for my relief will surely appear.</div> +<div>By prayer let me wrestle and He will perform;</div> +<div>With Christ in the vessel I smile at the storm.</div> +</div></div> + + +<h4 class="tune">THE TUNE</h4> + +<p>Old “Hanover,” by William Croft (1677–1727), +carries Newton's hymn successfully, but Joseph +Haydn's choral of “Lyons” is more familiar—and +better music.</p> + +<p>“Hanover” often accompanies Charles Wesley's +lyric,—</p> + +<p class="quote"> +Ye servants of God, your Master proclaim. +</p> + + + +<h4 class="hymn">“<span>HOW FIRM A FOUNDATION.</span>”</h4> + + +<p>The question of the author of this hymn is treated +at length in Dr. Louis F. Benson's <i>Studies of +Familiar Hymns</i>. The utmost that need to be +said here is that two of the most thorough and +indefatigable hymn-chasers, Dr. John Julian and +Rev. H.L. Hastings, working independently of +each other, found evidence fixing the authorship +with strong probability upon Robert Keene, a precentor +in Dr. John Rippon's church. Dr. Rippon +was pastor of a Baptist Church in London from +<a id="png:245" name="png:245"></a><samp class="pgmark" + ><span class="png">245 /</span> 205</samp> +1773 to 1836, and in 1787 he published a song-manual +called <i>A Selection of Hymns from the Best +Authors,</i> etc., in which “How Firm a Foundation” +appears as a new piece, with the signature “K——.”</p> + +<p>The popularity of the hymn in America has been +remarkable, and promises to continue. Indeed, +there are few more reviving or more spiritually +helpful. It is too familiar to need quotation. But +one cannot suppress the last stanza, with its powerful +and affecting emphasis on the Divine promise—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The soul that on Jesus has leaned for repose</div> +<div>I will not, I will not, desert to his foes;</div> +<div>That soul, though all hell should endeavor to shake,</div> +<div>I'll never, no never, no never forsake.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The grand harmony of “Portuguese Hymn” has +always been identified with this song of trust.</p> + +<p>One opinion of the date of the music writes it +“about 1780.” Since the habit of crediting it to +John Reading (1677–1764) has been discontinued, +it has been in several hymnals ascribed to Marco +Portogallo (Mark, the Portuguese), a musician born +in Lisbon, 1763, who became a composer of operas +in Italy, but was made Chapel-Master to the Portuguese +King. In 1807, when Napoleon invaded +the Peninsula and dethroned the royal house of +Braganza, Old King John VI. fled to Brazil and +took Marco with him, where he lived till 1815, but +returned and died in Italy, in 1830. Such is the +story, and it is all true, only the man's name was +<a id="png:246" name="png:246"></a><samp class="pgmark" + ><span class="png">246 /</span> 206</samp> +Simao, instead of Marco. <i>Grove's Dictionary</i> appends +to Simao's biography the single sentence, +“His brother wrote for the church.” That the +Brazilian episode may have been connected with +this brother's history by a confusion of names, is +imaginable, but it is not known that the brother's +name was Marco.</p> + +<p>On the whole, this account of the authorship of +the “Portuguese Hymn”—originally written for +the old Christmas church song “Adeste Fideles”—is +late and uncertain. Heard (perhaps for the first +time) in the Portuguese Chapel, London, it was +given the name which still clings to it. If proofs +of its Portuguese origin exist, they may yet be found.</p> + +<p>“How Firm a Foundation” was the favorite of +Deborah Jackson, President Andrew Jackson's beloved +wife, and on his death-bed the warrior and +statesman called for it. It was the favorite of Gen. +Robert E. Lee, and was sung at his funeral. The +American love and familiar preference for the remarkable +hymn was never more strikingly illustrated +than when on Christmas Eve, 1898, a whole +corps of the United States army Northern and +Southern, encamped on the Quemados hills, near +Havana, took up the sacred tune and words—</p> + +<p class="quote"> +“Fear not, I am with thee, O be not dismayed.” +</p> + +<p title="Illustration of John Wesley originally opposite">Lieut. Col. Curtis +Guild (since Governor Guild +of Massachusetts) related the story in the Sunday +School Times for Dec. 7, 1901, and Dr. Benson +quotes it in his book.</p> + + +<a id="png:249" name="png:249"></a><samp class="pgmark" + ><span class="png">249 /</span> 207</samp> + +<h4 class="hymn" +>“<span>WHILE THEE I SEEK, PROTECTING POWER.</span>”</h4> + + +<p>Miss Helen Maria Williams, who wrote this gentle +hymn of confidence, in 1786, was born in the +north of England in 1762. When but a girl she +won reputation by her brilliant literary talents and +a mental grasp and vigor that led her, like Gail +Hamilton, “to discuss public affairs, besides clothing +bright fancies and devout thoughts in graceful +verse.” Most of her life was spent in London, +and in Paris, where she died, Dec. 14, 1827.</p> + +<div class="hymn"> +<div class="stanza"> +<div>While Thee I seek, Protecting Power</div> +<div class="i1"> Be my vain wishes stilled,</div> +<div>And may this consecrated hour</div> +<div class="i1"> With better hopes be filled:</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>When gladness wings my favored hour,</div> +<div class="i1"> Thy love my thoughts shall fill,</div> +<div>Resigned where storms of sorrow lower</div> +<div class="i1"> My soul shall meet Thy will.</div> +</div><div class="stanza"> +<div>My lifted eye without a tear</div> +<div class="i1"> The gathering storm shall see:</div> +<div>My steadfast heart shall know no fear:</div> +<div class="i1"> My heart will rest on Thee.</div> +</div></div> + + +<h4 class="tune">THE TUNES.</h4> + +<p>Old “Norwich,” from <i>Day's Psalter</i>, +and “Simpson,” +adapted from Louis Spohr, are found with +the hymn in several later manuals. In the memories +of older worshipers “Brattle-Street,” with its +melodious choral and duet arranged from Pleyel +<a id="png:250" name="png:250"></a><samp class="pgmark" + ><span class="png">250 /</span> 208</samp> +by Lowell Mason, is inseparable from Miss Williams' +words; but modern hymnals have dropped +it, probably because too elaborate for average congregational +use.</p> + +<p>Ignaz Joseph Pleyel was born June 1, 1757, +at Ruppersthal, Lower Austria. He was the +<em>twenty-fourth</em> child of a village schoolmaster. +His early taste and talent for music procured +him friends who paid for his education. Haydn +became his master, and long afterwards spoke of +him as his best and dearest pupil. Pleyel's work—entirely +instrumental—was much admired by +Mozart.</p> + +<p>During a few years spent in Italy, he composed +the music of his best-known opera, “Iphigenia in +Aulide,” and, besides the thirty-four books of his +symphonies and chamber-pieces, the results of his +prolific genius make a list too long to enumerate. +Most of his life was spent in Paris, where he founded +the (present) house of Pleyel and Wolfe, piano +makers and sellers. He died in that city, Nov. 14, +1831.</p> + + + +<h4 class="hymn">“<span>COME UNTO ME.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Come unto Me, when shadows darkly gather,</div> +<div>When the sad heart is weary and distressed,</div> +<div>Seeking for comfort from your heavenly Father,</div> +<div>Come unto Me, and I will give you rest.</div> +</div></div> + +<p>This sweet hymn, by Mrs. Catherine Esling, is +well known to many thousands of mourners, as also +is its equally sweet tune of “Henley,” by Lowell +<a id="png:251" name="png:251"></a><samp class="pgmark" + ><span class="png">251 /</span> 209</samp> +Mason. Melody and words melt together like harp +and flute.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Large are the mansions in thy Father's dwelling,</div> +<div>Glad are the homes that sorrows never dim,</div> +<div>Sweet are the harps in holy music swelling.</div> +<div>Soft are the tones that raise the heavenly hymn.</div> +</div></div> + +<p>Mrs. Catherine Harbison Waterman Esling was +born in Philadelphia, Apr. 12, 1812. A writer for +many years under her maiden name, Waterman, +she married, in 1840, Capt. George Esling, of the +Merchant Marine, and lived in Rio Janeiro till her +widowhood, in 1844.</p> + +<a id="png:247" name="png:247"></a><samp class="pgmark" + ><span class="png">247 /</span> opp 206</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of John Wesley"> + <tr valign="bottom"> + <td><a id="Illus12" name="Illus12" + ><img src="images/illus12-johnwesley-cameo.jpg" alt= + "John Wesley" width="275" height="279" /></a></td> + <td><table summary="Caption"> + <tr><td>John Wesley</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn"><span>JOHN WESLEY'S HYMN.</span></h4> + + +<div class="hymn"> +<div class="stanza"> +<div>How happy is the pilgrim's lot,</div> +<div>How free from every anxious thought.</div> +</div></div> + +<p>These are the opening lines of “John Wesley's +Hymn,” so called because his other hymns are +mostly translations, and because of all his own it is +the one commonly quoted and sung.</p> + +<p>John Wesley, the second son in the famous +Epworth family of ministers, was a man who +knew how to endure “hardness as a good soldier +of Christ.” He was born June 27, 1703, and studied +at Charterhouse, London, and at Christ +Church, Oxford, becoming a Fellow of Lincoln +College. After taking holy orders he went as a +missionary to Georgia, U.S., in 1735, and on his +return began his remarkable work in England, +preaching a more spiritual type of religion, and +<a id="png:252" name="png:252"></a><samp class="pgmark" + ><span class="png">252 /</span> 210</samp> +awakening the whole kingdom with his revival +fervor and his brother's kindling songs. The following +paragraph from his itinerant life, gathered +probably from a page of his own journals, gives +a glimpse of what the founder of the great Methodist +denomination did and suffered while carrying his +Evangelical message from place to place.</p> + +<p>On February 17, 1746, when days were short +and weather far from favorable, he set out on +horseback from Bristol to Newcastle, a distance between +three and four hundred miles. The journey +occupied ten days. Brooks were swollen, and in +some places the roads were <ins class="transcriber" + title="Transcriber's note: original reads 'impassble'">impassable</ins>, +obliging the +itinerant to go round through the fields. At Aldrige +Heath, in Staffordshire, the rain turned to +snow, which the northerly wind drove against +him, and by which he was soon crusted over from +head to foot. At Leeds the mob followed him, and +pelted him with whatever came to hand. He arrived +at Newcastle, February 26, “free from every +anxious thought,” and “every worldly fear.”</p> + +<p>How lightly he regarded hardship and molestation +appears from his verses—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Whatever molests or troubles life,</div> +<div>When past, as nothing we esteem,</div> +<div>And pain, like pleasure, is a dream.</div> +</div></div> + +<p class="runon">And that he actually enjoys the heroic freedom of +a rough-rider missionary life is hinted in his hymn—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Confined to neither court nor cell,</div> +<div>His soul disdains on earth to dwell,</div> +<div class="i1"> He only sojourns here.</div> +</div></div> + +<a id="png:253" name="png:253"></a><samp class="pgmark" + ><span class="png">253 /</span> 211</samp> +<p>God evidently built John Wesley fire-proof and +water-proof with a view to precisely what he was +to undertake and accomplish. His frame was +vigorous, and his spirit unconquerable. Besides +all this he had the divine gift of a religious faith +that could move mountains and a confidence in +his mission that became a second nature. No +wonder he could suffer, and <em>last</em>. The brave +young man at thirty was the brave old man at +nearly ninety. He died in London, March 2, 1791. </p> + +<div class="hymn"> +<div class="stanza"> +<div>Blest with the scorn of finite good,</div> +<div>My soul is lightened of its load</div> +<div class="i2"> And seeks the things above.</div> +</div><div class="stanza"> +<div>There is my house and portion fair;</div> +<div>My treasure and my heart are there,</div> +<div class="i2"> And my abiding home.</div> +</div><div class="stanza"> +<div>For me my elder brethren stay,</div> +<div>And angels beckon me away.</div> +<div class="i2"> And Jesus bids me come.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>An air found in the <i>Revivalist</i> (1869), in sextuple +time, that has the real camp-meeting swing, +preserves the style of music in which the hymn +was sung by the circuit-preachers and their congregations—ringing +out the autobiographical verses +with special unction. The favorite was—</p> + +<div class="hymn"> +<div class="stanza"> +<div>No foot of land do I possess,</div> +<div>No cottage in this wilderness;</div> +<div class="i1"> A poor wayfaring man,</div> +<a id="png:254" name="png:254"></a><samp class="pgmark" + ><span class="png">254 /</span> 212</samp> +<div>I lodge awhile in tents below,</div> +<div>Or gladly wander to and fro</div> +<div class="i1"> Till I my Canaan gain.</div> +</div></div> + +<p>More modern voices sing the John Wesley +hymn to the tune “<ins class="transcriber" + title="Transcriber's note: original has 'Habbakuk'">Habakkuk</ins>,” by Edward Hodges. +It has a lively three-four step, and finer melody +than the old.</p> + +<p>Edward Hodges was born in Bristol, Eng., +July 20, 1796, and died there Sept. 1876. Organist +at Bristol in his youth, he was graduated +at Cambridge and in 1825 received the doctorate +of music from that University. In 1835 he went +to Toronto, Canada, and two years later to New +York city, where he was many years Director of +Music at Trinity Church. Returned to Bristol +in 1863.</p> + + + +<h4 class="hymn" +>“<span>WHEN GATHERING CLOUDS AROUND I VIEW.</span>”</h4> + + +<p>One of the restful strains breathed out of illness +and affliction to relieve one soul and bless millions. +It was written by Sir Robert Grant (1785–1838).</p> + +<div class="hymn"> +<div class="stanza"> +<div>When gathering clouds around I view,</div> +<div>And days are dark, and friends are few,</div> +<div>On Him I lean who not in vain</div> +<div>Experienced every human pain.</div> +</div></div> + +<p class="runon">The lines are no less admirable for their literary +beauty than for their feeling and their faith. Unconsciously, +it may be, to the writer, in this and +the following stanza are woven an epitome of the +Saviour's history. He—</p> + +<a id="png:255" name="png:255"></a><samp class="pgmark" + ><span class="png">255 /</span> 213</samp> +<div class="hymn"> +<div class="stanza"> +<div>Experienced every human pain,</div> +<div>—felt temptation's power,</div> +<div>—wept o'er Lazarus dead,</div> +</div></div> + +<p class="runon">—and the crowning assurance of Jesus' human +sympathy is expressed in the closing prayer,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>—when I have safely passed</div> +<div>Thro' every conflict but the last,</div> +<div>Still, still unchanging watch beside</div> +<div>My painful bed—for <em>Thou hast died</em>.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Of the few suitable six-line long metre part songs, +the charming Russian tone-poem of “St. Petersburg” +by Dimitri Bortniansky is borrowed for the +hymn in some collections, and with excellent +effect. It accords well with the mood and tenor +of the words, and deserves to stay with it as long +as the hymn holds its place.</p> + +<p>Dimitri Bortniansky, called “The Russian +Palestrina,” was born in 1752 at Gloukoff, a +village of the Ukraine. He studied music in +Moscow, St. Petersburg, Vienna, Rome and +Naples. Returning to his native land, he was +made Director of Empress Catharine's church choir. +He reformed and systematized Russian church music, +and wrote original scores in the intervals of his +teaching labors. His works are chiefly motets and +concertos, which show his genius for rich harmony. +Died 1825.</p> +<a id="png:256" name="png:256"></a><samp class="pgmark" + ><span class="png">256 /</span> 214</samp> + + + +<h4 class="hymn" +>“<span>JUST AS I AM, WITHOUT ONE PLEA.</span>”</h4> + + +<p>Charlotte Elliott, of Brighton, Eng., would have +been well-known through her admired and useful +hymns,—</p> + +<p class="quote"><span> +My God, my Father, while I stray, +<br /> +My God, is any hour so sweet, +<br /> +With tearful eyes I look around, +</span></p> + +<p class="runon">—and many others. But in “Just as I am” she +made herself a voice in the soul of every hesitating +penitent. The currency of the hymn has been too +swift for its authorship and history to keep up +with, but it is a blessed law of influence that good +works out-run biographies. This master-piece +of metrical gospel might be called Miss Elliott's +spiritual-birth hymn, for a reply of Dr. Cæsar +Malan of Geneva was its prompting cause. The +young lady was a stranger to personal religion +when, one day, the good man, while staying at her +father's house, in his gentle way introduced the +subject. She resented it, but afterwards, stricken +in spirit by his words, came to him with apologies +and an inquiry that confessed a new concern of +mind. “You speak of coming to Jesus, but how? +I'm not fit to come.”</p> + +<p>“Come just as you are,” said Dr. Malan.</p> + +<p>The hymn tells the result.</p> + +<p>Like all the other hymns bound up in her +<i>Invalid's Hymn-book</i>, it was poured from out the +heart of one who, as the phrase is, “never knew a +<a id="png:257" name="png:257"></a><samp class="pgmark" + ><span class="png">257 /</span> 215</samp> +well day”—though she lived to see her eighty-second +year.</p> + +<p>Illustrative of the way it appeals to the afflicted, +a little anecdote was told by the eloquent John B. +Gough of his accidental seat-mate in a city church +service. A man of strange appearance was led +by the kind usher or sexton to the pew he occupied. +Mr. Gough eyed him with strong aversion. The +man's face was mottled, his limbs and mouth +twitched, and he mumbled singular sounds. +When the congregation sang he attempted to +sing, but made fearful work of it. During the +organ interlude he leaned toward Mr. Gough and +asked how the next verse began. It was—</p> + +<p class="quote"> +Just as I am, poor, wretched, blind. +</p> + +<p>“That's it,” sobbed the strange man, “I'm +blind—God help me!”—and the tears ran down +his face—“and I'm wretched—and paralytic,” and +then he tried hard to sing the line with the rest.</p> + +<p>“After that,” said Mr. Gough, “the poor +paralytic's singing was as sweet to me as a Beethoven +symphony.”</p> + +<p>Charlotte Elliott was born March 18, 1789, +and died in Brighton, Sept. 22, 1871. She stands +in the front rank of female hymn-writers.</p> + +<p>The tune of “Woodworth,” by William B. Bradbury, +has mostly superseded Mason's “Elliott,” +and is now the accepted music of this lyric of +perfect faith and pious surrender.</p> + +<a id="png:258" name="png:258"></a><samp class="pgmark" + ><span class="png">258 /</span> 216</samp> +<div class="hymn"> +<div class="stanza"> +<div>Just as I am,—Thy love unknown</div> +<div>Hath broken every barrier down,</div> +<div>Now to be Thine, yea, Thine alone,</div> +<div>O Lamb of God, I come, I come.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>MY HOPE IS BUILT ON NOTHING LESS.</span>”</h4> + + +<p>The Rev. Edward Mote was born in London, +1797. According to his own testimony his parents +were not God-fearing people, and he “went to a +school where no Bible was allowed;” but at the +age of sixteen he received religious impressions +from a sermon of John Hyatt in Tottenham Court +Chapel, was converted two years later, studied for +the ministry, and ultimately became a faithful +preacher of the gospel. Settled as pastor of the +Baptist Church in Horsham, Sussex, he remained +there twenty-six years—until his death, Nov. 13, +1874. The refrain of his hymn came to him one +Sabbath when on his way to Holborn to exchange +pulpits:</p> + +<div class="hymn"> +<div class="stanza"> +<div>On Christ the solid rock I stand,</div> +<div>All other ground is sinking sand.</div> +</div></div> + +<p class="runon">There were originally six stanzas, the first beginning:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Nor earth, nor hell, my soul can move,</div> +<div>I rest upon unchanging love.</div> +</div></div> + +<p>The refrain is a fine one, and really sums up the +whole hymn, keeping constantly at the front the +corner-stone of the poet's trust.</p> + +<a id="png:259" name="png:259"></a><samp class="pgmark" + ><span class="png">259 /</span> 217</samp> +<div class="hymn"> +<div class="stanza"> +<div>My hope is built on nothing less</div> +<div>Than Jesus' blood and righteousness.</div> +<div>I dare not trust the sweetest frame,</div> +<div>But only lean on Jesus' name.</div> +<div>On Christ the solid Rock I stand</div> +<div>All other ground is sinking sand.</div> +</div><div class="stanza"> +<div>When darkness veils His lovely face</div> +<div>I trust in His unchanging grace,</div> +<div>In every high and stormy gale</div> +<div>My anchor holds within the veil.</div> +<div>On Christ the solid Rock, etc.</div> +</div></div> + +<p>Wm. B. Bradbury composed the tune (1863). +It is usually named “The Solid Rock.”</p> + + + +<h4 class="hymn" +>“<span>ABIDE WITH ME! FAST FALLS THE EVENTIDE.</span>”</h4> + + +<p>The Rev. Henry Francis Lyte, author of this melodious +hymn-prayer, was born at Ednam, near Kelso, +Scotland, June first, 1793. A scholar, graduated +at Trinity College, Dublin; a poet and a musician, +the hard-working curate was a man of frail physique, +with a face of almost feminine beauty, and +a spirit as pure and gentle as a little child's. The +shadow of consumption was over him all his life. +His memory is chiefly associated with the district +church at Lower Brixham, Devonshire, where he +became “perpetual curate” in 1823. He died at +Nice, France, Nov. 20, 1847.</p> + +<p>On the evening of his last Sunday preaching +and communion service he handed to one of his +family the manuscript of his hymn, “Abide with +me,” and the music he had composed for it. It +<a id="png:260" name="png:260"></a><samp class="pgmark" + ><span class="png">260 /</span> 218</samp> +was not till eight years later that Henry Ward +Beecher introduced it, or a part of it, to American +Congregationalists, and fourteen years after the +author's death it began to be sung as we now +have it, in this country and England.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Abide with me! Fast falls the eventide,</div> +<div>The darkness deepens,—Lord with me abide!</div> +<div>When other helpers fail, and comforts flee,</div> +<div>Help of the helpless, O abide with me!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Hold Thou Thy cross before my closing eyes;</div> +<div>Shine through the gloom, and point me to the skies;</div> +<div>Heaven's morning breaks, and earth's vain shadows flee;</div> +<div>In life, in death, O Lord, abide with me!</div> +</div></div> + + +<h4 class="tune">THE TUNE</h4> + +<p>There is a pathos in the neglect and oblivion of +Lyte's own tune set by himself to his words, +especially as it was in a sense the work of a dying +man who had hoped that he might not be “wholly +mute and useless” while lying in his grave, and +who had prayed—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> O Thou whose touch can lend</div> +<div>Life to the dead. Thy quickening grace supply,</div> +<div>And grant me swan-like my last breath to spend</div> +<div class="i1"> In song that may not die!</div> +</div></div> + +<p>His prayer was answered in God's own way. +Another's melody hastened his hymn on its useful +career, and revealed to the world its immortal +value.</p> + +<a id="png:261" name="png:261"></a><samp class="pgmark" + ><span class="png">261 /</span> 219</samp> +<p>By the time it had won its slow recognition in +England, it was probably tuneless, and the compilers +of <i>Hymns Ancient and Modern</i> (1861) discovering +the fact just as they were finishing their +work, asked Dr. William Henry Monk, their +music editor, to supply the want. “In ten minutes,” +it is said, “Dr. Monk composed the sweet, pleading +chant that is wedded permanently to Lyte's swan +song.”</p> + +<p>William Henry Monk, Doctor of Music, was +born in London, 1823. His musical education +was early and thorough, and at the age of twenty-six +he was organist and choir director in King's +College, London. Elected (1876) professor of the +National Training School, he interested himself +actively in popular musical education, delivering +lectures at various institutions, and establishing +choral services.</p> + +<p>His hymn-tunes are found in many song-manuals +of the English Church and in Scotland, and several +have come to America.</p> + +<p>Dr. Monk died in 1889.</p> + + + +<h4 class="hymn">“<span>COME, YE DISCONSOLATE.</span>”</h4> + + +<p>By Thomas Moore—about 1814. The poem +in its original form differed somewhat from the +hymn we sing. Thomas Hastings—whose religious +experience, perhaps, made him better qualified +than Thomas Moore for spiritual expression—changed +the second line,—</p> +<a id="png:262" name="png:262"></a><samp class="pgmark" + ><span class="png">262 /</span> 220</samp> + +<div class="hymn"> +<div class="stanza"> +<div>Come, at God's altar fervently kneel,</div> +</div></div> + +<p class="runon">—to—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come to the mercy seat,</div> +</div></div> + +<p class="runon">—and in the second stanza replaced—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hope when all others die,</div> +</div></div> + +<p class="runon">—with—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hope of the penitent;</div> +</div></div> + +<p class="runon">—and for practically the whole +of the last stanza—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Go ask the infidel what boon he brings us,</div> +<div>What charm for aching hearts he can reveal.</div> +<div>Sweet as that heavenly promise hope sings us,</div> +<div>“Earth has no sorrow that heaven cannot heal,”</div> +</div></div> + +<p class="runon">—Hastings substituted—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Here see the Bread of life, see waters flowing</div> +<div>Forth from the throne of God, pure from above!</div> +<div>Come to the feast Love, come ever knowing</div> +<div>Earth has no sorrow but heaven can remove.</div> +</div></div> + +<p>Dr. Hastings was not much of a poet, but he +could make a <em>singable</em> hymn, and he knew the +rhythm and accent needed in a hymn-tune. The +determination was to make an evangelical hymn +of a poem “too good to lose,” and in that view +perhaps the editorial liberties taken with it were +excusable. It was to Moore, however, that the +real hymn-thought and key-note first came, and +the title-line and the sweet refrain are his own—for +which the Christian world has thanked him, +lo these many years.</p> + +<a id="png:263" name="png:263"></a><samp class="pgmark" + ><span class="png">263 /</span> 221</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Those who question why Dr. Hastings' interest +in Moore's poem did not cause him to make a +tune for it, must conclude that it came to him with +its permanent melody ready made, and that the +tune satisfied him.</p> + +<p>The “German Air” to which Moore tells us he +wrote the words, probably took his fancy, if it did +not induce his mood. Whether Samuel Webbe's +tune now wedded to the hymn is an arrangement +of the old air or wholly his own is immaterial. One +can scarcely conceive a happier yoking of counterparts. +Try singing “Come ye Disconsolate” to +“Rescue the Perishing,” for example, and we +shall feel the impertinence of divorcing a hymn +that has found its musical affinity.</p> + + + +<h4 class="hymn">“<span>JESUS, I MY CROSS HAVE TAKEN.</span>”</h4> + + +<p>This is another well-known and characteristic +hymn of Henry Francis Lyte—originally six +stanzas. We have been told that, besides his +bodily affliction, the grief of an unhappy division +or difference in his church weighed upon his +spirit, and that it is alluded to in these lines—</p> + +<div class="hymn"><div class="stanza"> +<div>Man may trouble and distress me,</div> +<div>'Twill but drive me to Thy breast,</div> +<div>Life with trials hard may press me,</div> +<div class="i1"> Heaven will bring me sweeter rest.</div> +<a id="png:264" name="png:264"></a><samp class="pgmark" + ><span class="png">264 /</span> 222</samp> +<div>O, 'tis not in grief to harm me</div> +<div class="i1"> While Thy love is left to me,</div> +<div>O, 'tis not in joy to charm me</div> +<div class="i1"> Were that joy unmixed with Thee.</div> +</div></div> + +<p>Tunes, “Autumn,” by F.H. Barthelemon, or +“Ellesdie,” (formerly called “Disciple”) from +Mozart—familiar in either.</p> + + + +<h4 class="hymn" +>“<span>FROM EVERY STORMY WIND THAT BLOWS.</span>”</h4> + + +<p>This is the much-sung and deeply-cherished +hymn of Christian peace that a pious Manxman, +Hugh Stowell, was inspired to write nearly a +hundred years ago. Ever since it has carried +consolation to souls in both ordinary and extraordinary +trials.</p> + +<p title="Illustration of John B. Dykes originally opposite">It was sung +by the eight American martyrs, +Revs. Albert Johnson, John E. Freeman, David +E. Campbell and their wives, and Mr. and Mrs. +McMullen, when by order of the bloody Nana +Sahib the captive missionaries were taken prisoners +and put to death at Cawnpore in 1857. Two +little children, Fannie and Willie Campbell, +suffered with their parents.</p> + +<div class="hymn"> +<div class="stanza"> +<div>From every stormy wind that blows,</div> +<div>From every swelling tide of woes</div> +<div>There is a calm, a sure retreat;</div> +<div>'Tis found beneath the Mercy Seat.</div> +</div><div class="stanza"> +<div>Ah, whither could we flee for aid</div> +<div>When tempted, desolate, dismayed,</div> +<div>Or how the hosts of hell defeat</div> +<div>Had suffering saints no Mercy Seat?</div> +</div> +<a id="png:267" name="png:267"></a><samp class="pgmark" + ><span class="png">267 /</span> 223</samp> +<div class="stanza"> +<div>There, there on eagle wings we soar,</div> +<div>And sin and sense molest no more,</div> +<div>And heaven comes down our souls to greet</div> +<div>While glory crowns the Mercy Seat.</div> +</div></div> + +<p>Rev. Hugh Stowell was born at Douglas on the +Isle of Man, Dec. 3, 1799. He was educated at +Oxford and ordained to the ministry 1823, receiving +twelve years later the appointment of +Canon to Chester Cathedral.</p> + +<p>He was a popular and effective preacher and a +graceful writer. Forty-seven hymns are credited +to him, the above being the best known. To +presume it is “his best,” leaves a good margin of +merit for the remainder.</p> + +<p>“From every stormy wind that blows” has +practically but one tune. It has been sung to +Hastings “Retreat” ever since the music was made.</p> + + + +<h4 class="hymn">“<span>CHILD OF SIN AND SORROW.</span>”</h4> + +<div class="hymn"> +<div class="stanza"> +<div>Child of sin and sorrow, filled with dismay,</div> +<div>Wait not for tomorrow, yield thee today.</div> +<div>Heaven bids thee come, while yet there's room,</div> +<div>Child of sin and sorrow, hear and obey.</div> +</div></div> + +<p>Words and music by Thomas Hastings.</p> + + + +<h4 class="hymn">“<span>LEAD, KINDLY LIGHT.</span>”</h4> + + +<p>John Henry Newman, born in London, Feb. +21, 1801—known in religious history as Cardinal +Newman—wrote this hymn when he was a young +clergyman of the Church of England. “Born +<a id="png:268" name="png:268"></a><samp class="pgmark" + ><span class="png">268 /</span> 224</samp> +within the sound of Bow bells,” says Dr. Benson, +“he was an imaginative boy, and so superstitious, +that he used constantly to cross himself when +going into the dark.” Intelligent students of the +fine hymn will note this habit of its author's mind—and +surmise its influence on his religious +musings.</p> + +<p>The agitations during the High Church movement, +and the persuasions of Hurrell Froude, a +Romanist friend, while he was a tutor at Oxford, +gradually weakened his Protestant faith, and in +his unrest he travelled to the Mediterranean coast, +crossed to Sicily, where he fell violently ill, and after +his recovery waited three weeks in Palermo for +a return boat. On his trip to <ins class="transcriber" + title="Transcriber's note: original has 'Marsailles'">Marseilles</ins> he wrote +the hymn—with no thought that it would ever be +called a hymn.</p> + +<p>When complimented on the beautiful production +after it became famous he modestly said, +“It was not the hymn but the <em>tune</em> that has gained +the popularity. The tune is Dykes' and Dr. Dykes +is a great master.”</p> + +<a id="png:265" name="png:265"></a><samp class="pgmark" + ><span class="png">265 /</span> opp 222</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of John B. Dykes"> + <tr valign="bottom"> + <td><a id="Illus13" name="Illus13" + ><img src="images/illus13-johnbdykes-cameo.jpg" alt= + "John B. Dykes" width="223" height="245" /></a></td> + <td><table summary="Caption"> + <tr><td>John B. Dykes</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<p>Dr. Newman was created a Cardinal of the Church +of Rome in the Catholic Cathedral of London, 1879. +Died Aug. 11, 1890.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Lux Benigna,” by Dr. Dykes, was composed +in Aug. 1865, and was the tune chosen for this +hymn by a committee preparing the Appendix +<a id="png:269" name="png:269"></a><samp class="pgmark" + ><span class="png">269 /</span> 225</samp> +to <i>Hymns Ancient and Modern</i>. Dr. Dykes' +statement that the tune came into his head while +walking through the Strand in London “presents +a striking contrast with the solitary origin of the +hymn itself” (Benson).</p> + +<div class="hymn"> +<div class="stanza"> +<div>Lead, kindly Light, amid th' encircling gloom,</div> +<div class="i2"> Lead Thou me on.</div> +<div>The night is dark and I am far from home;</div> +<div class="i2"> Lead Thou me on.</div> +<div>Keep Thou my feet; I do not ask to see</div> +<div>The distant scene,—one step enough for me.</div> +</div><div class="stanza"> +<div class="stars i2">* * * * * *</div> +</div><div class="stanza"> +<div>So long Thy power hath bless'd me, sure it still</div> +<div class="i2"> Will lead me on,</div> +<div>O'er moor and fen, o'er crag and torrent, till</div> +<div class="i2"> The night is gone,</div> +<div>And with the morn those angel faces smile</div> +<div>Which I have loved long since, and lost awhile.</div> +</div></div> + + +<h4 class="hymn" +>“<span>I HEARD THE VOICE OF JESUS SAY.</span>”</h4> + + +<p>Few if any Christian writers of his generation +have possessed tuneful gifts in greater opulence +or produced more vital and lasting treasures of +spiritual verse than Horatius Bonar of Scotland. +He inherited some of his poetic faculty from his +grandfather, a clergyman who wrote several +hymns, and it is told of Horatius that hymns used +to “come to” him while riding on railroad trains. +He was educated in the Edinburgh University +and studied theology with Dr. Chalmers, and his +<a id="png:270" name="png:270"></a><samp class="pgmark" + ><span class="png">270 /</span> 226</samp> +life was greatly influenced by Dr. Guthrie, whom +he followed in the establishment of the Free +Church of Scotland.</p> + +<p>Born in 1808 in Edinburgh, he was about forty +years old when he came back from a successful pastorate +at Kelso to the city of his home and Alma +Mater, and became virtually Chalmers' successor +as minister of the Chalmers Memorial Church.</p> + +<p>The peculiar richness of Bonar's sacred songs +very early created for them a warm welcome in the +religious world, and any devout lyric or poem with +his name attached to it is sure to be read.</p> + +<p>Dr. Bonar died in Edinburgh, July 31, 1889. +Writing of the hymn, “I heard the voice,” etc., Dr. +David Breed calls it “one of the most ingenious +hymns in the language,” referring to the fact that +the invitation and response exactly halve each +stanza between them—song followed by countersong. +“Ingenious” seems hardly the right word +for a division so obviously natural and almost +automatic. It is a simple art beauty that a poet +of culture makes by instinct. Bowring's “Watchman, +tell us of the night,” is not the only other instance +of similar countersong structure, and the +regularity in Thomas Scott's little hymn, “Hasten, +sinner, to be wise,” is only a simpler case of the +way a poem plans itself by the compulsion of its +subject.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I heard the voice of Jesus say,</div> +<div class="i1"> Come unto me and rest,</div> +<div>Lay down, thou weary one, lay down</div> +<div class="i1"> Thy head upon My breast:</div> +<a id="png:271" name="png:271"></a><samp class="pgmark" + ><span class="png">271 /</span> 227</samp> +<div>I came to Jesus as I was,</div> +<div class="i1"> Weary and worn and sad,</div> +<div>I found in Him a resting-place,</div> +<div class="i1"> And He has made me glad.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The old melody of “Evan,” long a favorite; +and since known everywhere through the currency +given to it in the <i>Gospel Hymns</i>, has been in +many collections connected with the words. It is +good congregational psalmody, and not unsuited to +the sentiment, taken line by line, but it divides the +stanzas into quatrains, which breaks the happy +continuity. “Evan” was made by Dr. Mason in +1850 from a song written four years earlier by +Rev. William Henry Havergal, Canon of Worcester +Cathedral, Eng. He was the father of Frances +Ridley Havergal.</p> + +<p>The more ancient “Athens,” by Felice Giardini +(1716–1796), author of the “Italian Hymn,” +has clung, and still clings lovingly to Bonar's +hymn in many communities. Its simplicity, and +the involuntary accent of its sextuple time, exactly +reproducing the easy iambic of the verses, inevitably +made it popular, and thousands of older +singers today will have no other music with “I +heard the voice of Jesus say.”</p> + +<p>“Vox Jesu,” from the andante in one of the +quartets of Louis Spohr (1784–1859), is a psalm-tune +of good harmony, but too little feeling.</p> + +<p>An excellent tune for all the shades of expression +<a id="png:272" name="png:272"></a><samp class="pgmark" + ><span class="png">272 /</span> 228</samp> +in the hymn, is the arrangement by Hubert P. Main +from Franz Abt—in A flat, triple time. Gentle +music through the first fifteen bars, in alternate +duet and quartet, utters the Divine Voice with +the true accent of the lines, and the second portion +completes the harmony in glad, full chorus—the +answer of the human heart.</p> + +<p>“Vox Dilecti,” by Dr. Dykes, goes farther and +writes the Voice in B flat <em>minor</em>—which seems a +needless substitution of divine sadness for divine +sweetness. It is a tune of striking chords, but its +shift of key to G natural (major) after the first +four lines marks it rather for trained choir performance +than for assembly song.</p> + +<p>It is possible to make too much of a dramatic +perfection or a supposed indication of structural +design in a hymn. Textual equations, such as +distinguish Dr. Bonar's beautiful stanzas, are not +necessarily technical. To emphasize them as ingenious +by an ingenious tune seems, somehow, a +reflection on the spontaneity of the hymn.</p> + +<p>Louis Spohr was Director of the Court Theatre +Orchestra in Cassel, Prussia, in the first half of the +last century. He was an eminent composer of +both vocal and instrumental music, and one of the +greatest violinists of Europe.</p> + +<p>Hubert Platt Main was born in Ridgefield, Ct., +Aug. 17, 1839. He read music at sight when only +ten years old, and at sixteen commenced writing +hymn-tunes. Was assistant compiler with both +Bradbury and Woodbury in their various +<a id="png:273" name="png:273"></a><samp class="pgmark" + ><span class="png">273 /</span> 229</samp> +publications, and in 1868 became connected with the +firm of Biglow and Main, and has been their book-maker +until the present time. As music editor in +the partnership he has superintended the publication +of more than five hundred music-books, services, +etc.</p> + + + +<h4 class="hymn">“<span>I LOVE TO STEAL AWHILE AWAY.</span>”</h4> + + +<p>The burdened wife and mother who wrote this +hymn would, at the time, have rated her history +with “the short and simple annals of the poor.” +But the poor who are “remembered for what they +have done,” may have a larger place in history +than many rich who did nothing.</p> + +<p>Phebe Hinsdale Brown, was born in Canaan, +N.Y., in 1783. Her father, George Hinsdale, who +died in her early childhood, must have been a +man of good abilities and religious feeling, being +the reputed composer of the psalm-tune, “Hinsdale,” +found in some long-ago collections.</p> + +<p>Left an orphan at two years of age, Phebe “fell +into the hands of a relative who kept the county +jail,” and her childhood knew little but the bitter +fare and ceaseless drudgery of domestic slavery. +She grew up with a crushed spirit, and was a +timid, shrinking woman as long as she lived. She +married Timothy H. Brown, a house-painter of +Ellington, Ct., and passed her days there and in +Monson, Mass., where she lived some twenty-five +years.</p> + +<a id="png:274" name="png:274"></a><samp class="pgmark" + ><span class="png">274 /</span> 230</samp> + +<p>In her humble home in the former town her +children were born, and it was while caring for her +own little family of four, and a sick sister, that the +incident occurred (August 1818), which called +forth her tender hymn. She was a devout Christian, +and in pleasant weather, whenever she could +find the leisure, she would “steal away” at sunset +from her burdens a little while, to rest and commune +with God. Her favorite place was a +wealthy neighbor's large and beautiful flower +garden. A servant reported her visits there to the +mistress of the house, who called the “intruder” +to account.</p> + +<p>“If you want anything, why don't you come in?” +was the rude question, followed by a plain hint that +no stealthy person was welcome.</p> + +<p>Wounded by the ill-natured rebuff, the sensitive +woman sat down the next evening with her baby +in her lap, and half-blinded by her tears, wrote +“An Apology for my Twilight Rambles,” in the +verses that have made her celebrated.</p> + +<p>She sent the manuscript (nine stanzas) to her +captious neighbor—with what result has never +been told.</p> + +<p>Crude and simple as the little rhyme was, it +contained a germ of lyric beauty and life. The +Rev. Dr. Charles Hyde of Ellington, who was a +neighbor of Mrs. Brown, procured a copy. He +was assisting Dr. Nettleton to compile the <i>Village +Hymns</i>, and the humble bit of devotional verse +was at once judged worthy of a place in the new +<a id="png:275" name="png:275"></a><samp class="pgmark" + ><span class="png">275 /</span> 231</samp> +book. Dr. Hyde and his daughter Emeline giving +it some kind touches of rhythmic amendment,</p> + +<div class="hymn"> +<div class="stanza"> +<div>I love to steal awhile away</div> +<div class="i1"> From little ones and care,</div> +</div></div> + +<p class="runon">—became,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>I love to steal awhile away</div> +<div class="i1"> From <em>every cumb'ring</em> care.</div> +</div></div> + +<p>In the last line of this stanza—</p> + +<div class="hymn"> +<div class="stanza"> +<div>In gratitude and prayer</div> +</div></div> + +<p class="runon">—was changed to—</p> + +<div class="hymn"> +<div class="stanza"> +<div>In humble, grateful prayer,</div> +</div></div> + +<p class="runon">—and the few other defects in syllabic smoothness +or literary grace were affectionately repaired, but +the slight furbishing it received did not alter the +individuality of Mrs. Brown's work. It remained +<em>hers</em>—and took its place among the immortals of its +kind, another illustration of how little poetry it takes +to make a good hymn. Only five stanzas were +printed, the others being voted redundant by both +author and editor. The second and third, as now +sung, are—</p> + +<div class="hymn"> +<div class="stanza"> +<div>I love in solitude to shed</div> +<div class="i1"> The penitential tear,</div> +<div>And all His promises to plead</div> +<div class="i1"> Where none but God can hear.</div> +</div><div class="stanza"> +<div>I love to think on mercies past</div> +<div class="i1"> And future good implore,</div> +<div>And all my cares and sorrows cast</div> +<div class="i1"> On Him whom I adore.</div> +</div></div> + +<a id="png:276" name="png:276"></a><samp class="pgmark" + ><span class="png">276 /</span> 232</samp> + +<p>Phebe Brown died at Henry, Ill., in 1861; but she +had made the church and the world her debtor +not only for her little lyric of pious trust, but by +rearing a son, the Rev. Samuel Brown, D.D., who +became the pioneer American missionary to Japan—to +which Christian calling two of her grandchildren +also consecrated themselves.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Mrs. Brown's son Samuel, who, besides being a +good minister, inherited his grandfather's musical +gift, composed the tune of “Monson,” (named in his +mother's honor, after her late home), and it may +have been the first music set to her hymn. It was +the fate of his offering, however, to lose its filial +place, and be succeeded by different melodies, +though his own still survives in a few collections, +sometimes with Collyer's “O Jesus in this solemn +hour.” It is good music for a hymn of <em>praise</em> +rather than for meditative verse. Many years the +hymn has been sung to “Woodstock,” an appropriate +and still familiar tune by Deodatus Dutton.</p> + +<p>Dutton's “Woodstock” and Bradbury's “Brown,” +which often replaces it, are worthy rivals of each +other, and both continue in favor as fit choral interpretations +of the much-loved hymn.</p> + +<p>Deodatus Dutton was born Dec. 22, 1808, and +educated at Brown University and Washington +College (now Trinity) Hartford Ct. While there +he was a student of music and played the organ + <a id="png:277" name="png:277"></a><samp class="pgmark" + ><span class="png">277 /</span> 233</samp> +at Dr. Matthews' church. He studied theology +in New York city, and had recently entered the +ministry when he suddenly died, Dec. 16, 1832, a +moment before rising to preach a sermon. During +his brief life he had written several hymn-tunes, +and published a book of psalmody. Mrs. +Sigourney wrote a poem on his death.</p> + + + +<h4 class="hymn" +>“<span>THERE'S A WIDENESS IN GOD'S MERCY.</span>”</h4> + + +<p>Frederick William Faber, author of this favorite +hymn-poem, had a peculiar genius for putting +golden thoughts into common words, and making +them sing. Probably no other sample of his work +shows better than this his art of combining literary +cleverness with the most reverent piety. Cant was +a quality Faber never could put into his religious +verse.</p> + +<p>He was born in Yorkshire, Eng., June 28, 1814, +and received his education at Oxford. Settled +as Rector of Elton, in Huntingdonshire, in 1843, +he came into sympathy with the “Oxford Movement,” +and followed Newman into the Romish +Church. He continued his ministry as founder +and priest for the London branch of the Catholic +congregation of St. Philip Neri for fourteen +years, dying Sept. 26, 1863, at the age of forty-nine.</p> + +<p>His godly hymns betray no credal shibboleth or +doctrinal bias, but are songs for the whole earthly +church of God.</p> + +<a id="png:278" name="png:278"></a><samp class="pgmark" + ><span class="png">278 /</span> 234</samp> +<div class="hymn"> +<div class="stanza"> +<div>There's a wideness in God's mercy</div> +<div class="i1"> Like the wideness of the sea;</div> +<div>There's a kindness in His justice</div> +<div class="i1"> Which is more than liberty.</div> +<div>There is welcome for the sinner</div> +<div class="i1"> And more graces for the good;</div> +<div>There is mercy with the Saviour,</div> +<div class="i1"> There is healing in His blood.</div> +</div><div class="stanza"> +<div>There's no place where earthly sorrows</div> +<div class="i1"> Are more felt than up in heaven;</div> +<div>There's no place where earthly failings</div> +<div class="i1"> Have such kindly judgment given.</div> +<div>There is plentiful redemption</div> +<div class="i1"> In the blood that has been shed,</div> +<div>There is joy for all the members</div> +<div class="i1"> In the sorrows of the Head.</div> +</div><div class="stanza"> +<div>For the love of God is broader</div> +<div class="i1"> Than the measure of man's mind,</div> +<div>And the heart of the Eternal</div> +<div class="i1"> Is most wonderfully kind.</div> +<div>If our love were but more simple</div> +<div class="i1"> We should take Him at His word,</div> +<div>And our lives would be all sunshine</div> +<div class="i1"> In the sweetness of the Lord.</div> +</div></div> + +<p>No tone of comfort has breathed itself more +surely and tenderly into grieved hearts than these +tuneful and singularly expressive sentences of +Frederick Faber.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The music of S.J. Vail sung to Faber's hymn +is one of that composer's best hymn-tunes, and its +<a id="png:279" name="png:279"></a><samp class="pgmark" + ><span class="png">279 /</span> 235</samp> +melody and natural movement impress the meaning +as well as the simple beauty of the words.</p> + +<p>Silas Jones Vail, an American music-writer, was +born Oct., 1818, and died May 20, 1883. Another +charming tune is “Wellesley,” by Lizzie S. Tourjee, +daughter of the late Dr. Eben Tourjee.</p> + + + +<h4 class="hymn" +>“<span>HE LEADETH ME! OH, BLESSED THOUGHT.</span>”</h4> + + +<p>Professor Gilmore, of Rochester University, +N.Y., when a young Baptist minister (1861) supplying +a pulpit in Philadelphia “jotted down this +hymn in Deacon Watson's parlor” (as he says) and +passed it to his wife, one evening after he had made +“a conference-room talk” on the 23d Psalm.</p> + +<p>Mrs. Gilmore, without his knowledge, sent it to +the <i>Watchman and Reflector</i> (now the <i>Watchman</i>).</p> + +<p>Years after its publication in that paper, when a +candidate for the pastorate of the Second Baptist +Church in Rochester, he was turning the leaves of +the vestry hymnal in use there, and saw his hymn +in it. Since that first publication in the <i>Devotional +Hymn and Tune Book</i> (1865) it has been copied in +the hymnals of various denominations, and steadily +holds its place in public favor. The refrain added +by the tunemaker emphasizes the sentiment of the +lines, and undoubtedly enhances the effect of the +hymn.</p> + +<p>“He leadeth me” has the true hymn quality, +combining all the simplicity of spontaneous thought +and feeling with perfect accent and liquid rhythm.</p> + +<a id="png:280" name="png:280"></a><samp class="pgmark" + ><span class="png">280 /</span> 236</samp> +<div class="hymn"> +<div class="stanza"> +<div>He leadeth me! Oh, blessed thought,</div> +<div>Oh, words with heavenly comfort fraught;</div> +<div>Whate'er I do, where'er I be,</div> +<div>Still 'tis God's hand that leadeth me!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Lord, I would clasp Thy hand in mine,</div> +<div>Nor ever murmur nor repine—</div> +<div>Content, whatever lot I see,</div> +<div>Since 'tis my God that leadeth me.</div> +</div></div> + +<p>Professor Joseph Henry Gilmore was born in +Boston, April 29, 1834. He was graduated at Phillips +Academy, Andover, at Brown University, and +at the Newton Theological Institution, where he +was afterwards Hebrew instructor.</p> + +<p>After four years of pastoral service he was elected +(1867) professor of the English Language and +Literature in Rochester University. He has published +<i>Familiar Chats on Books and Reading</i>, also +several college text-books on rhetoric, logic and +oratory.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The little hymn of four stanzas was peculiarly +fortunate in meeting the eye of Mr. William B. +Bradbury, (1863) and winning his musical sympathy +and alliance. Few composers have so exactly caught +the tone and spirit of their text as Bradbury did +when he vocalized the gliding measures of “He +leadeth me.”</p> + +<a id="png:281" name="png:281"></a><samp class="pgmark" + ><span class="png">281 /</span> 237</samp> + + + +<h2 class="chap">CHAPTER VI.</h2> +<hr class="chap" /> + +<h1>CHRISTIAN BALLADS.</h1> +<hr class="chap" /> + + +<p>Echoes of Hebrew thought, if not Hebrew +psalmody, may have made their way into the more +serious pagan literature. At least in the more enlightened +pagans there has ever revealed itself +more or less the instinct of the human soul that +“feels after” God. St. Paul in his address to the +Athenians made a tactful as well as scholarly point +to preface a missionary sermon when he cited a line +from a poem of Aratus (B.C. 272) familiar, doubtless, +to the majority of his hearers.</p> + +<p>Dr. Lyman Abbot has thus translated the passage +in which the line occurs:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Let us begin from God. Let every mortal raise</div> +<div>The grateful voice to tune God's endless praise,</div> +<div>God fills the heaven, the earth, the sea, the air;</div> +<div>We feel His spirit moving everywhere,</div> +<div>And we His offspring are.<sup>*</sup> He, ever good,</div> +<div>Daily provides for man his daily food.</div> +<div>To Him, the First, the Last, all homage yield,—</div> +<div>Our Father wonderful, our help, our shield<ins class="transcriber" + title="Transcriber's note: original adds closing quote marks">.</ins></div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p title="[Greek: Tou gar kai genos esmen.]">* +Τοῡ γὰρ καὶ +γένος ἐσμέν.</p></div> + +<a id="png:282" name="png:282"></a><samp class="pgmark" + ><span class="png">282 /</span> 238</samp> + + + +<h4 class="hymn">“<span>RISE, CROWNED WITH LIGHT.</span>”</h4> + +<p>Alexander Pope, a Roman Catholic poet, born in +London 1688, died at Twickenham 1744, was not +a hymnist, but passages in his most serious and exalted +flights deserve a tuneful accompaniment. +His translations of Homer made him famous, but +his ethical poems, especially his “Essay on Man,” +are inexhaustible mines of quotation, many of the +lines and couplets being common as proverbs. His +“Messiah,” written about 1711, is a religious anthem +in which the prophecies of Holy Writ kindle +all the splendor of his verse.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The closing strain, indicated by the above line, +has been divided into stanzas of four lines suitable +to a church hymn-tune. The melody selected by +the compilers of the <i>Plymouth Hymnal</i>, and of the +<i>Unitarian Hymn and Tune Book</i> is “Savannah,” +an American sounding name for what is really one +of Pleyel's chorals. The music is worthy of Pope's +triumphal song.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The seas shall waste, the skies to smoke decay,</div> +<div>Rocks fall to dust, and mountains melt away,</div> +<div>But fixed His Word; His saving power remains:</div> +<div>Thy realm shall last; thy own Messiah reigns.</div> +</div></div> + + + +<h4 class="hymn">“<span>OH, WHY SHOULD THE SPIRIT?</span>”</h4> + + +<p>This is a sombre poem, but its virile strength and +its literary merit have given it currency, and +<a id="png:283" name="png:283"></a><samp class="pgmark" + ><span class="png">283 /</span> 239</samp> +commended it to the taste of many people, both weak +and strong, who have the pensive temperament. +Abraham Lincoln loved it and committed it to +memory in his boyhood. Philip Phillips set it to +music, and sang it—or a part of it—one day during +the Civil war at the anniversary of the Christian +Sanitary Commission, when President Lincoln, +who was present, called for its repetition.<sup>*</sup> It was +written by William Knox, born 1789, son of a +Scottish farmer.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +This account so nearly resembles the story of Mrs. Gates' +“Your Mission,” sung to a similar audience, on a similar occasion, +by the same man, that a possible confusion by the narrators of the incident +has been suggested. But that Mr. Phillips sang twice before the President +during the war does not appear to be contradicted. To what air he sang the +above verses is uncertain.</p></div> + +<p>The poem has fourteen stanzas, the following +being the first and two last—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Oh, why should the spirit of mortal be proud?</div> +<div>Like a swift-fleeting meteor, a fast-flying cloud</div> +<div>A flash of the lightning, a break of the wave,</div> +<div>He passeth from life to rest in the grave.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Yea, hope and despondency, pleasure and pain,</div> +<div>Are mingled together like sunshine and rain;</div> +<div>And the smile and the tear, the song and the dirge,</div> +<div>Still follow each other like surge upon surge.</div> +</div><div class="stanza"> +<div>'Tis the wink of an eye; 'tis the draft of a breath</div> +<div>From the blossom of health to the paleness of death,</div> +<div>From the gilded saloon to the bier and the shroud,</div> +<div>Oh, why should the spirit of mortal be proud?</div> +</div></div> + +<p>Philip Phillips was born in Jamestown, Chautauqua +Co., N.Y., Aug. 11, 1834, and died in +<a id="png:284" name="png:284"></a><samp class="pgmark" + ><span class="png">284 /</span> 240</samp> +Delaware, O., June 25, 1895. He wrote no hymns +and was not an educated musician, but the airs of +popular hymn-music came to him and were harmonized +for him by others, most frequently by his +friends, S.J. Vail and Hubert P. Main. He compiled +and published thirty-one collections for Sunday-schools +and gospel meetings, besides the <i>Methodist +Hymn and Tune Book</i>, issued in 1866.</p> + +<p>He was a pioneer gospel singer, and his tuneful +journeys through America, England and Australia +gave him the name of the “Singing Pilgrim,” the +title of his song collection (1867).</p> + + + +<h4 class="hymn" +>“<span>WHEN ISRAEL OF THE LORD BELOVED.</span>”</h4> + + +<p>The “Song of Rebecca the Jewess,” in “Ivanhoe,” +was written by Sir Walter Scott, author of the +Waverly Novels, “Marmion,” etc., born in Edinburgh, +1771, and died at Abbotsford, 1832. The +lines purport to be the Hebrew hymn with which +Rebecca closed her daily devotions while in prison +under sentence of death.</p> + +<div class="hymn"> +<div class="stanza"> +<div>When Israel of the Lord beloved</div> +<div class="i1"> Out of the land of bondage came</div> +<div>Her fathers' God before her moved,</div> +<div class="i1"> An awful Guide in smoke and flame.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Then rose the choral hymn of praise,</div> +<div class="i1"> And trump and timbrel answered keen,</div> +<div>And Zion's daughters poured their lays.</div> +<div class="i1"> With priest's and warrior's voice between.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +<a id="png:285" name="png:285"></a><samp class="pgmark" + ><span class="png">285 /</span> 241</samp> +</div><div class="stanza"> +<div>By day along th' astonished lands</div> +<div class="i1"> The cloudy Pillar glided slow,</div> +<div>By night Arabia's crimson'd sands</div> +<div class="i1"> Returned the fiery Column's glow.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>And O, when gathers o'er our path</div> +<div class="i1"> In shade and storm the frequent night</div> +<div>Be Thou, long suffering, slow to wrath,</div> +<div class="i1"> A burning and a shining Light!</div> +</div></div> + +<p>The “Hymn of Rebecca” has been set to music +though never in common use as a hymn. Old +“Truro”, by Dr. Charles Burney (1726–1814) +is a grand Scotch psalm harmony for the words, +though one of the Unitarian hymnals borrows Zeuner's +sonorous choral, the “Missionary Chant.” +Both sound the lyric of the Jewess in good Christian +music.</p> + + + +<h4 class="hymn" +>“<span>WE SAT DOWN AND WEPT BY THE WATERS.</span>”</h4> + + +<p>The 137th Psalm has been for centuries a favorite +with poets and poetical translators, and its +pathos appealed to Lord Byron when engaged in +writing his <i>Hebrew Melodies</i>.</p> + +<p>Byron was born in London, 1788, and died at +Missolonghi, Western Greece, 1824.</p> + +<div class="hymn"> +<div class="stanza"> +<div>We sat down and wept by the waters</div> +<div class="i1"> Of Babel, and thought of the day</div> +<div>When the foe, in the hue of his slaughters,</div> +<div class="i1"> Made Salem's high places his prey,</div> +<div>And ye, Oh her desolate daughters,</div> +<div class="i1"> Were scattered all weeping away.</div> +</div></div> + +<a id="png:286" name="png:286"></a><samp class="pgmark" + ><span class="png">286 /</span> 242</samp> +<p class="runon">—Written April, 1814. It was the fashion then for +musical societies to call on the popular poets for +contributions, and tunes were composed for them, +though these have practically passed into oblivion.</p> + +<p>Byron's ringing ballad (from II Kings 19:35)—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Th' Assyrian came down like a wolf on the fold</div> +<div>And his cohorts were gleaming in purple and gold,</div> +</div></div> + +<p class="runon">—has been so much a favorite for recitation and +declamation that the loss of its tune is never +thought of.</p> + +<p>Another poetic rendering of the “Captivity +Psalm” is worthy of notice among the lay hymns +not unworthy to supplement clerical sermons. It +was written by the Hon. Joel Barlow in 1799, and +published in a pioneer psalm-book at Northampton, +Mass. It is neither a translation nor properly +a hymn but a poem built upon the words of the +Jewish lament, and really reproducing something +of its plaintive beauty. Two stanzas of it are as +follows:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Along the banks where Babel's current flows</div> +<div class="i1"> Our captive bands in deep despondence strayed,</div> +<div>While Zion's fall in deep remembrance rose,</div> +<div class="i1"> Her friends, her children mingled with the dead.</div> +</div><div class="stanza"> +<div>The tuneless harps that once with joy we strung</div> +<div class="i1"> When praise employed, or mirth inspired the lay,</div> +<div>In mournful silence on the willows hung,</div> +<div class="i1"> And growing grief prolonged the tedious day.</div> +</div></div> + +<p>Like Pope, this American poet loved onomatope +and imitative verse, and the last line is a word-picture +<a id="png:287" name="png:287"></a><samp class="pgmark" + ><span class="png">287 /</span> 243</samp> +of home-sick weariness. This “psalm” +was the best piece of work in Mr. Barlow's series of +attempted improvements upon Isaac Watts—which +on the whole were not very successful. The +sweet cantabile of Mason's “Melton” gave “Along +the banks” quite an extended lease of life, though +it has now ceased to be sung.</p> + +<p>Joel Barlow was a versatile gentleman, serving +his country and generation in almost every useful +capacity, from chaplain in the continental army +to foreign ambassador. He was born in Redding, +Ct., 1755, and died near Cracow, Poland, Dec. +1812.</p> + + + + +<h4 class="hymn">“<span>AS DOWN IN THE SUNLESS.</span>”</h4> + + +<p>Thomas Moore, the poet of glees and love-madrigals, +had sober thoughts in the intervals of +his gaiety, and employed his genius in writing +religious and even devout poems, which have been +spiritually helpful in many phases of Christian +experience. Among them was this and the four +following hymns, with thirty-four others, each of +which he carefully labelled with the name of a music +composer, though the particular tune is left indefinite. +“The still prayer of devotion” here +answers, in rhyme and reality, the simile of the +sea-flower in the unseen deep, and the mariner's +compass represents the constancy of a believer.</p> + +<div class="hymn"> +<div class="stanza"> +<div>As, still to the star of its worship, though clouded,</div> +<div class="i1"> The needle points faithfully o'er the dim sea,</div> +<div>So, dark as I roam in this wintry world shrouded,</div> +<div class="i1"> The hope of my spirit turns trembling to Thee.</div> +</div></div> + +<a id="png:288" name="png:288"></a><samp class="pgmark" + ><span class="png">288 /</span> 244</samp> +<p class="runon">It is sung in <i>Plymouth Hymnal</i> to Barnby's “St. +Botolph.”</p> + + + +<h4 class="hymn" +>“<span>THE TURF SHALL BE MY FRAGRANT SHRINE</span>”</h4> + + +<p class="runon">Is, in part, still preserved in hymn collections, and +sung to the noble tune of “Louvan,” Virgil Taylor's +piece. The last stanza is especially reminiscent +of the music.</p> + +<div class="hymn"> +<div class="stanza"> +<div>There's nothing bright above, below,</div> +<div>From flowers that bloom to stars that glow;</div> +<div>But in its light my soul can see</div> +<div>Some feature of Thy deity.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>O THOU WHO DRY'ST THE MOURNER'S TEAR</span>”</h4> + + +<p class="runon">Is associated in the <i>Baptist Praise Book</i> with +Woodbury's “Siloam.”</p> + + + +<h4 class="hymn" +>“<span>THE BIRD LET LOOSE IN EASTERN SKIES</span>”</h4> + + +<p class="runon">Has been sung in Mason's “Coventry,” and the +<i>Plymouth Hymnal</i> assigns it to “Spohr”—a namesake +tune of Louis Spohr, while the <i>Unitarian +Hymn and Tune Book</i> unites to it a beautiful triple-time +melody from Mozart, and bearing his name.</p> + + + +<h4 class="hymn" +>“<span>THOU ART, O GOD, THE LIFE AND LIGHT.</span>”</h4> + + +<p>This is the best of the Irish poet's sacred songs—always +excepting, “Come, Ye Disconsolate.” It is +said to have been originally set to a secular melody +composed by the wife of Hon. Richard Brinsley +<a id="png:289" name="png:289"></a><samp class="pgmark" + ><span class="png">289 /</span> 245</samp> +Sheridan. It is joined to the tune of “Brighton” +in the Unitarian books, and William Monk's +“Matthias” voices the words for the <i>Plymouth +Hymnal.</i> The verses have the true lyrical glow, +and make a real song of praise as well a composition +of more than ordinary literary beauty.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Thou art, O God, the life and light</div> +<div class="i1"> Of all this wondrous world we see;</div> +<div>Its glow by day, its smile by night</div> +<div class="i1"> Are but reflections caught from Thee.</div> +<div>Where'er we turn Thy glories shine,</div> +<div class="i1"> And all things fair and bright are Thine.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>When night with wings of starry gloom</div> +<div class="i1"> O'ershadows all the earth, and skies</div> +<div>Like some dark, beauteous bird, whose plume</div> +<div class="i1"> Is sparkling with unnumbered eyes,</div> +<div>That sacred gloom, those fires divine,</div> +<div class="i1"> So grand, so countless, Lord, are Thine.</div> +</div><div class="stanza"> +<div>When youthful spring around us breathes,</div> +<div class="i1"> Thy Spirit warms her fragrant sigh,</div> +<div>And every flower the summer wreathes</div> +<div class="i1"> Is born beneath that kindling eye.</div> +<div>Where'er we turn Thy glories shine,</div> +<div class="i1"> And all things fair and bright are Thine.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>MOURNFULLY, TENDERLY, BEAR ON THE DEAD.</span>”</h4> + + +<p>A tender funeral ballad by Henry S. Washburn, +composed in 1846 and entitled “The Burial of Mrs. +Judson.” It is rare now in sheet-music form but +the <i>American Vocalist</i>, to be found in the stores +<a id="png:290" name="png:290"></a><samp class="pgmark" + ><span class="png">290 /</span> 246</samp> +of most great music publishers and dealers, preserves +the full poem and score.</p> + +<p>Its occasion was the death at sea, off St. Helena, +of the Baptist missionary, Mrs. Sarah Hall +Boardman Judson, and the solemn committal of +her remains to the dust on that historic island, +Sept. 1, 1845. She was on her way to America +from Burmah at the time of her death, and the +ship proceeded on its homeward voyage immediately +after her burial. The touching circumstances +of the gifted lady's death, and the strange +romance of her entombment where Napoleon's +grave was made twenty-four years before, inspired +Mr. Washburn, who was a prominent layman of +the Baptist denomination, and interested in all its +ecclesiastical and missionary activities, and he +wrote this poetic memorial of the event:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Mournfully, tenderly, bear on the dead;</div> +<div>Where the warrior has lain, let the Christian be laid.</div> +<div>No place more befitting, O rock of the sea;</div> +<div>Never such treasure was hidden in thee.</div> +</div><div class="stanza"> +<div>Mournfully, tenderly, solemn and slow;</div> +<div>Tears are bedewing the path as ye go;</div> +<div>Kindred and strangers are mourners today;</div> +<div>Gently, so gently, O bear her away.</div> +</div><div class="stanza"> +<div>Mournfully, tenderly, gaze on that brow;</div> +<div>Beautiful is it in quietude now.</div> +<div>One look, and then settle the loved to her rest</div> +<div>The ocean beneath her, the turf on her breast.</div> +</div></div> + +<p>Mrs. Sarah Judson was the second wife of the +Rev. Adoniram Judson, D.D., the celebrated pioneer +<a id="png:291" name="png:291"></a><samp class="pgmark" + ><span class="png">291 /</span> 247</samp> +American Baptist missionary, and the +mother by her first marriage, of the late Rev. +George Dana Boardman, D.D., LL.D., of Philadelphia.</p> + +<p>The Hon. Henry S. Washburn was born in +Providence, R.I., 1813, and educated at Brown +University. During most of his long life he resided +in Massachusetts, and occupied there many +positions of honor and trust, serving in the State +Legislature both as Representative and Senator. +He was the author of many poems and lyrics of +high merit, some of which—notably “The Vacant +Chair”—became popular in sheet-music and in +books of religious and educational use. He died +in 1903.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“The Burial of Mrs. Judson” became favorite +parlor music when Lyman Heath composed the +melody for it—of the same name. Its notes and +movement were evidently inspired by the poem, +for it reproduces the feeling of every line. The +threnody was widely known and sung in the +middle years of the last century, by people, too, +who had scarcely heard of Mrs. Judson, and received +in the music and words their first hint of her +history. The poem prompted the tune, but the +tune was the garland of the poem.</p> + +<p>Lyman Heath of Bow, N.H., was born there +Aug. 24, 1804. He studied music, and became a +vocalist and vocal composer. Died July 30, 1870.</p> + +<a id="png:292" name="png:292"></a><samp class="pgmark" + ><span class="png">292 /</span> 248</samp> + + + +<h4 class="hymn" +>“<span>TELL ME NOT IN MOURNFUL NUMBERS.</span>”</h4> + + +<p>Longfellow's “Psalm of Life” was written when +he was a young man, and for some years it carried +the title he gave it, “What the Young Man's Heart +Said to the Psalmist”—a caption altogether too +long to bear currency.</p> + +<p>The history of the beloved poet who wrote this +optimistic ballad of hope and courage is too well +known to need recounting here. He was born in +Portland, Me., in 1807, graduated at Bowdoin +College, and was for more than forty years professor +of Belles Lettres in Harvard University. +Died in Cambridge, March 4, 1882. Of his longer +poems the most read and admired are his beautiful +romance of “Evangeline,” and his epic of “Hiawatha,” +but it is hardly too much to say that for +the last sixty years, his “Psalm of Life” has been +the common property of all American, if not +English school-children, and a part of their education. +When he was in London, Queen Victoria +sent for him to come and see her at the palace. +He went, and just as he was seating himself in the +waiting coach after the interview, a man in working +clothes appeared, hat in hand, at the coach window.</p> + +<p>“Please sir, yer honor,” said he, “an' are you +Mr. Longfellow?”</p> + +<p>“I am Mr. Longfellow,” said the poet.</p> + +<p>“An' did you write the Psalm of Life?” he +asked.</p> + +<p>“I wrote the Psalm of Life,” replied the poet.</p> + +<a id="png:293" name="png:293"></a><samp class="pgmark" + ><span class="png">293 /</span> 249</samp> + +<p>“An', yer honor, would you be willing to take +a workingman by the hand?”</p> + +<p>Mr. Longfellow gave the honest Englishman a +hearty handshake, “And” (said he in telling the +story) “I never in my life received a compliment +that gave me more satisfaction.”</p> + +<p>The incident has a delightful democratic flavor—and +it is perfectly characteristic of the amiable +author of the most popular poem in the English +language. The “Psalm of Life” is a wonderful +example of the power of commonplaces put into +tuneful and elegant verse.</p> + +<p>The thought of setting the poem to music came +to the compiler of one of the Unitarian church +singing books. Some will question, however, +whether the selection was the happiest that could +have been made. The tune is “Rathbun,” Ithamar +Conkey's melody that always recalls Sir John Bowring's +great hymn of praise.</p> + + + +<h4 class="hymn" +>“<span>BUILD THEE MORE NOBLE MANSIONS.</span>”</h4> + + +<p>This poem by Dr. Oliver Wendell Holmes, +known among his works as “The Chambered +Nautilus,” was considered by himself as his +worthiest achievement in verse, and his wish that +it might live is likely to be fulfilled. It is stately, +and in character and effect a rhythmic sermon +from a text in “natural theology.” The biography +of one of the little molluscan sea-navigators that +continually enlarges its shell to adapt it to its +<a id="png:294" name="png:294"></a><samp class="pgmark" + ><span class="png">294 /</span> 250</samp> +growth inspired the thoughtful lines. The third, +fourth and fifth stanzas are as follows:</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> Year after year beheld the silent toil</div> +<div class="i2"> That spread the lustrous coil;</div> +<div class="i2"> Still, as the spiral grew,</div> +<div class="i1"> He left the last year's dwelling for the new,</div> +<div class="i1"> Stole with soft step the shining archway through,</div> +<div class="i2"> Built up its idle door,</div> +<div> Stretched in his last-found home, and knew the old no more.</div> +</div><div class="stanza"> +<div class="i1"> Thanks for the heavenly message brought by thee,</div> +<div class="i2"> Child of the wand'ring sea,</div> +<div class="i2"> Cast from her lap forlorn!</div> +<div class="i1"> From thy dead lips a clearer note is born</div> +<div class="i1"> Than ever Triton blew from <ins class="transcriber" + title="Transcriber's note: original has 'wreathèd'">wreathéd</ins> horn!</div> +<div class="i2"> While on my ear it rings</div> +<div>Through the deep caves of thought I hear a voice that sings,</div> +</div><div class="stanza"> +<div class="i1"> “Build thee more noble mansions, O my soul.</div> +<div class="i2"> As the swift seasons roll:</div> +<div class="i2"> Leave thy low-vaulted past!</div> +<div class="i1"> Let each new temple, nobler than the last,</div> +<div class="i1"> Shut thee from heaven with a dome more vast,</div> +<div class="i2"> Till thou at length art free,</div> +<div>Leaving thy outgrown shell by life's unresting sea.”</div> +</div></div> + + +<p>Dr. Frederic Hedge included the poem in his +hymn-book but without any singing-supplement to +the words.</p> + + + +<h4 class="hymn"><span>WHITTIER'S SERVICE SONG.</span></h4> + +<p class="ctrhymn"><span> +It may not be our lot to wield<br /> +The sickle in the harvest field. +</span></p> + +<p>If this stanza and the four following do not +reveal all the strength of John G. Whittier's spirit, +<a id="png:295" name="png:295"></a><samp class="pgmark" + ><span class="png">295 /</span> 251</samp> +they convey its serious sweetness. The verses +were loved and prized by both President Garfield +and President McKinley. On the Sunday before +the latter went from his Canton, O., home to his +inauguration in Washington the poem was sung +as a hymn at his request in the services at the +Methodist church where he had been a constant +worshipper.</p> + +<p>The second stanza is the one most generally +recognized and oftenest quoted:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Yet where our duty's task is wrought</div> +<div>In unison with God's great thought,</div> +<div>The near and future blend in one,</div> +<div>And whatsoe'er is willed, is done.</div> +</div></div> + +<p>John Greenleaf Whittier, the poet of the +oppressed, was born in Haverhill, Mass., 1807, +worked on a farm and on a shoe-bench, and studied +at the local academy, until, becoming of age, he +went to Hartford, Conn., and began a brief +experience in editorial life. Soon after his return +to Massachusetts he was elected to the Legislature, +and after his duties ended there he left the state +for Philadelphia to edit the <i>Pennsylvania Freeman</i>. +A few years later he returned again, and +established his home in Amesbury, the town with +which his life and works are always associated.</p> + +<p>He died in 1892 at Hampton Falls, N.H., where +he had gone for his health.</p> + +<a id="png:296" name="png:296"></a><samp class="pgmark" + ><span class="png">296 /</span> 252</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Abends,” the smooth triple-time choral joined +to Whittier's poem by the music editor of the new +<i>Methodist Hymnal</i>, speaks its meaning so well +that it is scarcely worth while to look for another. +Sir Herbert Stanley Oakeley, the composer, was +born at Ealing, Eng., July 22, 1830, and educated +at Rugby and Oxford. He studied music in +Germany, and became a superior organist, winning +great applause by his recitals at Edinburgh University, +where he was elected Musical Professor.</p> + +<p>Archbishop Tait gave him the doctorate of music at +Canterbury in 1871, and he was knighted by Queen +Victoria in 1876.</p> + +<p>Besides vocal duets, Scotch melodies and student +songs, he composed many anthems and tunes for +the church—notably “Edina” (“Saviour, blessed +Saviour”) and “Abends,” originally written to Keble's +“Sun of my Soul.”</p> + + + +<h4 class="hymn" +>“<span>THE BIRD WITH THE BROKEN PINION.</span>”</h4> + + +<p>This lay of a lost gift, with its striking lesson, +might have been copied from the wounded bird's +own song, it is so natural and so clear-toned. +The opportune thought and pen of Mr. Hezekiah +Butterworth gave being to the little ballad the +day he heard the late Dr. George Lorimer preach +from a text in the story of Samson's fall (Judges +16:21) “The Philistines took him, and put out +his eyes, and brought him down to Gaza ... +<a id="png:297" name="png:297"></a><samp class="pgmark" + ><span class="png">297 /</span> 253</samp> +and he did grind in the prison-house.” A sentence +in the course of the doctor's sermon, “The bird +with a broken pinion never soars as high again,” +was caught up by the listening author, and became +the refrain of his impressive song. Rev. Frank M. +Lamb, the tuneful evangelist, found it in print, and +wrote a tune to it, and in his voice and the voices +of other singers the little monitor has since told its +story in revival meetings, and mission and gospel services +throughout the land.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I walked through the woodland meadows</div> +<div class="i1"> Where sweet the thrushes sing,</div> +<div>And found on a bed of mosses</div> +<div class="i1"> A bird with a broken wing.</div> +<div>I healed its wound, and each morning</div> +<div class="i1"> It sang its old sweet strain,</div> +<div>But the bird with a broken pinion</div> +<div class="i1"> Never soared as high again.</div> +</div><div class="stanza"> +<div>I found a young life broken</div> +<div class="i1"> By sin's seductive art;</div> +<div>And, touched with a Christ-like pity,</div> +<div class="i1"> I took him to my heart.</div> +<div>He lived—with a noble purpose,</div> +<div class="i1"> And struggled not in vain;</div> +<div>But the life that sin had stricken</div> +<div class="i1"> Never soared as high again.</div> +</div><div class="stanza"> +<div>But the bird with a broken pinion</div> +<div class="i1"> Kept another from the snare,</div> +<div>And the life that sin had stricken</div> +<div class="i1"> Saved another from despair.</div> +<div>Each loss has its compensation,</div> +<div class="i1"> There is healing for every pain</div> +<div>But the bird with a broken pinion</div> +<div class="i1"> Never soars as high again.</div> +</div></div> + +<a id="png:298" name="png:298"></a><samp class="pgmark" + ><span class="png">298 /</span> 254</samp> + +<p>In the tune an extra stanza is added—as if +something conventional were needed to make the +poem a hymn. But the professional tone of the +appended stanza, virtually all in its two lines—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Then come to the dear Redeemer,</div> +<div>He will cleanse you from every <ins class="transcriber" + title="Transcriber's note: original has 'strain'">stain</ins>,</div> +</div></div> + +<p class="runon">—is forced into its connection. The poem told the +truth, and stopped there; and should be left to +fasten its own impression. There never was a +more solemn warning uttered than in this little +apologue. It promises “compensation” and “healing,” +but not perfect rehabilitation. Sin will +leave its scars. Even He who “became sin for us” +bore them in His resurrection body.</p> + +<p>Rev. Frank M. Lamb, composer and singer of +the hymn-tune, was born in Poland, Me., 1860, +and educated in the schools of Poland and Auburn. +He was licensed to preach in 1888, and ordained the +same year, and has since held pastorates in Maine, +New York, and Massachusetts.</p> + +<p title="Illustration of Ellen M.H. Gates originally opposite">Besides +his tune, very pleasing and appropriate +music has been written to the little ballad of +the broken wing by Geo. C. Stebbins.</p> + + +<h4 class="hymn"><span>UNDER THE PALMS.</span></h4> + + +<p>In the cantata, “Under the Palms” (“Captive +Judah in Babylon”)—the joint production of +George F. Root<sup>*</sup> and Hezekiah Butterworth, several +<a id="png:301" name="png:301"></a><samp class="pgmark" + ><span class="png">301 /</span> 255</samp> +of the latter's songs detached themselves, with their +music, from the main work, and lingered in choral +or solo service in places where the sacred operetta +was presented, both in America and England. +One of these is an effective solo in deep contralto, +with a suggestion of recitative and chant—</p> + +<div class="hymn"> +<div class="stanza"> +<div>By the dark Euphrates' stream,</div> +<div>By the Tigris, sad and lone</div> +<div class="i1"> I wandered, a captive maid;</div> +<div class="i1"> And the cruel Assyrian said,</div> +<div>“Awake your harp's sweet tone!”</div> +</div><div class="stanza"> +<div class="i0"> +I had heard of my fathers' glory from the lips of holy men,</div> +<div class="i0"> +And I thought of the land of my fathers; I thought of my +fathers' land then.</div> +</div></div> + +<p class="runon">Another is—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O church of Christ! our blest abode,</div> +<div class="i1"> Celestial grace is thine.</div> +<div>Thou art the dwelling-place of God,</div> +<div class="i1"> The gate of joy divine.</div> +</div><div class="stanza"> +<div>Whene'er I come to thee in joy,</div> +<div class="i1"> Whene'er I come in tears,</div> +<div>Still at the Gate called Beautiful</div> +<div class="i1"> My risen Lord appears.</div> +</div></div> + +<p class="runon">—with the chorus—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Where'er for me the sun may set,</div> +<div class="i1"> Wherever I may dwell,</div> +<div>My heart shall nevermore forget</div> +<div class="i1"> Thy courts, Immanuel!</div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +See <a href="#Root">page 316</a>.</p></div> + +<div class="illus"> +<a id="png:299" name="png:299"></a><samp class="pgmark" + ><span class="png">299 /</span> opp 254</samp> +<table cellspacing="40" summary="Portrait of Ellen M.H. Gates"> + <tr valign="bottom"> + <td><a id="Illus14" name="Illus14" + ><img src="images/illus14-ellengates-cameo.jpg" alt= + "Ellen M.H. Gates" width="227" height="305" /></a></td> + <td><table summary="Caption"> + <tr><td>Ellen M.H. Gates</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table> +<a id="png:302" name="png:302"></a><samp class="pgmark" + ><span class="png">302 /</span> 256</samp> +</div> + + + + +<h4 class="hymn">“<span>IF YOU CANNOT ON THE OCEAN.</span>”</h4> + +<p>This popular Christian ballad, entitled “Your +Mission,” was written one stormy day in the winter +of 1861–2 by Miss Ellen M. Huntington (Mrs. +Isaac Gates), and made her reputation as one of +the few didactic poets whose exquisite art wins a +hearing for them everywhere. In a moment of +revery, while looking through the window at the +falling snow, the words came to her:</p> + +<div class="hymn"> +<div class="stanza"> +<div>If you cannot on the ocean</div> +<div>Sail among the swiftest fleet.</div> +</div></div> + +<p>She turned away and wrote the lines on her +slate, following with verse after verse till she +finished the whole poem. “It wrote itself,” she +says in her own account of it.</p> + +<p>Reading afterwards what she had written, she +was surprised at her work. The poem had a meaning +and a “mission.” So strong was the impression +that the devout girl fell on her knees and consecrated +it to a divine purpose. Free copies of it +went to the Cooperstown, N.Y., local paper, and +to the New York <i>Examiner</i>, and appeared in both. +From that time the history and career of “Your +Mission” presents a marked illustration of “catenal +influence,” or transmitted suggestion.</p> + +<p>In the later days of the Civil War Philip Phillips, +who had a wonderfully sweet tenor voice, was invited +to sing at a great meeting of the United States Christian +Commission in the Senate Chamber at Washington, +February, 1865, President Lincoln and +<a id="png:303" name="png:303"></a><samp class="pgmark" + ><span class="png">303 /</span> 257</samp> +Secretary Seward (then president of the commission) +were there, and the hall was crowded with +leading statesmen, army generals, and friends of +the Union. The song selected by Mr. Phillips was +Mrs. Gates' “Your Mission”:</p> + +<div class="hymn"> +<div class="stanza"> +<div>If you cannot on the ocean</div> +<div class="i1"> Sail among the swiftest fleet,</div> +<div>Rocking on the highest billows,</div> +<div class="i1"> Laughing at the storms you meet,</div> +<div>You can stand among the sailors</div> +<div class="i1"> Anchored yet within the bay;</div> +<div>You can lend a hand to help them</div> +<div class="i1"> As they launch their boats away.</div> +</div></div> + +<p>The hushed audience listened spell-bound as +the sweet singer went on, their interest growing to +feverish eagerness until the climax was reached +in the fifth stanza:</p> + +<div class="hymn"> +<div class="stanza"> +<div>If you cannot in the conflict</div> +<div class="i1"> Prove yourself a soldier true,</div> +<div>If where fire and smoke are thickest</div> +<div class="i1"> There's no work for you to do,</div> +<div>When the battlefield is silent</div> +<div class="i1"> You can go with careful tread;</div> +<div>You can bear away the wounded,</div> +<div class="i1"> You can cover up the dead.</div> +</div></div> + +<p>In the storm of enthusiasm that followed, President +Lincoln handed a hastily scribbled line on +a bit of paper to Chairman Seward,</p> + +<p>“Near the close let us have ‘Your Mission’ +repeated.”</p> + +<p>Mr. Phillips' great success on this occasion +brought him so many calls for his services that he +<a id="png:304" name="png:304"></a><samp class="pgmark" + ><span class="png">304 /</span> 258</samp> +gave up everything and devoted himself to his +tuneful art. “Your Mission” so gladly welcomed +at Washington made him the first gospel songster, +chanting round the world the divine message of the +hymns. It was the singing by Philip Phillips that +first impressed Ira D. Sankey with the amazing +power of evangelical solo song, and helped him +years later to resign his lucrative business as a +revenue officer and consecrate his own rare vocal +gift to the Christian ministry of sacred music. +Heaven alone can show the birth-records of souls +won to God all along the journeys of the “Singing +Pilgrims,” and the rich succession of Mr. Sankey's +melodies, that can be traced back by a chain of +causes to the poem that “wrote itself” and became +a hymn. And the chain may not yet be complete. +In the words of that providential poem—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Though they may forget the singer</div> +<div class="i1"> They will not forget the song.</div> +</div></div> + +<p>Mrs. Ellen M.H. Gates, whose reputation as an +author was made by this beautiful and always +timely poem, was born in Torrington, Ct., and is +the youngest sister of the late Collis P. Huntington. +Her hymns—included in this volume and in other +publications—are much admired and loved, both +for their sweetness and elevated religious feeling, +and for their poetic quality. Among her published +books of verse are “Night,” “At Noontide,” and +“Treasures of Kurium.” Her address is New +York City.</p> + +<a id="png:305" name="png:305"></a><samp class="pgmark" + ><span class="png">305 /</span> 259</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Sidney Martin Grannis, author of the tune, was +born Sept. 23, 1827, in Geneseo, Livingston county, +N.Y. Lived in Leroy, of the same state, from +1831 to 1884, when he removed to Los Angeles, +Cal., where several of his admirers presented him +a cottage and grounds, which at last accounts he +still occupies. Mr. Grannis won his first reputation +as a popular musician by his song “Do They +Miss Me at Home,” and his “Only Waiting,” +“Cling to the Union,” and “People Will Talk You +Know,” had an equally wide currency. As a solo +singer his voice was remarkable, covering a range +of two octaves, and while travelling with members +of the “Amphion Troupe,” to which he belonged, +he sang at more than five thousand concerts. +His tune to “Your Mission” was composed in New +Haven, Ct., in 1864.</p> + + + +<h4 class="hymn" +>“<span>TOO LATE! TOO LATE! YE CANNOT ENTER NOW.</span>”</h4> + + +<p>“Too Late” is a thrilling fragment or side-song +of Alfred Tennyson's, representing the vain plea +of the five Foolish Virgins. Its tune bears the +name of a London lady, “Miss Lindsay” (afterwards +Mrs. J. Worthington Bliss). The arrangement +of air, duo and quartet is very impressive<sup>*</sup>.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +<i>Methodist Hymnal</i>, No. 743.</p></div> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> “Late, late, so late! + and dark the night and chill:</div> +<div class="i1"> Late, late, so late! but we can enter still."</div> +<div>“Too late! too late! ye cannot enter now!”</div> +</div> +<a id="png:306" name="png:306"></a><samp class="pgmark" + ><span class="png">306 /</span> 260</samp> +<div class="stanza"> +<div class="i1"> “No light! so late! + and dark and chill the night—</div> +<div class="i1"> O let us in that we may find the light!"</div> +<div>“Too late! too late! ye cannot enter now!”</div> +</div><div class="stanza"> +<div class="stars i2">* * * * * *</div> +</div><div class="stanza"> +<div class="i1"> “Have we not heard the Bridegroom is so sweet?</div> +<div class="i1"> O let us in that we may kiss his feet!"</div> +<div>“No, No—! too late! ye cannot enter now!”</div> +</div></div> + +<p>The words are found in “Queen Guinevere,” a +canto of the “Idyls of the King.”</p> + + + +<h4 class="hymn">“<span>OH, GALILEE, SWEET GALILEE.</span>”</h4> + + +<p>This is the chorus of a charming poem of three +stanzas that shaped itself in the mind of Mr. +Robert Morris while sitting over the ruins on the +traditional site of Capernaum by the Lake of +Genneseret.</p> + +<div class="hymn"><div class="stanza"> +<div>Each cooing dove, each sighing bough,</div> +<div class="i1"> That makes the eve so blest to me,</div> +<div>Has something far diviner now,</div> +<div class="i1"> It bears me back to Galilee.</div> +</div><div class="stanza"> +<div class="refrain">Chorus</div> +<div>Oh, Galilee, sweet Galilee,</div> +<div class="i1"> Where Jesus loved so much to be;</div> +<div>Oh, Galilee, blue Galilee,</div> +<div class="i1"> Come sing thy song again to me.</div> +</div></div> + +<p>Robert Morris, LL.D., born Aug. 31, 1818, +was a scholar, and an expert in certain scientific +subjects, and wrote works on numismatics and the +“Poetry of Free Masonry.” Commissioned to +Palestine in 1868 on historic and <ins class="transcriber" title= + "Transcriber's note: original reads 'archeological'">archaeological</ins> +service for the United Order, he explored the +<a id="png:307" name="png:307"></a><samp class="pgmark" + ><span class="png">307 /</span> 261</samp> +scenes of ancient Jewish and Christian life and +event in the Holy Land, and being a religious man, +followed the Saviour's earthly footsteps with a +reverent zeal that left its inspiration with him +while he lived. He died in the year 1888, but his +Christian ballad secured him a lasting place in +every devout memory.</p> + + +<h4 class="tune">THE TUNE.</h4> + + +<p>The author wrote out his hymn in 1874 and +sent it to his friend, the musician, Mr. Horatio R. +Palmer,<sup>*</sup> and the latter learned it by heart, and +carried it with him in his musings “till it floated out +in the melody you know,” (to use his own words.)</p> + + +<hr class="footnote" /> +<div class="footnote"><p>* +See <a href="#png:361">page 311</a>.</p></div> + +<a id="png:308" name="png:308"></a><samp class="pgmark" + ><span class="png">308 /</span> 262</samp> + + + + +<h2 class="chap">CHAPTER VII.</h2> +<hr class="chap" /> + +<h1>OLD REVIVAL HYMNS.</h1> +<hr class="chap" /> + + +<p>The sober churches of the “Old Thirteen” +states and of their successors far into the nineteenth +century, sustained evening prayer-meetings more +or less commonly, but necessity made them in +most cases “cottage meetings” appointed on +Sunday and here and there in the scattered homes +of country parishes. Their intent was the same +as that of “revival meetings,” since so called, +though the method—and the music—were +<ins class="transcriber" + title="Transcriber's note: original reads 'diferent'">different</ins>. +The results in winning sinners, so far as +they owed anything to the hymns and hymn-tunes, +were apt to be a new generation of Christian +recruits as sombre as the singing. “Lebanon” +set forth the appalling shortness of human life; +“Windham” gave its depressing story of the great +majority of mankind on the “broad road,” and +other minor tunes proclaimed God's sovereignty +and eternal decrees; or if a psalm had His love in +it, it was likely to be sung in a similar melancholy +key. Even in his gladness the good minister, +Thomas Baldwin, of the Second Baptist Church, +<a id="png:309" name="png:309"></a><samp class="pgmark" + ><span class="png">309 /</span> 263</samp> +at Boston, North End, returning from Newport, +N.H., where he had happily harmonized a discordant +church, could not escape the strait-lace +of a C minor for his thankful hymn—</p> + +<div class="hymn"> +<div class="stanza"> +<div>From whence doth this union arise,</div> +<div>That hatred is conquered by love.</div> +</div></div> + +<p>“The Puritans took their pleasures seriously,” +and this did not cease to be true till at least two +hundred years after the Pilgrims landed or Boston +was founded.</p> + +<p>Time, that covered the ghastly faces on the old +grave-stones with moss, gradually stole away the +unction of minor-tune singing.</p> + +<p>The songs of the great revival of 1740 swept the +country with positive rather than negative music. +Even Jonathan Edwards admitted the need of better +psalm-books and better psalmody.</p> + +<p>Edwards, during his life, spent some time among +the Indians as a missionary teacher; but probably +neither he nor David Brainerd ever saw a Christian +hymn composed by an Indian. The following, +from the early years of the last century, is apparently +the first, certainly the only surviving, effort +of a converted but half-educated red man to utter +his thoughts in pious metre. Whoever trimmed +the original words and measure into printable +shape evidently took care to preserve the broken +English of the simple convert. It is an interesting +relic of the Christian thought and sentiment of a +pagan just learning to prattle prayer and praise:</p> + +<a id="png:310" name="png:310"></a><samp class="pgmark" + ><span class="png">310 /</span> 264</samp> +<div class="hymn"> +<div class="stanza"> +<div>In de dark wood, no Indian nigh,</div> +<div>Den me look heaben, send up cry,</div> +<div class="i1"> Upon my knees so low.</div> +<div>Dat God on high, in shinee place,</div> +<div>See me in night, with teary face,</div> +<div class="i1"> De priest, he tell me so.</div> +</div><div class="stanza"> +<div>God send Him angel take me care;</div> +<div>Him come Heself and hear um prayer,</div> +<div class="i1"> If Indian heart do pray.</div> +<div>God see me now, He know me here.</div> +<div>He say, poor Indian, neber fear,</div> +<div class="i1"> Me wid you night and day.</div> +</div><div class="stanza"> +<div>So me lub God wid inside heart;</div> +<div>He fight for me, He take my part,</div> +<div class="i1"> He save my life before.</div> +<div>God lub poor Indian in de wood;</div> +<div>So me lub God, and dat be good;</div> +<div class="i1"> Me pray Him two times more.</div> +</div><div class="stanza"> +<div>When me be old, me head be gray,</div> +<div>Den He no lebe me, so He say:</div> +<div class="i1"> Me wid you till you die.</div> +<div>Den take me up to shinee place,</div> +<div>See white man, red man, black man's face,</div> +<div class="i1"> All happy 'like on high.</div> +</div><div class="stanza"> +<div>Few days, den God will come to me,</div> +<div>He knock off chains, He set me free,</div> +<div class="i1"> Den take me up on high.</div> +<div>Den Indian sing His praises blest,</div> +<div>And lub and praise Him wid de rest,</div> +<div class="i1"> And neber, neber cry.</div> +</div></div> + +<p>The above hymn, which may be found in different +forms in old New England tracts and hymn-books, +and which used to be sung in Methodist +<a id="png:311" name="png:311"></a><samp class="pgmark" + ><span class="png">311 /</span> 265</samp> +conference and prayer-meetings in the same way that +old slave-hymns and the “Jubilee Singers” refrains +are sometimes sung now, was composed by +William Apes, a converted Indian, who was born +in Massachusetts, in 1798. His father was a white +man, but married an Indian descended from the +family of King Philip, the Indian warrior, and the +last of the Indian chiefs. His grandmother was the +king's granddaughter, as he claimed, and was famous +for her personal beauty. He caused his autobiography +and religious experience to be published. +The original hymn is quite long, and contains some +singular and characteristic expressions.</p> + +<p>The authorship of the tune to which the words +were sung has been claimed for Samuel Cowdell, a +schoolmaster of Annapolis Valley, Nova Scotia, +1820, but the date of the lost tune was probably +much earlier.</p> + +<p>In the early days of New England, before the +Indian missions had been brought to an end by the +sweeping away of the tribes, several fine hymns +were composed by educated Indians, and were +used in the churches. The best known is that beginning—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When shall we all meet again?</div> +</div></div> + +<p>It was composed by three Indians at the planting +of a memorial pine on leaving Dartmouth College, +where they had been studying. The lines indicate +an expectation of missionary life and work.</p> + +<div class="hymn"> +<div class="stanza"> +<div>When shall we all meet again?</div> +<div>When shall we all meet again?</div> +<a id="png:312" name="png:312"></a><samp class="pgmark" + ><span class="png">312 /</span> 266</samp> +<div>Oft shall glowing hope expire,</div> +<div>Oft shall wearied love retire,</div> +<div>Oft shall death and sorrow reign</div> +<div>Ere we all shall meet again.</div> +</div><div class="stanza"> +<div>Though in distant lands we sigh,</div> +<div>Parched beneath a burning sky,</div> +<div>Though the deep between us rolls,</div> +<div>Friendship shall unite our souls;</div> +<div>And in fancy's wide domain,</div> +<div>There we all shall meet again.</div> +</div><div class="stanza"> +<div>When these burnished locks are gray,</div> +<div>Thinned by many a toil-spent day,</div> +<div>When around this youthful pine</div> +<div>Moss shall creep and ivy twine,</div> +<div>(Long may this loved bower remain!)</div> +<div>Here may we all meet again.</div> +</div><div class="stanza"> +<div>When the dreams of life are fled,</div> +<div>When its wasted lamps are dead,</div> +<div>When in cold oblivion's shade</div> +<div>Beauty, health, and strength are laid,</div> +<div>Where immortal spirits reign,</div> +<div>There we all shall meet again.</div> +</div></div> + +<p>This parting piece was sung in religious meetings +as a hymn, like the other once so common, but +later,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“When shall we meet again,</div> +<div class="i1"> Meet ne'er to sever?”</div> +</div></div> + +<p class="runon">—to a tune in B flat minor, excessively plaintive, and +likely to sadden an <ins class="transcriber" + title="Transcriber's note: original reads 'emoional'">emotional</ins> +singer or hearer to +tears. The full harmony is found in the <i>American +Vocalist</i>, and the air is reprinted in the <i>Revivalist</i> +(1868). The fact that minor music is the natural +<a id="png:313" name="png:313"></a><samp class="pgmark" + ><span class="png">313 /</span> 267</samp> +Indian tone in song makes it probable that the +melody is as ancient as the hymn—though no date +is given for either.</p> + +<p>Tradition says that nearly fifty years later the +same three Indians were providentially drawn to +the spot where they parted, and met again, and +while they were together composed and sang another +ode. Truth to tell, however, it had only one +note of gladness, and that was in the first stanza:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Parted many a toil-spent year,</div> +<div>Pledged in youth to memory dear,</div> +<div>Still to friendship's magnet true,</div> +<div>We our social joys renew;</div> +<div>Bound by love's unsevered chain,</div> +<div>Here on earth we meet again.</div> +</div></div> + +<p>The remaining three stanzas dwell principally on +the ravages time has made. The reunion ode of those +stoical college classmates of a stoical race could +have been sung in the same B flat minor.</p> + +<h4 class="hymn" +>“<span>AWAKED BY SINAI'S AWFUL SOUND.</span>”</h4> + +<p>The name of the Indian, Samson Occum, who +wrote this hymn (variously spelt Ockom, Ockum, +Occam, Occom) is not borne by any public institution, +but New England owes the foundation of +Dartmouth College to his hard work. Dartmouth +College was originally “Moore's Indian Charity +School,” organized (1750) in Lebanon, Ct., by Rev. +Eleazer Wheelock and endowed (1755) by Joshua +Moore (or More). Good men and women who +<a id="png:314" name="png:314"></a><samp class="pgmark" + ><span class="png">314 /</span> 268</samp> +had at heart the spiritual welfare of a fading race +contributed to the school's support and young +Indians resorted to it from both New England and +the Middle States, but funds were insufficient, and +it was foreseen that the charity must inevitably +outgrow its missionary purpose and if continued at +all must depend on a wider and more liberal patronage.</p> + +<p>Samson Occum was born in Mohegan, New +London Co., Ct., probably in the year 1722. Converted +from paganism in 1740 (possibly under the +preaching of Whitefield, who was in this country +at that time) he desired to become a missionary to +his people, and entered Eleazer Wheelock's school. +After four years study, then a young man of twenty-two, +he began to teach and preach among the Montauk +Indians, and in 1759 the Presbytery of Suffolk +Co., L.I., ordained him to the ministry. A benevolent +society in Scotland, hearing of, his ability and +zeal, gave him an appointment, under its auspices, +among the Oneidas in 1761, where he labored +four years. The interests of the school at Lebanon, +where he had been educated, were dear to him, and +he was tireless in its cause, procuring pupils for it, +and working eloquently as its advocate with voice +and pen. In 1765 he crossed the Atlantic to solicit +funds for the Indian school, and remained +four years in England and Scotland, lecturing in its +behalf, and preaching nearly four hundred sermons. +As a result he raised ten thousand pounds. +The donation was put in charge of a Board of +<a id="png:315" name="png:315"></a><samp class="pgmark" + ><span class="png">315 /</span> 269</samp> +Trustees of which Lord Dartmouth was chairman. +When it was decided to remove the school from +Lebanon, Ct., the efforts of Governor Wentworth, of +New Hampshire, secured its location at Hanover in +that state. It was christened after Lord Dartmouth—and +the names of Occum, Moore and Wheelock +retired into the encyclopedias.</p> + +<p>The Rev. Samson Occum died in 1779, while +laboring among the Stockbridge (N.Y.) Indians. +Several hymns were written by this remarkable +man, and also “An Account of the Customs and +Manners of the Montauks.” The hymn, “Awaked +by Sinai's Awful Sound,” set to the stentorian tune +of “Ganges,” was a tremendous sermon in itself +to old-time congregations, and is probably as indicative +of the doctrines which converted its writer as +of the <ins class="transcriber" + title="Transcriber's note: original reads 'cotemporary'">contemporary</ins> +belief prominent in choir and pulpit.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Awaked by Sinai's awful sound,</div> +<div>My soul in bonds of guilt I found,</div> +<div class="i1"> And knew not where to go,</div> +<div>Eternal truth did loud proclaim</div> +<div>“The sinner must be born again.</div> +<div class="i1"> Or sink in endless woe.”</div> +</div><div class="stanza"> +<div>When to the law I trembling fled,</div> +<div>It poured its curses on my head:</div> +<div class="i1"> I no relief could find.</div> +<div>This fearful truth increased my pain,</div> +<div>“The sinner must be born again,”</div> +<div class="i1"> And whelmed my troubled mind.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<a id="png:316" name="png:316"></a><samp class="pgmark" + ><span class="png">316 /</span> 270</samp> +<div>But while I thus in anguish lay,</div> +<div>Jesus of Nazareth passed that way;</div> +<div class="i1"> I felt His pity move.</div> +<div>The sinner, once by justice slain,</div> +<div>Now by His grace is born again,</div> +<div class="i1"> And sings eternal Love!</div> +</div></div> + +<p>The rugged original has been so often and so +variously altered and “toned down,” that only a +few unusually accurate aged memories can recall +it. The hymn began going out of use fifty +years ago, and is now seldom seen.</p> + +<p>The name “S. Chandler,” attached to “Ganges,” +leaves the identity of the composer in shadow. It +is supposed he was born in 1760. The tune appeared +about 1790.</p> + + + +<h4 class="hymn" +>“<span>WHERE NOW ARE THE HEBREW CHILDREN?</span>”</h4> + + +<p>This quaint old unison, repeating the above three +times, followed by the answer (thrice repeated) and +climaxed with—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1">Safely in the Promised Land,</div> +</div></div> + +<p class="runon">—was a favorite at ancient camp-meetings, and a +good leader could keep it going in a congregation +or a happy group of vocalists, improvising a new +start-line after every stop until his memory or invention +gave out.</p> + +<div class="hymn"> +<div class="stanza"> +<div>They went up from the fiery furnace,</div> +<div>They went up from the fiery furnace,</div> +<div>They went up from the fiery furnace,</div> +<div class="i1"> Safely to the Promised Land.</div> +</div></div> +<a id="png:317" name="png:317"></a><samp class="pgmark" + ><span class="png">317 /</span> 271</samp> +<p class="runon">Sometimes it was—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Where now is the good Elijah?</div> +</div></div> + +<p class="runon">—and,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>He went up in a chariot of fire;</div> +</div></div> + +<p class="runon">—and again,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Where now is the good old Daniel?</div> +</div><div class="stanza"> +<div>He went up from the den of lions;</div> +</div></div> + +<p class="runon">—and so on, finally announcing—</p> + +<div class="hymn"> +<div class="stanza"> +<div>By and by we'll go home for to meet him, [three times]</div> +<div class="i1"> Safely in the Promised Land.</div> +</div></div> + +<p class="runon">The enthusiasm excited by the swinging rhythm of +the tune sometimes rose to a passionate pitch, and +it was seldom used in the more controlled religious +assemblies. If any attempt was ever made to +print the song<sup>*</sup> the singers had little need to read +the music. Like the ancient runes, it came into +being by spontaneous generation, and lived in phonetic +tradition.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Mr. Hubert P. Main believes he once saw “The Hebrew Children” in +print in one of Horace Waters' editions of the <i>Sabbath Bell</i>.</p></div> + +<p>A strange, wild pæan of exultant song was one +often heard from Peter Cartwright, the muscular +circuit-preacher. A remembered fragment shows +its quality:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Then my soul mounted higher</div> +<div class="i1"> In a chariot of fire,</div> +<div>And the moon it was under my feet.</div> +</div></div> + +<p class="runon">There is a tradition that he sang it over a stalwart +blacksmith while chastising him for an ungodly +<a id="png:318" name="png:318"></a><samp class="pgmark" + ><span class="png">318 /</span> 272</samp> +defiance and assault in the course of one of his gospel +journeys—and that the defeated blacksmith became +his friend and follower.</p> + +<p>Peter Cartwright was born in Amherst county, +Va., Sept. 1, 1785, and died near Pleasant Plains, +Sangamon county, Ill., Sept., 1872.</p> + + + +<h4 class="hymn">“<span>THE EDEN OF LOVE.</span>”</h4> + + +<p>This song, written early in the last century, by +John J. Hicks, recalls the name of the eccentric +traveling evangelist, Lorenzo Dow, born in Coventry, +Ct., October 16, 1777; died in Washington, +D.C., Feb. 2, 1834. It was the favorite hymn of his +wife, the beloved Peggy Dow, and has furnished +the key-word of more than one devotional rhyme +that has uplifted the toiling souls of rural evangelists +and their greenwood congregations:</p> + +<div class="hymn"> +<div class="stanza"> +<div>How sweet to reflect on the joys that await me</div> +<div class="i1"> In yon blissful region, the haven of rest,</div> +<div>Where glorified spirits with welcome shall greet me,</div> +<div class="i1"> And lead me to mansions prepared for the blest.</div> +<div>There, dwelling in light, and with glory enshrouded,</div> +<div class="i1"> My happiness perfect, my mind's sky unclouded,</div> +<div>I'll bathe in the ocean of pleasure unbounded,</div> +<div class="i1"> And range with delight through the Eden of love.</div> +</div></div> + +<p>The words and tune were printed in <i>Leavitt's +Christian Lyre</i>, 1830.</p> + +<p>The same strain in the same metre is continued in +the hymn of Rev. Wm. Hunter, D.D., (1842) printed +in his <i>Minstrel of Zion</i> (1845). J.W. Dadmun's +<i>Melodian</i> (1860) copied it, retaining, apparently, +<a id="png:319" name="png:319"></a><samp class="pgmark" + ><span class="png">319 /</span> 273</samp> +the original music, with an added refrain of invitation, +“Will you go? will you go?”</p> + +<div class="hymn"> +<div class="stanza"> +<div>We are bound for the land of the pure and the holy,</div> +<div class="i1"> The home of the happy, the kingdom of love;</div> +<div>Ye wand'rers from God on the broad road of folly,</div> +<div class="i1"> O say, will you go to the Eden above?</div> +</div></div> + +<p>The old hymn-tune has a brisk out-door delivery, +and is full of revival fervor and the ozone of the +pines.</p> + + + +<h4 class="hymn">“<span>O CANA-AN, BRIGHT CANA-AN</span>”</h4> + + +<p class="runon">Was one of the stimulating melodies of the old-time +awakenings, which were simply airs, and were sung +unisonously. “O Cana-an” (pronounced in three +syllables) was the chorus, the hymn-lines being +either improvised or picked up miscellaneously +from memory, the interline, “I am bound for the +land of Cana-an,” occurring between every two. +John Wesley's “How happy is the pilgrim's lot” +was one of the snatched stanzas swept into the +current of the song. An example of the tune-leader's +improvisations to keep the hymn going +was—</p> + +<div class="hymn"> +<div class="stanza"> +<div>If you get there before I do,—</div> +<div class="i1"> <i>I am bound for the land of Cana-an!</i></div> +<div>Look out for me, I'm coming too—</div> +<div class="i1"> <i>I am bound for the land of Cana-an!</i></div> +</div></div> + +<p class="runon">And then hymn and tune took possession of the +assembly and rolled on in a circle with—</p> + +<div class="hymn"><div class="stanza"> +<div>O Cana-an, bright Cana-an!</div> +<div>I am bound for the land of Cana-an;</div> +<a id="png:320" name="png:320"></a><samp class="pgmark" + ><span class="png">320 /</span> 274</samp> +<div>O Cana-an it is my hap-py home,</div> +<div>I am bound for the land of Cana-an</div> +</div></div> + +<p class="runon">—till the voices came back to another starting-line +and began again. There was always a movement +to the front when that tune was sung, and—with all +due abatement for superficial results in the sensation +of the moment—it is undeniable that many +souls were truly born into the kingdom of God under +the sound of that rude woodland song.</p> + +<p>Both its words and music are credited to Rev. John +Maffit, who probably wrote the piece about 1829.</p> + + + +<h4 class="hymn">“<span>A CHARGE TO KEEP I HAVE.</span>”</h4> + + +<p>This hymn of Charles Wesley was often heard +at the camp grounds, from the rows of tents in the +morning while the good women prepared their +pancakes and coffee, and</p> + +<h4 class="tune">THE TUNE.</h4> + +<p class="runon">was invariably old “Kentucky,” +by Jeremiah Ingalls. +Sung as a solo by a sweet and spirited voice, it +slightly resembled “Golden Hill,” but oftener its +halting bars invited a more drawling style of execution +unworthy of a hymn that merits a tune like +“St. Thomas.”</p> + +<p>Old “Kentucky” was not field music.</p> + + + +<h4 class="hymn" +>“<span>CHRISTIANS, IF YOUR HEARTS ARE WARM.</span>”</h4> + + +<p>Elder John Leland, born in Grafton, Mass., 1754, +was not only a strenuous personality in the Baptist +<a id="png:321" name="png:321"></a><samp class="pgmark" + ><span class="png">321 /</span> 275</samp> +denomination, but was well known everywhere in +New England, and, in fact, his preaching trip to +Washington (1801) with the “Cheshire Cheese” +made his fame national. He is spoken of as “the +minister who wrote his own hymns”—a peculiarity +in which he imitated Watts and Doddridge. When +some natural shrinking was manifest in converts of +his winter revivals, under his rigid rule of immediate +baptism, he wrote this hymn to fortify them:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Christians, if your hearts are warm,</div> +<div>Ice and cold can do no harm;</div> +<div>If by Jesus you are prized</div> +<div>Rise, believe and be baptized.</div> +</div></div> + +<p>He found use for the hymn, too, in rallying +church-members who staid away from his meetings +in bad weather. The “poetry” expressed what he +wanted to say—which, in his view, was sufficient +apology for it. It was sung in revival meetings like +others that he wrote, and a few hymnbooks now +long obsolete contained it; but of Leland's hymns +only one survives. Gray-headed men and women +remember being sung to sleep by their mothers +with that old-fashioned evening song to Amzi +Chapin's<sup>*</sup> tune—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The day is past and gone,</div> +<div class="i1"> The evening shades appear,</div> +<div>O may we all remember well</div> +<div class="i1"> The night of death draws near;</div> +</div></div> + +<a id="png:322" name="png:322"></a><samp class="pgmark" + ><span class="png">322 /</span> 276</samp> +<p class="runon">—and with all its solemnity and other-worldness it +is dear to recollection, and its five stanzas are lovingly +hunted up in the few hymnals where it is found. +Bradbury's “Braden,” <i>(Baptist Praise Book</i>, 1873,) +is one of its tunes.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Amzi Chapin has left, apparently, nothing more than the record of his +birth, March 2, 1768, and the memory of his tune. It appeared as early as +1805.</p></div> + +<p>Elder Leland was a remarkable revival preacher, +and his prayers—as was said of Elder Jabez Swan's +fifty or sixty years later—“brought heaven and +earth together.” He traveled through the Eastern +States as an evangelist, and spent a season in +Virginia in the same work. In 1801 he revisited +that region on a curious errand. The farmers of +Cheshire, Mass., where Leland was then a settled +pastor, conceived the plan of sending “the biggest +cheese in America” to President Jefferson, and +Leland (who was a good democrat) offered to go +to Washington on an ox-team with it, and “preach +all the way”—which he actually did.</p> + +<p>The cheese weighed 1450 lbs.</p> + +<p>Elder Leland died in North Adams, Mass., Jan. +14, 1844. Another of his hymns, which deserved to +live with his “Evening Song,” seemed to be answered +in the brightness of his death-bed hope:</p> + +<div class="hymn"> +<div class="stanza"> +<div>O when shall I see Jesus</div> +<div class="i1"> And reign with Him above,</div> +<div>And from that flowing fountain</div> +<div class="i1"> Drink everlasting love?</div> +</div></div> + + +<h4 class="hymn" +>“<span>AWAKE, MY SOUL, TO JOYFUL LAYS.</span>”</h4> + + +<p>This glad hymn of Samuel Medley is his thanksgiving +song, written soon after his conversion. In +<a id="png:323" name="png:323"></a><samp class="pgmark" + ><span class="png">323 /</span> 277</samp> +the places of rural worship no lay of Christian +praise and gratitude was ever more heartily sung +than this at the testimony meetings.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Awake, my soul, to joyful lays,</div> +<div>And sing thy great Redeemer's praise;</div> +<div>He justly claims a song from me:</div> +<div>His loving-kindness, oh, how free!</div> +<div>Loving-kindness, loving-kindness,</div> +<div>His loving-kindness, oh, how free!</div> +</div></div> + + +<h4 class="tune">THE TUNE,</h4> + +<p class="runon">With its queer curvet in every second line, had no +other name than “Loving-Kindness,” and was +probably a camp-meeting melody in use for some +time before its publication. It is found in <i>Leavitt's +Christian Lyre</i> as early as 1830. The name +“William Caldwell” is all that is known of its composer, +though he is supposed to have lived in +Tennessee.</p> + + + +<h4 class="hymn" +>“<span>THE LORD INTO HIS GARDEN COMES.</span>”</h4> + + +<p class="runon">Was a common old-time piece sure to be heard at +every religious rally, and every one present, saint and +sinner, had it by heart, or at least the chorus of it—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Amen, amen, my soul replies,</div> +<div>I'm bound to meet you in the skies,</div> +<div class="i1"> And claim my mansion there, etc.</div> +</div></div> + +<p>The anonymous<sup>*</sup> “Garden Hymn, as old, at +<a id="png:324" name="png:324"></a><samp class="pgmark" + ><span class="png">324 /</span> 278</samp> +least, as 1800,” has nearly passed out of reach, +except by the long arm of the antiquary; but it +served its generation.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +A “Rev.” Mr. Campbell, author of “The Glorious Light +of Zion,” “There is a Holy City,” and “There is a +Land of Pleasure,” has been sometimes +credited with the origin of the Garden Hymn.</p></div> + +<p>Its vigorous tune is credited to Jeremiah Ingalls +(1764–1838).</p> + +<div class="hymn"> +<div class="stanza"> +<div>The Lord into His garden comes;</div> +<div>The spices yield a rich perfume,</div> +<div class="i1"> The lilies grow and thrive,</div> +<div class="i1"> The lilies grow and thrive.</div> +<div>Refreshing showers of grace divine</div> +<div>From Jesus flow to every vine,</div> +<div class="i1"> Which makes the dead revive,</div> +<div class="i1"> Which makes the dead revive.</div> +</div></div> + + + +<h4 class="hymn">“<span>THE CHARIOT! THE CHARIOT!</span>”</h4> + + +<p>Henry Hart Milman, generally known as Dean +Milman, was born in 1791, and was educated at +Oxford. In 1821 he was installed as university +professor of poetry at Oxford, and it was while +filling this position that he wrote this celebrated +hymn, under the title of “The Last Day.” It is not +only a hymn, but a poem—a sublime ode that recalls, +in a different movement, the tones of the +“Dies Irae.”</p> + +<p>Dean Milman (of St Paul's), besides his many +striking poems and learned historical works, wrote +at least twelve hymns, among which are—</p> + +<p class="quote"><span> +Ride on, ride on in majesty, +<br /> +<span style="line-height: 1.2em; margin-top: 0.5em; + display: inline;">O help us Lord; each hour of need<br /> +<span style="margin-left: 1.5em; margin-top: 0; + display: inline;"> Thy heavenly succor give,</span></span> +<br /> +When our heads are bowed with woe, +</span></p> +<a id="png:325" name="png:325"></a><samp class="pgmark" + ><span class="png">325 /</span> 279</samp> +<p class="runon">—which last may have been written soon after he laid +three of his children in one grave, in the north +aisle of <ins class="transcriber" title= + "Transcriber's note: original has 'Westminister'">Westminster</ins> Abbey. He lived a laborious +and useful life of seventy-seven years, dying Sept. +24, 1868.</p> + +<p>There were times in the old revivals when the +silver clarion of the “Chariot Hymn” must needs +replace the ruder blast of Occum in old “Ganges” +and sinners unmoved by the invisible God of Horeb +be made to behold Him—in a vision of the “Last +Day.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>The Chariot! the Chariot! its wheels roll in fire</div> +<div>When the Lord cometh down in the pomp of His ire,</div> +<div>Lo, self-moving, it drives on its pathway of cloud,</div> +<div>And the heavens with the burden of Godhead are bowed.</div> +</div><div class="stanza"> +<div class="stars i2">* * * * * *</div> +</div><div class="stanza"> +<div>The Judgment! the Judgment! the thrones are all set,</div> +<div>Where the Lamb and the white-vested elders are met;</div> +<div>There all flesh is at once in the sight of the Lord,</div> +<div>And the doom of eternity hangs on His word.</div> +</div></div> + +<p>The name “Williams” or “J. Williams” +is attached to various editions of the trumpet-like tune, but +so far no guide book gives us location, date or sketch +of the composer.</p> + + + +<h4 class="hymn">“<span>COME, MY BRETHREN.</span>”</h4> + + +<p>Another of the “unstudied” revival hymns of +invitation.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come, my brethren, let us try</div> +<div class="i1"> For a little season</div> +<div>Every burden to lay by,</div> +<div class="i1"> Come and let us reason.</div> +</div> +<a id="png:326" name="png:326"></a><samp class="pgmark" + ><span class="png">326 /</span> 280</samp> +<div class="stanza"> +<div>What is this that casts you down.</div> +<div class="i1"> What is this that grieves you?</div> +<div>Speak and let your wants be known;</div> +<div class="i1"> Speaking may relieve you.</div> +</div></div> + +<p>This colloquial rhyme was apt to be started by +some good brother or sister in one of the chilly +pauses of a prayer-meeting. The air (there was +never anything more to it) with a range of only a +fifth, slurred the last syllable of every second line, +giving the quaint effect of a bent note, and altogether +the music was as homely as the verse. Both +are anonymous. But the little chant sometimes +served its purpose wonderfully well.</p> + + + +<h4 class="hymn" +>“<span>BRETHREN, WHILE WE SOJOURN HERE.</span>”</h4> + + +<p>This hymn was always welcome in the cottage +meetings as well as in the larger greenwood +assemblies. It was written by Rev. Joseph Swain, +about 1783.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Brethren, while we sojourn here</div> +<div>Fight we must, but should not fear.</div> +<div>Foes we have, but we've a Friend,</div> +<div>One who loves us to the end;</div> +<div>Forward then with courage go;</div> +<div>Long we shall not dwell below,</div> +<div>Soon the joyful news will come,</div> +<div>“Child, your Father calls, ‘Come home.’”</div> +</div></div> + +<p>The tune was sometimes “Pleyel's Hymn,” +but oftener it was sung to a melody now generally +forgotten of much the same movement but slurred +in peculiarly sweet and tender turns. The cadence +<a id="png:327" name="png:327"></a><samp class="pgmark" + ><span class="png">327 /</span> 281</samp> +of the last tune gave the refrain line a melting +effect:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Child, your Father calls, “Come home.”</div> +</div></div> + +<p>Some of the spirit of this old tune (in the few +hymnals where the hymn is now printed) is preserved +in Geo. Kingsley's “Messiah” which accompanies +the words, but the modulations are wanting.</p> + +<p>Joseph Swain was born in Birmingham, Eng. +in 1761. Bred among mechanics, he was early +apprenticed to the engraver's trade, but he was a +boy of poetic temperament and fond of writing +verses. After the spiritual change which brought +a new purpose into his life, he was baptized by Dr. +Rippon and studied for the ministry. At the age +of about twenty-five, he was settled over the Baptist +church in Walworth, where he remained till his +death, April 16, 1796.</p> + +<p>For more than a century his hymns have lived +and been loved in all the English-speaking world. +Among those still in use are—</p> + +<p class="quote"><span> +How sweet, how heavenly is the sight, +<br /> +Pilgrims we are to Canaan bound, +<br /> +O Thou in whose presence my soul takes delight. +</span></p> + + + +<h4 class="hymn">“<span>HAPPY DAY.</span>”</h4> + +<div class="hymn"> +<div class="i1">O happy day that fixed my choice.</div> +<div class="i5"> —<i>Doddridge.</i></div> +<div class="i1">O how happy are they who the Saviour obey.</div> +<div class="i5"> —<i>Charles Wesley</i>.</div> +</div> + +<a id="png:328" name="png:328"></a><samp class="pgmark" + ><span class="png">328 /</span> 282</samp> +<p>These were voices as sure to be heard in converts' +meetings as the leader's prayer or text, the +former sung inevitably to Rimbault's tune, +“Happy Day,” and the latter to a “Western Melody” +quite as closely akin to Wesley's words.</p> + +<p>Edward Francis Rimbault, born at Soho, Eng., +June 13, 1816, was at sixteen years of age organist +at the Soho Swiss Church, and became a skilled +though not a prolific composer. He once received—and +declined—the offer of an appointment as +professor of music in Harvard College. Died of a +lingering illness Sept, 26, 1876.</p> + +<h4 class="hymn" +>“<span>COME, HOLY SPIRIT, HEAVENLY DOVE.</span>”</h4> +<h4 class="quote" style="text-align: right">—<i>Watts.</i></h4> + +<p>This was the immortal song-litany that fitted +almost anywhere into every service. The Presbyterians +and Congregationalists sang it in Tansur's +“St. Martins,” the Baptists in William Jones' +“Stephens” and the Methodists in Maxim's +“Turner” (which had the most music), but the +hymn went about as well with one as with another.</p> + +<p>The Rev. William Jones (1726–1800) an English +rector, and Abraham Maxim of Buckfield, Me., +(1773–1829) contributed quite a liberal share of +the “continental” tunes popular in the latter part +of the 18th century. Maxim was eccentric, but +the tradition that an unfortunate affair of the heart +once drove him into the woods to make away with +himself, but a bird on the roof of a logger's hut, +<a id="png:329" name="png:329"></a><samp class="pgmark" + ><span class="png">329 /</span> 283</samp> +making plaintive sounds, interrupted him, and he +sat down and wrote the tune “Hallowell,” on a +strip of white birch bark, is more likely legendary. +The following words, said to have inspired +his minor tune, are still set to it in the old collections:</p> + +<div class="hymn"> +<div class="stanza"> +<div>As on some lonely building's top</div> +<div class="i1"> The sparrow makes her moan,</div> +<div>Far from the tents of joy and hope</div> +<div class="i1"> I sit and grieve alone.<sup>*</sup></div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +Versified by Nahum Tate from Ps. 102:7.</p></div> + +<p>Maxim was fond of the minor mode, but his +minors, like “Hallowell,” “New Durham,” etc., +are things of the past. His major chorals and +fugues, such as “Portland,” “Buckfield,” and +“Turner” had in them the spirit of healthier +melody and longer life. He published at least two +collections, <i>The Oriental Harmony</i>, in 1802, and +<i>The Northern Harmony</i>, in 1805.</p> + +<p>William Tansur (Tans-ur), author of “St. Martins” +(1669–1783), was an organist, composer, compiler, +and theoretical writer. He was born at +Barnes, Surrey, Eng., (according to one account,) +and died at St. Neot's.</p> + + +<h4 class="hymn" +>“<span>COME, THOU FOUNT OF EVERY BLESSING.</span>”</h4> + + +<p>This hymn of Rev. Robert Robinson was almost +always heard in the tune of “Nettleton,” composed +by John Wyeth, about 1812. The more +<a id="png:330" name="png:330"></a><samp class="pgmark" + ><span class="png">330 /</span> 284</samp> +wavy melody of “Sicily” (or “Sicilian Hymn”) +sometimes carried the verses, but never with the +same sympathetic unction. The sing-song movement +and accent of old “Nettleton” made it the +country favorite.</p> + +<p>Robert Robinson, born in Norfolk, Eng., Sept. +27, 1735, was a poor boy, left fatherless at eight +years of age, and apprenticed to a barber, but was +converted by the preaching of Whitefield and +studied till he obtained a good education, and was +ordained to the Methodist ministry. He is +supposed to have written his well-known hymn in +1758. A certain unsteadiness of mind, however, +caused him to revise his religious beliefs too often +for his spiritual health or enjoyment, and after +preaching as a Methodist, a Baptist, and an +Independent, he finally became a Socinian. On +a stage-coach journey, when a lady fellow-passenger +began singing “Come, Thou Fount of Every +Blessing,” to relieve the monotony of the ride, he +said to her, “Madam, I am the unhappy man +who wrote that hymn many years ago; and I +would give a thousand worlds, if I had them, if I +could feel as I felt then.”</p> + +<p>Robinson died June 9, 1790.</p> + +<p>John Wyeth was born in Cambridge, Mass., +1792, and died at Harrisburg, Pa., 1858. He was +a musician and publisher, and issued a Music +Book, <i>Wyeth's Repository of Sacred Music</i>.</p> + +<a id="png:331" name="png:331"></a><samp class="pgmark" + ><span class="png">331 /</span> 285</samp> + + + + +<h4 class="hymn" +>“<span>A POOR WAYFARING MAN OF GRIEF,</span>”</h4> + + +<p class="runon">Written by James Montgomery, Dec., 1826, was a +hymn of tide and headway in George Coles' tune of +“Duane St.,” with a step that made every heart +beat time. The four picturesque eight-line stanzas +made a practical sermon in verse and song from +Matt. 25:35, telling how—</p> + +<div class="hymn"> +<div class="stanza"> +<div>A poor wayfaring man of grief</div> +<div class="i1"> Hath often crossed me on my way,</div> +<div>Who sued so humbly for relief</div> +<div class="i1"> That I could never answer nay.</div> +<div>I had no power to ask his name,</div> +<div class="i1"> Whither he went or whence he came,</div> +<div>Yet there was something in his eye</div> +<div class="i1"> That won my love, I knew not why;</div> +</div></div> + +<p class="runon">—and in the second and third stanzas the narrator +relates how he entertained him, and this was the +sequel—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Then in a moment to my view</div> +<div class="i1"> The stranger started from disguise</div> +<div>The token in His hand I knew;</div> +<div class="i1"> My Saviour stood before my eyes.</div> +</div></div> + +<p>When once that song was started, every tongue +took it up, (and it was strange if every foot did +not count the measure,) and the coldest kindled +with gospel warmth as the story swept on.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Montgomery's poem, “The Stranger,” has seven stanzas. +The full dramatic effect of their connection could only be produced +by a set piece.</p></div> + +<a id="png:333" name="png:333"></a><samp class="pgmark" + ><span class="png">333 /</span> opp 286</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of James Montgomery"> + <tr valign="bottom"> + <td><a id="Illus15" name="Illus15" + ><img src="images/illus15-jamesmontgomery-cameo.jpg" alt= + "James Montgomery" width="222" height="243" /></a></td> + <td><table summary="Caption"> + <tr><td>James Montgomery</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<a id="png:332" name="png:332"></a><samp class="pgmark" + ><span class="png">332 /</span> 286</samp> + + + + +<h4 class="hymn" +>“<span>WHEN FOR ETERNAL WORLDS I STEER.</span>”</h4> + + +<p>It was no solitary experience for hearers in a +house of prayer where the famous Elder Swan held +the pulpit, to feel a climactic thrill at the sudden +breaking out of the eccentric orator with this song +in the very middle of his sermon—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When for eternal worlds I steer,</div> +<div>And seas are calm and skies are clear,</div> +<div>And faith in lively exercise,</div> +<div>And distant hills of Canaan rise,</div> +<div>My soul for joy then claps her wings,</div> +<div>And loud her lovely sonnet sings,</div> +<div class="i1">“Vain world, adieu!”</div> +</div><div class="stanza"> +<div>With cheerful hope her eyes explore</div> +<div>Each landmark on the distant shore,</div> +<div>The trees of life, the pastures green,</div> +<div>The golden streets, the crystal stream,</div> +<div>Again for joy, she claps her wings,</div> +<div>And loud her lovely sonnet sings,</div> +<div class="i1">“Vain world, adieu!”</div> +</div></div> + +<p title="Illustration of James Montgomery originally opposite">Elder Jabez +Swan was born in Stonington, Ct., +Feb. 23, 1800, and died 1884. He was a tireless +worker as a pastor (long in New London, Ct.,) and +a still harder toiler in the field as an evangelist and +as a helper eagerly called for in revivals; and, +through all, he was as happy as a boy in vacation. +He was unlearned in the technics of the schools, +but always eloquent and armed with ready wit; +unpolished, but poetical as a Hebrew prophet and +as terrible in his treatment of sin. Scoffers and +“hoodlums” who interrupted him in his meetings +never interrupted him but once.</p> + +<a id="png:335" name="png:335"></a><samp class="pgmark" + ><span class="png">335 /</span> 287</samp> + +<p>The more important and canonical hymnals and +praise-books had no place for “Sonnet,” as the +bugle-like air to this hymn was called. Rev. +Jonathan Aldrich, about 1860, harmonized it in +his <i>Sacred Lyre</i>, but this, and the few other old +vestry and field manuals that contain it, were compiled +before it became the fashion to date and +authenticate hymns and tunes. In this case both +are anonymous. Another (and probably earlier) +tune sung to the same words is credited to “S. +Arnold,” and appears to have been composed +about 1790.</p> + + + +<h4 class="hymn" +>“<span>I'M A PILGRIM, AND I'M A STRANGER.</span>”</h4> + + +<p>This hymn still lives—and is likely to live, at +least in collections that print revival music. Mrs. +Mary Stanley (Bunce) Dana, born in Beaufort, +S.C., Feb. 15, 1810, wrote it while living in a +northern state, where her husband died. By the +name Dana she is known in hymnology, though +she afterwards became Mrs. Shindler. The tune +identified with the hymn, “I'm a Pilgrim,” is +untraced, save that it is said to be an “Italian +Air,” and that its original title was “Buono Notte” +(good night).</p> + +<p>No other hymn better expresses the outreaching +of ardent faith. Its very repetitions emphasize and +sweeten the vision of longed-for fruition.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I can tarry, I can tarry but a night,</div> +<div>Do not detain me, for I am going.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<a id="png:336" name="png:336"></a><samp class="pgmark" + ><span class="png">336 /</span> 288</samp> +<div>There the sunbeams are ever shining,</div> +<div>O my longing heart, my longing heart is there.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Of that country to which I'm going,</div> +<div>My Redeemer, my Redeemer is the light.</div> +<div>There is no sorrow, nor any sighing,</div> +<div>Nor any sin there, nor any dying,</div> +<div class="i1"> I'm a pilgrim, etc.</div> +</div></div> + +<p>The same devout poetess also wrote (1840) the +once popular consolatory hymn,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O sing to me of heaven</div> +<div>When I'm about to die,</div> +</div></div> + +<p class="runon">—sung to the familiar tune by Rev. E.W. Dunbar; +also to a melody composed 1854 by Dr. William +Miller.</p> + +<p>The line was first written—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When <em>I am called</em> to die,</div> +</div></div> + +<p class="runon">—in the author's copy. The hymn (occasioned by +the death of a pious friend) was written Jan. +15, 1840.</p> + +<p>Mrs. Dana (Shindler) died in Texas, Feb. 8, +1883.</p> + + + +<h4 class="hymn" +>“<span>JOYFULLY, JOYFULLY ONWARD I MOVE.</span>”</h4> + + +<p>The maker of this hymn has been confounded +with the maker of its tune—partly, perhaps, from +the fact that the real composer of the tune also +wrote hymns. The author of the words was the +Rev. William Hunter, D.D., an Irish-American, +<a id="png:337" name="png:337"></a><samp class="pgmark" + ><span class="png">337 /</span> 289</samp> +and a Methodist minister. He was born near +Ballymoney, County Antrim, Ire., May, 1811, and +was brought to America when a child six years +old. He received his education in the common +schools and at Madison College, Hamilton, N.Y., +(now Madison University), and was successively +a pastor, editor and Hebrew professor. Besides +his work in these different callings, he wrote many +helpful hymns—in all one hundred and twenty-five—of +which “Joyfully, Joyfully,” dated 1842, +is the best. It began originally with the line—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Friends fondly cherished have passed on before,</div> +</div></div> + +<p class="runon">—and the line,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Home to the land of delight I will go.</div> +</div></div> + +<p class="runon">—was written,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Home to the land of bright spirits I'll go.</div> +</div></div> + +<p>Dr. Hunter died in Ohio, 1877.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Rev. Abraham Dow Merrill, the author of the +music to this triumphal death-song, was born in +Salem, N.H., 1796, and died April 29, 1878. He +also was a Methodist minister, and is still everywhere +remembered by the denomination to which +he belonged in New Hampshire and Vermont. +He rode over these states mingling in revival +scenes many years. His picture bears a close +resemblance to that of Washington, and he was +<a id="png:338" name="png:338"></a><samp class="pgmark" + ><span class="png">338 /</span> 290</samp> +somewhat famous for this resemblance. His work +was everywhere blessed, and he left an imperishable +influence in New England. The tune, linked +with Dr. Hunter's hymn, formed the favorite +melody which has been the dying song of many +who learned to sing it amid the old revival scenes:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Death, with thy weapons of war lay me low;</div> +<div>Strike, king of terrors; I fear not the blow.</div> +<div>Jesus has broken the bars of the tomb,</div> +<div>Joyfully, joyfully haste to thy home.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>TIS THE OLD SHIP OF ZION, HALLELUJAH!</span>”</h4> + + +<p>This may be found, vocalized with full harmony, +in the <i>American Vocalist</i>. With all the parts together +(more or less) it must have made a vociferous +song-service, but the hymn was oftener sung +simply in soprano unison; and there was sound +enough in the single melody to satisfy the most +zealous.</p> + +<div class="hymn"> +<div class="stanza"> +<div>All her passengers will land on the bright eternal shore,</div> +<div class="i2"> O, glory hallelujah!</div> +<div>She has landed many thousands, and will land as many more,</div> +<div class="i2"> O, glory hallelujah!</div> +</div></div> + +<p>Both hymn and tune have lost their creators' +names, and, like many another “voice crying in +the wilderness,” they have left no record of their +beginning of days.</p> + + + +<h4 class="hymn">“<span>MY BROTHER, I WISH YOU WELL.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>My brother, I wish you well,</div> +<div>My brother, I wish you well;</div> +<a id="png:339" name="png:339"></a><samp class="pgmark" + ><span class="png">339 /</span> 291</samp> +<div>When my Lord calls I trust you will</div> +<div>Be mentioned in the Promised Land.</div> +</div></div> + +<p>Echoes that remain to us of those fervid and +affectionate, as well as resolute and vehement, +expressions of religious life as sung in the early +revivals of New England, in parts of the South, +and especially in the Middle West, are suggestive +of spontaneous melody forest-born, and as unconscious +of scale, clef or tempo as the song of a +bird. The above “hand-shaking” ditty at the +altar gatherings apparently took its tune self-made, +inspired in its first singer's soul by the feeling of +the moment—and the strain was so simple that the +convert could join in at once and chant—</p> + +<p class="quote"> +When my Lord comes I trust <em>I shall</em> +</p> + +<p class="runon">—through all the loving rotations of the crude +hymn-tune. Such song-births of spiritual enthusiasm +are beyond enumeration—and it is useless to +hunt for author or composer. Under the momentum +of a wrestling hour or a common rapture of +experience, counterpoint was unthought of, and +the same notes for every voice lifted pleading and +praise in monophonic impromptu. The refrains—</p> + +<p class="quote"><span> +O how I love Jesus, +<br /> +O the Lamb, the Lamb, the loving Lamb, +<br /> +I'm going home to die no more, +<br /> +Pilgrims we are to Canaan's land, +<br /> +O turn ye, O turn ye, for why will you die, +<br /> +Come to Jesus, come to Jesus, just now, +</span></p> + +<a id="png:340" name="png:340"></a><samp class="pgmark" + ><span class="png">340 /</span> 292</samp> +<p class="runon">—each at the sound of its first syllable brought its +own music to every singer's tongue, and all—male +and female—were sopranos together. This habit +in singing those rude liturgies of faith and fellowship +was recognized by the editors of the <i>Revivalist</i>, +and to a multitude of them space was given only +for the printed melody, and of this sometimes only +the three or four initial bars. The tunes were the +church's rural field-tones that everybody knew.</p> + +<p>Culture smiles at this unclassic hymnody of long +ago, but its history should disarm criticism. To +wanderers its quaint music and “pedestrian” +verse were threshold call and door-way welcome +into the church of the living God. Even in the +flaming days of the Second Advent following, +in 1842–3, they awoke in many hardened hearts +the spiritual glow that never dies. The delusion +passed away, but the grace remained.</p> + +<p>The church—and the world—owe a long debt +to the old evangelistic refrains that rang through +the sixty years before the Civil War, some of them +flavored with tuneful piety of a remoter time. +They preached righteousness, and won souls that +sermons could not reach. They opened heaven +to thousands who are now rejoicing there.</p> + +<a id="png:341" name="png:341"></a><samp class="pgmark" + ><span class="png">341 /</span> 293</samp> + + + + +<h2 class="chap">CHAPTER VIII.</h2> +<hr class="chap" /> + +<h1>SUNDAY-SCHOOL HYMNS.</h1> +<hr class="chap" /> + + +<h4 class="hymn"><span>SHEPHERD OF TENDER YOUTH.</span></h4> + + +<h4 class="quote" title="[Greek: Stomion pôlôn adaôn]" +>Στόμιον +πώλων +ἀδάων</h4> + + +<p>We are assured by repeated references in the +patristic writings that the primitive years of the +Christian Church were not only years of suffering +but years of song. That the despised and often +persecuted “Nazarenes,” scattered in little colonies +throughout the Roman Empire, did not forget +to mingle tones of praise and rejoicing with their +prayers could readily be believed from the much-quoted +letter of a pagan lawyer, written about as +long after Jesus' death, as from now back to the +death of John Quincy Adams—the letter of Pliny +the younger to the Emperor Trajan, in which +he reports the Christians at their meetings singing +“hymns to Christ as to a god.”</p> + +<p>Those disciples who spoke Greek seem to have +been especially tuneful, and their land of poets +was doubtless the cradle of Christian hymnody. +Believers taught their songs to their children, and +<a id="png:342" name="png:342"></a><samp class="pgmark" + ><span class="png">342 /</span> 294</samp> +it is as certain that the oldest Sunday-school hymn +was written somewhere in the classic East as that +the Book of Revelation was written on the Isle of +Patmos. The one above indicated was found in +an appendix to the <i>Tutor</i>, a book composed by +Titus Flavius Clemens of Alexandria, a Christian +philosopher and instructor whose active life began +late in the second century. It follows a treatise +on Jesus as the Great Teacher, and, though his own +words elsewhere imply a more ancient origin of +the poem, it is always called “Clement's Hymn.” +The line quoted above is the first of an English +version by the late Rev. Henry Martyn Dexter, +D.D. It does not profess to be a translation, but +aims to transfer to our common tongue the spirit +and leading thoughts of the original.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Shepherd of tender youth,</div> +<div>Guiding in love and truth</div> +<div class="i1"> Through devious ways;</div> +<div>Christ, our triumphant King,</div> +<div>We come Thy name to sing,</div> +<div>Hither our children bring</div> +<div class="i1"> To shout Thy praise.</div> +</div></div> + +<p>The last stanza of Dr. Dexter's version represents +the sacred song spirit of both the earliest and +the latest Christian centuries:</p> + +<div class="hymn"> +<div class="stanza"> +<div>So now, and till we die</div> +<div>Sound we Thy praises high,</div> +<div class="i1"> And joyful sing;</div> +<div>Infants, and the glad throng</div> +<div>Who to Thy church belong</div> +<div>Unite to swell the song</div> +<div class="i1"> To Christ our King.</div> +</div></div> + +<a id="png:343" name="png:343"></a><samp class="pgmark" + ><span class="png">343 /</span> 295</samp> + +<p>While they give us the sentiment and the religious +tone of the old hymn, these verses, however, +recognize the extreme difficulty of anything like +verbal fidelity in translating a Greek hymn, and +in this instance there are metaphors to avoid as +being strange to modern taste. The first stanza, +literally rendered and construed, is as follows:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Bridle of untaught foals,</div> +<div>Wing of unwandering birds,</div> +<div>Helm and Girdle of babes,</div> +<div>Shepherd of royal lambs!</div> +<div>Assemble Thy simple children</div> +<div>To praise holily,</div> +<div>To hymn guilelessly</div> +<div>With innocent mouths</div> +<div>Christ, the Guide of children.</div> +</div></div> + +<p class="runon">Figures like—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Catching the chaste fishes,</div> +<div>Heavenly milk, etc.</div> +</div></div> + +<p class="runon">—are necessarily avoided in making good English +of the lines, and the profusion of adoring epithets in +the ancient poem (no less than twenty-one different +titles of Christ) would embarrass a modern song.</p> + +<p>Dr. Dexter might have chosen an easier metre +for his version, if (which is improbable) he intended +it to be sung, since a tune written to sixes and +fours takes naturally a more decided lyrical movement +and emphasis than the hymn reveals in his +stanzas, though the second and fifth possess much +of the hymn quality and would sound well in +Giardini's “Italian Hymn.”</p> + +<a id="png:344" name="png:344"></a><samp class="pgmark" + ><span class="png">344 /</span> 296</samp> +<p>More nearly a translation, and more in the +cantabile style, is the version of a Scotch Presbyterian +minister, Rev. Hamilton M. Macgill, D.D., +two of whose stanzas are these:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Thyself, Lord, be the Bridle</div> +<div class="i1"> These wayward wills to stay;</div> +<div>Be Thine the Wing unwand'ring,</div> +<div class="i1"> To speed their upward way.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Let them with songs adoring</div> +<div class="i1"> Their artless homage bring</div> +<div>To Christ the Lord, and crown Him</div> +<div class="i1"> The children's Guide and King.</div> +</div></div> + +<p>The Dexter version is set to Monk's slow harmony +of “St. Ambrose” in the <i>Plymouth Hymnal</i> +(Ed. Dr. Lyman Abbott, 1894) without the +writer's name—which is curious, inasmuch as the +hymn was published in the <i>Congregationalist</i> in +1849, in <i>Hedge and Huntington's</i> (Unitarian) +<i>Hymn-book</i> in 1853, in the <i>Hymnal of the Presbyterian +Church</i> in 1866, and in Dr. Schaff's <i>Christ +in Song</i> in 1869.</p> + +<p>Clement died about A.D. 220.</p> + +<p class="thoughtbreak">Rev. Henry Martyn Dexter, D.D., for twenty-three +years the editor of the <i>Congregationalist</i>, was +born in Plymouth, Mass., Aug. 13, 1821. He was +a graduate of Yale (1840) and Andover Divinity +School (1844), a well-known antiquarian writer +and church historian. Died Nov. 13, 1890.</p> + +<a id="png:345" name="png:345"></a><samp class="pgmark" + ><span class="png">345 /</span> 297</samp> + + + +<h4 class="hymn" +>“<span>HOW HAPPY IS THE CHILD WHO HEARS.</span>”</h4> + + +<p>This hymn was quite commonly heard in Sunday-schools +during the eighteen-thirties and forties, +and, though retained in few modern collections, +its Sabbath echo lingers in the memory of the +living generation. It was written by Michael +Bruce, born at Kinneswood, Kinross-shire, Scotland, +March 27, 1746. He was the son of a weaver, +but obtained a good education, taught school, and +studied for the ministry. He died, however, while in +preparation for his expected work, July 5, 1767, at the +age of twenty-one years, three months and eight days.</p> + +<p>Young Bruce wrote hymns, and several poems, +but another person wore the honors of his work. +John Logan, who was his literary executor, appropriated +the youthful poet's Mss. verses, and +the hymn above indicated—as well as the beautiful +poem, “To the Cuckoo,”<sup>*</sup> still a classic in English +literature,—bore the name of Logan for more than +a hundred years. In <i>Julian's Dictionary of Hymnology</i> +is told at length the story of the inquiry and +discussion which finally exposed the long fraud +upon the fame of the rising genius who sank, like +Henry Kirke White, in his morning of promise.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Hail, beauteous stranger of the wood,<br /> + Attendant on the Spring;<br /> +Now Heaven repairs thy rural seat,<br /> + And woods thy welcome ring.</p></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Old “Balerma” was so long the musical mouth-piece +of the pious boy-schoolmaster's verses that +<a id="png:346" name="png:346"></a><samp class="pgmark" + ><span class="png">346 /</span> 298</samp> +the two became one expression, and one could +not be named without suggesting the other.</p> + +<p>“Balerma” (Palermo) was ages away in style +and sound from the later type of Sunday-school +tunes, resembling rather one of Palestrina's chorals +than the tripping melodies that took its place; but +in its day juvenile voices enjoyed it, and it suited +very well the grave but winning words.</p> + +<div class="hymn"> +<div class="stanza"> +<div>How happy is the child who hears</div> +<div class="i1"> Instruction's warning voice,</div> +<div>And who celestial Wisdom makes</div> +<div class="i1"> His early, only choice!</div> +</div><div class="stanza"> +<div>For she hath treasures greater far</div> +<div class="i1"> Than East and West unfold,</div> +<div>And her rewards more precious are</div> +<div class="i1"> Than all their stores of gold.</div> +</div><div class="stanza"> +<div>She guides the young with innocence</div> +<div class="i1"> In pleasure's path to tread,</div> +<div>A crown of glory she bestows</div> +<div class="i1"> Upon the hoary head.</div> +</div></div> + +<p>Robert Simpson, author of the old tune,<sup>*</sup> was a +Scottish composer of psalmody; born, about 1722, +in Glasgow; and died, in Greenock, June, 1838.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +The tune was evidently reduced from the still older “Sardius” (or +“Autumn”)—<i>Hubert P. Main</i>.</p></div> + + +<h4 class="hymn">“<span>O DO NOT BE DISCOURAGED.</span>”</h4> + +<p>Written about 1803, by the Rev. John A. Grenade, +born in 1770; died 1806.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O do not be discouraged, +<span style="position: absolute; left: 16.5em;">}</span></div> +<div class="i1"> For Jesus is your Friend; +<span style="position: absolute; left: 15em;">} <i>bis</i></span></div> +<div>He will give you grace to conquer,</div> +<div class="i1"> And keep you to the end.</div> +</div><div class="stanza"> +<a id="png:347" name="png:347"></a><samp class="pgmark" + ><span class="png">347 /</span> 299</samp> +<div>Fight on, ye little soldiers, +<span style="position: absolute; left: 16.5em;">}</span></div> +<div class="i1"> The battle you shall win, +<span style="position: absolute; left: 15em;">} <i>bis</i></span></div> +<div>For the Saviour is your Captain,</div> +<div class="i1"> And He has vanquished sin.</div> +</div><div class="stanza"> +<div>And when the conflict's over, +<span style="position: absolute; left: 16.5em;">}</span></div> +<div class="i1"> Before Him you shall stand, +<span style="position: absolute; left: 15em;">} <i>bis</i></span></div> +<div>You shall sing His praise forever</div> +<div class="i1"> In Canaan's happy land.</div> +</div></div> + +<h4 class="tune">THE TUNE.</h4> + +<p>The hymn was made popular thirty or more +years ago in a musical arrangement by Hubert P. +Main, with a chorus,—</p> + +<div class="hymn"><div class="stanza"> +<div>I'm glad I'm in this army,</div> +<div class="i1"> And I'll battle for the school.</div> +</div></div> + +<p>Children took to the little song with a keen relish, +and put their whole souls—and bodies—into it.</p> + + + +<h4 class="hymn">“<span>LITTLE TRAVELLERS ZIONWARD</span>”</h4> + + +<p class="runon">Belongs to a generation long past. Its writer was +an architect by occupation, and a man whose piety +equalled his industry. He was born in London +1791, and his name was James Edmeston. He +loved to compose religious verses—so well, in fact, +that he is said to have prepared a new piece every +week for Sunday morning devotions in his family +and in this way accumulated a collection which +he published and called <i>Cottager's Hymns</i>. Besides +these he is credited with a hundred Sunday-school +hymns.</p> + +<a id="png:348" name="png:348"></a><samp class="pgmark" + ><span class="png">348 /</span> 300</samp> +<div class="hymn"> +<div class="stanza"> +<div>Little travellers Zionward,</div> +<div class="i1"> Each one entering into rest</div> +<div>In the Kingdom of your Lord,</div> +<div class="i1"> In the mansions of the blest,</div> +</div><div class="stanza"> +<div>There to welcome Jesus waits,</div> +<div class="i1"> Gives the crown His followers win,</div> +<div>Lift your heads, ye golden gates,</div> +<div class="i1"> Let the little travellers in.</div> +</div></div> + +<p>The original tune is lost—and the hymn is +vanishing with it; but the felicity of its rhyme and +rhythm show how easily it adapted itself to music.</p> + + + +<h4 class="hymn">“<span>I'M BUT A STRANGER HERE.</span>”</h4> + + +<p>The simple beauty of this hymn, and the +sympathetic sweetness of its tune made children +love to sing it, and it found its way into a few Sunday-school +collections, though not composed for +such use.</p> + +<p>A young Congregational minister. Rev. Thomas +Rawson Taylor, wrote it on the approach of his +early end. He was born at Osset, near Wakefield, +Yorkshire, Eng., May 9, 1807, and studied in +Bradford, where his father had taken charge of a +large church, and at Manchester Academy and +Airesdale College. Sensible of a growing ailment +that might shorten his days, he hastened to the +work on which his heart was set, preaching in +surrounding towns and villages while a student, +and finally quitting college to be ordained to his +sacred profession. He was installed as pastor of +Howard St. Chapel, Sheffield, July, 1830, when +<a id="png:349" name="png:349"></a><samp class="pgmark" + ><span class="png">349 /</span> 301</samp> +only twenty-three. But in less than three years +his strength failed, and he went back to Bradford, +where he occasionally preached for his father, when +able to do so, during his last days. He died there +March 15, 1835. Taylor was a brave and lovely +Christian—and his hymn is as sweet as his life.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I'm but a stranger here,</div> +<div class="i1"> Heaven is my home;</div> +<div>Earth is a desert drear,</div> +<div class="i1"> Heaven is my home.</div> +</div><div class="stanza"> +<div>Dangers and sorrows stand</div> +<div class="i1"> Round me on every hand;</div> +<div>Heaven is my Fatherland—</div> +<div class="i1"> Heaven is my home.</div> +</div><div class="stanza"> +<div>What though the tempest rage,</div> +<div class="i1"> Heaven is my home;</div> +<div>Short is my pilgrimage,</div> +<div class="i1"> Heaven is my home.</div> +</div><div class="stanza"> +<div>And time's wild, wintry blast</div> +<div class="i1"> Soon will be overpast;</div> +<div>I shall reach home at last—</div> +<div class="i1"> Heaven is my home.</div> +</div></div> + +<p><a id="Servant1" name="Servant1">In his last attempt to preach</a>, +young Taylor uttered the words, “I want to die like a soldier, +sword in hand.” On the evening of the same +Sabbath day he breathed his last. His words were +memorable, and Montgomery, who loved and admired +the man, made them the text of a poem, +part of which is the familiar hymn “Servant of +God, well done."<sup>*</sup></p> + + +<hr class="footnote" /> +<div class="footnote"><p>* +See <a href="#Servant2">page 498</a></p></div> + +<a id="png:350" name="png:350"></a><samp class="pgmark" + ><span class="png">350 /</span> 302</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Sir Arthur Sullivan put the words into classic +expression, but, to American ears at least, the tune +of “Oak,” by Lowell Mason, is the hymn's true +sister. It was composed in 1854.</p> + + + +<h4 class="hymn">“<span>DEAR JESUS, EVER AT MY SIDE.</span>”</h4> + + +<p title="Illustration of Fanny Crosby originally opposite">One of +Frederick William Faber's sweet and +simple lyrics. It voices that temper and spirit in +the human heart which the Saviour first looks for +and loves best. None better than Faber could feel +and utter the real artlessness of Christian love and +faith.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Dear Jesus, ever at my side,</div> +<div class="i1"> How loving must Thou be</div> +<div>To leave Thy home in heaven to guard</div> +<div class="i1"> A sinful child like me.</div> +<div>Thy beautiful and shining face</div> +<div class="i1"> I see not, tho' so near;</div> +<div>The sweetness of Thy soft low voice</div> +<div class="i1"> I am too deaf to hear.</div> +</div><div class="stanza"> +<div>I cannot feel Thee touch my hand</div> +<div class="i1"> With pressure light and mild,</div> +<div>To check me as my mother did</div> +<div class="i1"> When I was but a child;</div> +<div>But I have felt Thee in my thoughts</div> +<div class="i1"> Fighting with sin for me,</div> +<div>And when my heart loves God I know</div> +<div class="i1"> The sweetness is from Thee.</div> +</div></div> + +<a id="png:353" name="png:353"></a><samp class="pgmark" + ><span class="png">353 /</span> 303</samp> + +<h4 class="tune">THE TUNE.</h4> + +<p>“Audientes” by Sir Arthur Sullivan is a gentle, +emotional piece, rendering the first quatrain of +each stanza in E flat unison, and the second in C +harmony.</p> + + + + +<h4 class="hymn">“<span>TIS RELIGION THAT CAN GIVE.</span>”</h4> + + +<p>This simple rhyme, which has been sung +perhaps in every Sunday-school in England and +the United States, is from a small English book +by Mary Masters. In the preface to the work, we +read, “The author of the following poems never +read a treatise of rhetoric or an art of poetry, nor +was ever taught her English grammar. Her education +rose no higher than the spelling-book or her +writing-master,”</p> + +<div class="hymn"> +<div class="stanza"> +<div>'Tis religion that can give</div> +<div>Sweetest pleasure while we live;</div> +<div>'Tis religion can supply</div> +<div>Solid comfort when we die.</div> +<div>After death its joys shall be</div> +<div>Lasting as eternity.</div> +</div></div> + +<p>Save the two sentences about herself, quoted +above, there is no biography of the writer. That +she was good is taken for granted.</p> + +<p>The tune-sister of the little hymn is as scant of +date or history as itself. No. 422 points it out in +<i>The Revivalist</i>, where the name and initial seem to +ascribe the authorship to Horace Waters.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +From his <i>Sabbath Bell</i>. Horace Waters, a prominent Baptist layman, +was born in Jefferson, Lincoln Co., Me., Nov. 1, 1812, and died in New +York City, April 22, 1893. He was a piano-dealer and publisher.</p></div> + +<a id="png:354" name="png:354"></a><samp class="pgmark" + ><span class="png">354 /</span> 304</samp> + + + +<h4 class="hymn" +>“<span>THERE IS A HAPPY LAND FAR, FAR AWAY</span>”</h4> + + +<p>This child's hymn was written by a lover of +children, Mr. Andrew Young, head master of +Niddrey St. School, Edinburgh, and subsequently +English instructor at Madras College, E.I. He +was born April 23, 1807, and died Nov. 30, 1899, +and long before the end of the century which his +life-time so nearly covered his little carol had +become one of the universal hymns.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>A <ins class="transcriber" + title="Transcriber's note: original reads 'Hindoo,'">Hindoo</ins> +air or natural chanson, that may +have been hummed in a pagan temple in the hearing +of Mr. Young, was the basis of the little melody +since made familiar to millions of prattling +tongues.</p> + +<p>Such running tone-rhythms create themselves in +the instinct of the ruder nations and tribes, and +even the South African savages have their incantations +with the provincial “clicks” that mark +the singers' time. With an ear for native chirrups +and trills, the author of our pretty infant-school +song succeeded in capturing one, and making a +Christian tune of it.</p> + +<p>The musician, Samuel Sebastian Wesley, sometime +in the eighteen-forties, tried to substitute +another melody for the lines, but “There is a happy +land” needs its own birth-music.</p> + +<a id="png:355" name="png:355"></a><samp class="pgmark" + ><span class="png">355 /</span> 305</samp> + + + +<h4 class="hymn" +>“<span>I HAVE A FATHER IN THE PROMISED LAND.</span>”</h4> + + +<p>Another cazonet for the infant class. Instead of a +hymn, however, it is only a refrain, and—like the +ring-chant of the “Hebrew Children,” and even +more simple—owes its only variety to the change +of one word. The third and fourth lines,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>My father calls me, I must go</div> +<div>To meet Him in the Promised Land,</div> +</div></div> + +<p class="runon">—take their cue from the first, +which may sing,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>I have a Saviour——</div> +<div>I have a mother——</div> +<div>I have a brother——</div> +</div></div> + +<p class="runon">—and so on ad libitum. But the little ones love +every sound and syllable of the lisping song, for +it is plain and pleasing, and when a pinafore school +grows restless nothing will sooner charm them into +quiet than to chime its innocent unison.</p> + +<p>Both words and tune are nameless and storyless.</p> + + + +<h4 class="hymn" +>“<span>I THINK WHEN I READ THAT SWEET STORY</span>”</h4> + + +<p>While riding in a stage-coach, after a visit to a +mission school for poor children, this hymn came +to the mind of Mrs. Jemima Thompson Luke, of +Islington, England. It speaks its own purpose +plainly enough, to awaken religious feeling in +young hearts, and guide and sanctify the natural +childlike interest in the sweetest incident of the +Saviour's life.</p> + +<a id="png:356" name="png:356"></a><samp class="pgmark" + ><span class="png">356 /</span> 306</samp> +<div class="hymn"> +<div class="stanza"> +<div>I think when I read that sweet story of old</div> +<div>When Jesus was here among men,</div> +<div>How He called little children as lambs to His fold,</div> +<div>I should like to have been with them then.</div> +</div><div class="stanza"> +<div>I wish that His hands had been laid on my head,</div> +<div>And I had been placed on His knee,</div> +<div>And that I might have seen His kind look when He said,</div> +<div>“Let the little ones come unto me.”</div> +</div></div> + +<p>This is not poetry, but it phrases a wish in a +child's own way, to be melodized and fixed in a +child's reverent and sensitive memory.</p> + +<p>Mrs. Luke was born at Colebrook Terrace, near +London, Aug. 19, 1813. She was an accomplished +and benevolent lady who did much for the education +and welfare of the poor. Her hymn—of +five stanzas—was first sung in a village school +at Poundford Park, and was not published until +1841.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>It is interesting, not to say curious, testimony to +the vital quality of this meek production that so +many composers have set it to music, or that +successive hymn-book editors have kept it, and +printed it to so many different harmonies. All the +chorals that carry it have substantially the same +movement—for the spondaic accent of the long +lines is compulsory—but their offerings sing “to +one clear harp in divers tones.”</p> + +<p>The appearance of the words in one hymnal +with Sir William Davenant's air (full scored) to +Moore's love-song, “Believe me, if all those +<a id="png:357" name="png:357"></a><samp class="pgmark" + ><span class="png">357 /</span> 307</samp> +endearing young charms,” now known as the tune +of “Fair Harvard,” is rather startling at first, but +the adoption is quite in keeping with the policy of +Luther and Wesley.</p> + +<p>“St. Kevin” written to it forty years ago by +John Henry Cornell, organist of St. Paul's, New +York City, is sweet and sympathetic.</p> + +<p>The newest church collection (1905) gives the +beautiful air and harmony of “Athens” to the +hymn, and notes the music as a “Greek Melody.”</p> + +<p>But the nameless English tune, of uncertain +authorship<sup>*</sup> that accompanies the words in the +smaller old manuals, and which delighted Sunday-schools +for a generation, is still the favorite in the +memory of thousands, and may be the very music +first written.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Harmonized by Hubert P. Main.</p></div> + + +<h4 class="hymn" +>“<span>WE SPEAK OF THE REALMS OF THE BLEST.</span>”</h4> + + +<p>Mrs. Elizabeth Mills, wife of the Hon. Thomas +Mills, M.P., was born at Stoke Newington, Eng., +1805. She was one of the brief voices that sing one +song and die. This hymn was the only note of her +minstrelsy, and it has outlived her by more than +three-quarters of a century. She wrote it about +three weeks before her decease in Finsbury Place, +London, April 21, 1839, at the age of twenty-four.</p> + +<div class="hymn"> +<div class="stanza"> +<div>We speak of the land of the blest,</div> +<div class="i1"> A country so bright and so fair,</div> +<div>And oft are its glories confest,</div> +<div class="i1"> But what must it be to be there!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<a id="png:358" name="png:358"></a><samp class="pgmark" + ><span class="png">358 /</span> 308</samp> +<div>We speak of its freedom from sin,</div> +<div class="i1"> From sorrow, temptation and care,</div> +<div>From trials without and within,</div> +<div class="i1"> But what must it be to be there!</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The hymn, like several of the Gospel hymns +besides, was carried into the Sunday-schools by +its music. Mr. Stebbins' popular duet-and-chorus +is fluent and easily learned and rendered by rote; +and while it captures the ear and compels the voice +of the youngest, it expresses both the pathos and +the exaltation of the words.</p> + +<p>George Coles Stebbins was born in East Carleton, +Orleans Co., N.Y., Feb. 26, 1846. Educated +at common school, and an academy in Albany, +he turned his attention to music and studied in +Rochester, Chicago, and Boston. It was in Chicago +that his musical career began, while chorister +at the First Baptist Church; and while holding +the same position at Clarendon St. Church, Boston, +(1874–6), he entered on a course of evangelistic +work with D.L. Moody as gospel singer and composer. +He was co-editor with Sankey and McGranahan +of <i>Gospel Hymns</i>.</p> + + + +<h4 class="hymn">“<span>ONLY REMEMBERED.</span>”</h4> + + +<p>This hymn, beginning originally with the lines,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Up and away like the dew of the morning,</div> +<div>Soaring from earth to its home in the sun,</div> +</div></div> + +<a id="png:359" name="png:359"></a><samp class="pgmark" + ><span class="png">359 /</span> 309</samp> +<p class="runon">—has been repeatedly altered since it left Dr. Bonar's +hands. Besides the change of metaphors, the +first personal pronoun singular is changed to the +plural. There was strength, and a natural vivacity +in—</p> + +<div class="hymn"> +<div class="stanza"> +<div>So let <em>me</em> steal away gently and lovingly,</div> +<div>Only remembered for what <em>I</em> have done.</div> +</div></div> + +<p>As at present sung the first stanza reads—,</p> + +<div class="hymn"> +<div class="stanza"> +<div>Fading away like the stars of the morning</div> +<div class="i1"> Losing their light in the glorious sun,</div> +<div>Thus would <em>we</em> pass from the earth and its toiling</div> +<div class="i1"> Only remembered for what <em>we</em> have done.</div> +</div></div> + +<p>The idea voiced in the refrain is true and beautiful, +and the very euphony of its words helps to +enforce its meaning and make the song pleasant +and suggestive for young and old. It has passed +into popular quotation, and become almost a proverb.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The tune (in <i>Gospel Hymns No</i>. 6) is Mr. +Sankey's.</p> + +<p>Ira David Sankey was born in Edinburgh, Lawrence +Co., Pa., Aug. 28, 1840. He united with +the Methodist Church at the age of fifteen, and +became choir leader, Sunday-school superintendent +and president of the Y.M.C.A., all in his native +town. Hearing Philip Phillips sing impressed him +deeply, when a young man, with the power of a +gifted solo vocalist over assembled multitudes, but +he did not fully realize his own capability till Dwight +<a id="png:360" name="png:360"></a><samp class="pgmark" + ><span class="png">360 /</span> 310</samp> +L. Moody heard his remarkable voice and convinced +him of his divine mission to be a gospel +singer.</p> + +<p>The success of his revival tours with Mr. Moody +in America and England is history.</p> + +<p>Mr. Sankey has compiled at least five singing +books, and has written the <i>Story of the Gospel +Hymns</i>. Until overtaken by blindness, in his later +years he frequently appeared as a lecturer on sacred +music. The manuscript of his story of the <i>Gospel +Hymns</i> was destroyed by accident, but, undismayed +by the ruin of his work, and the loss +of his eye-sight, like Sir Isaac Newton and Thomas +Carlyle, he began his task again. With the +help of an amanuensis the book was restored +and, in 1905, given to the public. (See <a href="#png:304">page 258</a>.)</p> + + + + +<h4 class="hymn" +>“<span>SAVIOUR, LIKE A SHEPHERD LEAD US.</span>”</h4> + + +<p>Mrs. Dorothy Ann Thrupp, of Paddington +Green, London, the author of this hymn, was born +June 20, 1799, and died, in London, Dec. 14, 1847. +Her hymns first appeared in Mrs. Herbert Mayo's +<i>Selection of Poetry and Hymns for the Use of +Infant and Juvenile Schools</i>, (1838).</p> + +<div class="hymn"> +<div class="stanza"> +<div>We are Thine, do Thou befriend us,</div> +<div class="i1"> Be the Guardian of our way:</div> +<div>Keep Thy flock, from sin defend us,</div> +<div class="i1"> Seek us when we go astray;</div> +<div class="i2"> Blessed Jesus,</div> +<div>Hear, O hear us when we pray.</div> +</div></div> + +<a id="png:361" name="png:361"></a><samp class="pgmark" + ><span class="png">361 /</span> 311</samp> + +<p>The tune everywhere accepted and loved is W.B. +Bradbury's; written in 1856.</p> + + + +<h4 class="hymn">“<span>YIELD NOT TO TEMPTATION</span>”</h4> + + +<p>A much used and valued hymn, with a captivating +tune and chorus for young assemblies. Both +words and music are by H.R. Palmer, composed +in 1868.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Yield not to temptation,</div> +<div>For yielding is sin;</div> +<div>Each vict'ry will help you</div> +<div>Some other to win.</div> +</div><div class="stanza"> +<div>Fight manfully onward,</div> +<div>Dark passions subdue;</div> +<div>Look ever to Jesus,</div> +<div>He will carry you through.</div> +</div></div> + +<p>Horatio Richmond Palmer was born in Sherburne, +N.Y., April 26. 1834, of a musical family, +and sang alto in his father's choir when only nine. +He studied music unremittingly, and taught music at +fifteen. Brought up in a Christian home, his religious +life began in his youth, and he consecrated his +art to the good of man and the glory of God.</p> + +<p>He became well-known as a composer of sacred +music, and as a publisher—the sales of his <i>Song +Queen</i> amounting to 200,000 copies. As a leader +of musical conventions and in the Church Choral +Union, his influence in elevating the standard of +song-worship has been widely felt.</p> + +<a id="png:362" name="png:362"></a><samp class="pgmark" + ><span class="png">362 /</span> 312</samp> + + + +<h4 class="hymn" +>“<span>THERE ARE LONELY HEARTS TO CHERISH.</span>”</h4> + + +<p>“While the days are going by” is the refrain +of the song, and the line by which it is recognized. +The hymn or poem was written by George Cooper. +He was born in New York City, May 14, 1840—a +writer of poems and magazine articles,—composed +“While the days are going by” in 1870.</p> + +<div class="hymn"> +<div class="stanza"> +<div>There are lonely hearts to cherish</div> +<div class="i1"> While the days are going by.</div> +<div>There are weary souls who perish</div> +<div class="i1"> While the days are going by.</div> +<div class="i1"> Up! then, trusty hearts and true,</div> +<div>Though the day comes, night comes, too:</div> +<div class="i1"> Oh, the good we all may do</div> +<div class="i1"> While the days are going by!</div> +</div></div> + +<p>There are few more practical and always-timely +verses than this three-stanza poem.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>A very musical tune, with spirited chorus, (in +<i>Gospel Hymns</i>) bears the name of the refrain, and +was composed by Mr. Sankey.</p> + +<p>A sweet and quieter harmony (uncredited) is +mated with the hymn in the old <i>Baptist Praise +Book</i> (p. 507) and this was long the fixture to the +words, in both Sunday-school and week-day school +song-books.</p> + +<a id="png:351" name="png:351"></a><samp class="pgmark" + ><span class="png">351 /</span> opp 302</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Fanny J. Crosby"> + <tr valign="bottom"> + <td><a id="Illus16" name="Illus16" + ><img src="images/illus16-fannycrosby-cameo.jpg" alt= + "Fanny J. Crosby" width="202" height="281" /></a></td> + <td><table summary="Caption"> + <tr><td>Fanny J. Crosby<br /> (Mrs. Van Alstyne)</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn" +>“<span>JESUS THE WATER OF LIFE WILL GIVE.</span>”</h4> + + +<p>This Sunday-school lyric is the work of Fanny +J. Crosby (Mrs. Van Alstyne). Like her other and +<a id="png:363" name="png:363"></a><samp class="pgmark" + ><span class="png">363 /</span> 313</samp> +greater hymn, “Jesus keep me near the Cross,” +(noted on p. 156,) it reveals the habitual attitude of +the pious author's mind, and the simple earnestness +of her own faith as well as her desire to win +others.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus the water of life will give</div> +<div class="i1"> Freely, freely, freely;</div> +<div>Jesus the water of life will give</div> +<div class="i1"> Freely to those who love Him.</div> +</div><div class="stanza"> +<div>The Spirit and the Bride say “Come</div> +<div class="i1"> Freely, freely, freely.</div> +<div>And he that is thirsty let him come</div> +<div class="i1"> And drink the water of life.”</div> +</div></div> + +<p class="runon">Full chorus,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The Fountain of life is flowing,</div> +<div class="i1"> Flowing, freely flowing;</div> +<div>The Fountain of life is flowing,</div> +<div class="i1"> Is flowing for you and for me.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The hymn must be sung as it was <em>made</em> to be +sung, and the composer being many years <i>en +rapport</i> with the writer, knew how to put all her +metrical rhythms into sweet sound. The tune—in +Mr. Bradbury's <i>Fresh Laurels</i> (1867)—is one of +his sympathetic interpretations, and, with the duet +sung by two of the best singers of the middle class +Sunday-school girls, is a melodious and impressive +piece.</p> + +<a id="png:364" name="png:364"></a><samp class="pgmark" + ><span class="png">364 /</span> 314</samp> + + + + +<h4 class="hymn" +>“<span>WHEN HE COMETH, WHEN HE COMETH.</span>”</h4> + + +<p>The Rev. W.O. Cushing, with the beautiful +thought in Malachi 3:17 singing in his soul, composed +this favorite Sunday-school hymn, which has +gone round the world.</p> + +<div class="hymn"> +<div class="stanza"> +<div>When He cometh, when He cometh</div> +<div class="i1"> To make up His jewels,</div> +<div>All the jewels, precious jewels,</div> +<div class="i1"> His loved and His own.</div> +<div>Like the stars of the morning,</div> +<div class="i1"> His bright brow adorning</div> +<div>They shall shine in their beauty</div> +<div class="i1"> Bright gems for His crown.</div> +</div><div class="stanza"> +<div>He will gather, He will gather</div> +<div class="i1"> The gems for His Kingdom,</div> +<div>All the pure ones, all the bright ones,</div> +<div class="i1"> His loved and His own.</div> +<div class="i2"> Like the stars, etc.</div> +</div><div class="stanza"> +<div>Little children, little children</div> +<div class="i1"> Who love their Redeemer,</div> +<div>Are the jewels, precious jewels</div> +<div class="i1"> His loved and His own,</div> +<div class="i2"> Like the stars, etc.</div> +</div></div> + +<p>Rev. William Orcutt Cushing of Hingham, +Mass., born Dec. 31, 1823, wrote this little hymn +when a young man (1856), probably with no idea +of achieving a literary performance. But it rings; +and even if it is a “ringing of changes” on pretty +syllables, that is not all. There is a thought in it +that <em>sings</em>. Its glory came to it, however, when it +<a id="png:365" name="png:365"></a><samp class="pgmark" + ><span class="png">365 /</span> 315</samp> +got its tune—and he must have had a subconsciousness +of the tune he wanted when he made +the lines for his Sunday-school. He died Oct. 19, +1902.</p> + +<h4 class="tune">THE TUNE.</h4> + +<p>The composer of the music for the “Jewel +Hymn"<sup>*</sup> was George F. Root, then living in Reading, +Mass.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Comparison of the “Jewel Hymn” tune with the old glee of +“Johnny Schmoker” gives color to the assertion that Mr. Root +caught up and adapted a popular ditty for his Christian melody—as was +so often done in Wales, and +in the Lutheran and Wesleyan reformations. He baptized the comic fugue, +and promoted it from the vaudeville stage to the Sunday School.</p></div> + +<p>A minister returning from Europe on an English +steamer visited the steerage, and after some +friendly talk proposed a singing service—it something +could be started that “everybody” knew—for +there were hundreds of emigrants there from +nearly every part of Europe.</p> + +<p>“It will have to be an American tune, then,” +said the steerage-master; “try ‘His jewels.’”</p> + +<p>The minister struck out at once with the melody +and words,—</p> + +<p class="quote"> +When He cometh, when He cometh, +</p> + +<p class="runon">—and scores of the poor half-fare multitude joined +voices with him. Many probably recognized the +music of the old glee, and some had heard the sweet +air played in the church-steeples at home. Other +voices chimed in, male and female, catching the +air, and sometimes the words—they were so easy +and so many times repeated—and the volume of +<a id="png:366" name="png:366"></a><samp class="pgmark" + ><span class="png">366 /</span> 316</samp> +song increased, till the singing minister stood in +the midst of an international concert, the most +novel that he ever led.</p> + +<p>He tried other songs in similar visits during the rest +of the voyage with some success, but the “Jewel +Hymn” was the favorite; and by the time port +was in sight the whole crowd of emigrants had it by +heart.</p> + +<p>The steamer landed at Quebec, and when the +trains, filled with the new arrivals, rolled away, the +song was swelling from nearly every car,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When He cometh, when He cometh,</div> +<div class="i1"> To make up His jewels.</div> +</div></div> + +<p>The composer of the tune—with all the patriotic +and sacred master-pieces standing to his +credit—never reaped a richer triumph than he +shared with his poet-partner that day, when +“Precious Jewels” came back to them from over +the sea. More than this, there was missionary joy +for them both that their tuneful work had done +something to hallow the homes of alien settlers +with an American Christian psalm.</p> + +<p><a id="Root" name="Root">George Frederick Root</a>, Doctor of Music, was +born in Sheffield, Mass., 1820, eldest of a family of +eight children, and spent his youth on a farm. His +genius for music drew him to Boston, where he +became a pupil of Lowell Mason, and soon advanced +so far as to teach music himself and lead the choir +in Park St. church. Afterwards he went to New York +as director of music in Dr. Deems's Church of the +<a id="png:367" name="png:367"></a><samp class="pgmark" + ><span class="png">367 /</span> 317</samp> +Strangers. In 1852, after a year's absence and study +in Europe, he returned to New York, and founded +the Normal Musical Institute. In 1860, he removed +to Chicago where he spent the remainder of his life +writing and publishing music. He died Aug. 6, +1895, in Maine.</p> + +<p>In the truly popular sense Dr. Root was the best-known +American composer; not excepting Stephen +C. Foster. Root's “Hazel Dell,” “There's Music +in the Air,” and “Rosalie the Prairie Flower” were +universal tunes—(words by Fanny Crosby,)—as +also his music to Henry Washburn's “Vacant +Chair.” The songs in his cantata, “The Haymakers,” +were sung in the shops and factories +everywhere, and his war-time music, in such melodies +as “Shouting the Battle-cry of Freedom” and +“Tramp, Tramp, Tramp, the Boys are Marching” +took the country by storm.</p> + + + +<h4 class="hymn">“<span>SCATTER SEEDS OF KINDNESS.</span>”</h4> + + +<p>This amiable and tuneful poem, suggested by +Rom. 12:10, is from the pen of Mary Louise Riley +(Mrs. Albert Smith) of New York City. She was +born in Brighton, Monroe Co., N.Y. May 27, +1843.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Let us gather up the sunbeams</div> +<div class="i1"> Lying all along our path;</div> +<div>Let us keep the wheat and roses</div> +<div class="i1"> Casting out the thorns and chaff.</div> +</div><div class="stanza"> +<a id="png:368" name="png:368"></a><samp class="pgmark" + ><span class="png">368 /</span> 318</samp> +<div class="refrain">Chorus.</div> +<div>Then scatter seeds of kindness (<i>ter</i>)</div> +<div class="i1"> For our reaping by and by.</div> +</div></div> + +<p>Silas Jones Vail, the tune-writer, for this hymn, +was born Oct. 1818, and died May 20, 1883. For +years he worked at the hatter's trade, with Beebe +on Broadway, N.Y. and afterwards in an establishment +of his own. His taste and talent led him into +musical connections, and from time to time, after +relinquishing his trade, he was with Horace +Waters, Philip Phillips, W.B. Bradbury, and F.J. +Smith, the piano dealer. He was a choir leader +and a good composer.</p> + + + +<h4 class="hymn">“<span>BY COOL SILOAM'S SHADY RILL.</span>”</h4> + + +<p>This hymn of Bp. Heber inculcates the same +lesson as that in the stanzas of Michael Bruce before +noted, with added emphasis for the young on +the briefness of time and opportunity even for them.</p> + +<div class="hymn"> +<div class="stanza"> +<div>How fair the lily grows,</div> +</div></div> + +<p class="runon">—is answered by—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The lily must decay,</div> +</div></div> + +<p class="runon">—but, owing to the sweetness of the favorite melody, +it was never a saddening hymn for children.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Though George Kingsley's “Heber” has in some +books done service for the Bishop's lines, “Siloam,” +<a id="png:369" name="png:369"></a><samp class="pgmark" + ><span class="png">369 /</span> 319</samp> +easy-flowing and finely harmonized, is knit to the +words as no other tune can be. It was composed +by Isaac Baker Woodbury on shipboard during a +storm at sea. A stronger illustration of tranquil +thought in terrible tumult was never drawn.</p> + +<p>“O Galilee, Sweet Galilee,” whose history has +been given at the <a href="#png:306">end of chapter six</a>, was not only +often sung in Sunday-schools, but chimed (in the +cities) on steeple-bells—nor is it by any means forgotten +today—on the Sabbath and in social singing +assemblies. Like “Precious Jewels,” it has been, +in many places, taken up by street boys with a +relish, and often displaced the play-house ditties in +the lips of little newsboys and bootblacks during a +leisure hour or a happy mood.</p> + + + +<h4 class="hymn">“<span>I AM SO GLAD</span>”</h4> + + +<p>This lively little melody is still a welcome choice +to many a lady teacher of fluttering five-year-olds, +when both vocal indulgence and good gospel are +needed for the prattlers in her class. It has been +as widely sung in Scotland as in America. Mr. +Philip P. Bliss, hearing one day the words of the +familiar chorus—</p> + +<p class="quote"> +O, how I love Jesus, +</p> + +<p class="runon">—suddenly thought to himself,—</p> + +<p>“I have sung long enough of my poor love to +Christ, and now I will sing of His love for me.” +Under the inspiration of this thought, he wrote—</p> +<a id="png:370" name="png:370"></a><samp class="pgmark" + ><span class="png">370 /</span> 320</samp> + +<div class="hymn"> +<div class="stanza"> +<div>I am so glad that our Father in heaven</div> +<div>Tells of His love in the book He has given</div> +<div>Wonderful things in the Bible I see,</div> +<div>This is the dearest—that Jesus loves me.</div> +</div></div> + +<p class="runon">Both words and music are by Mr. Bliss.</p> + +<p class="thoughtbreak">The history of modern Sunday-school hymnody—or +much of it—is so nearly identified with that of +the <i>Gospel Hymns</i> that other selections like the +last, which might be appropriate here, may be considered +in a later chapter, where that eventful +series of sacred songs receives special notice.</p> + +<a id="png:371" name="png:371"></a><samp class="pgmark" + ><span class="png">371 /</span> 321</samp> + + + + +<h2 class="chap">CHAPTER IX.</h2> +<hr class="chap" /> + + +<h1>PATRIOTIC HYMNS.</h1> +<hr class="chap" /> + + +<p>The ethnic anthologies growing out of love of +country are a mingled literature of filial and religious +piety, ranging from war-like pæans to +lyric prayers. They become the cherished inheritance +of a nation, and, once fixed in the common +memory and common heart, the people rarely let +them die. The “Songs of the Fathers” have perennial +breath, and in every generation—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The green woods of their native land</div> +<div class="i1"> Shall whisper in the strain;</div> +<div>The voices of their household band</div> +<div class="i1"> Shall sweetly speak again.</div> + +<div class="i4">—<i>Felicia Hemans.</i></div> +</div></div> + + + +<h4 class="hymn"><span>ULTIMA THULE.</span></h4> + + +<p>American pride has often gloried in Seneca's +“Vision of the West,” more than eighteen hundred +years ago.</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i3"> Venient annis</div> +<div class="i2"> Sæcula seris, quibus Oceanus</div> +<div class="i2"> Vincula rerum laxet, et ingens</div> +<a id="png:372" name="png:372"></a><samp class="pgmark" + ><span class="png">372 /</span> 322</samp> +<div class="i2"> Pateat tellus, Typhisque novos</div> +<div class="i2"> Detegat orbes, nec sit terris</div> +<div class="i3"> Ultima Thule.</div> +</div><div class="stanza"> +<div>A time will come in future ages far</div> +<div>When Ocean will his circling bounds unbar.</div> +<div>And, opening vaster to the Pilot's hand,</div> +<div>New worlds shall rise, where mightier kingdoms are,</div> +Nor Thule longer be the utmost land. +</div></div> + +<p>This poetic forecast, of which Washington Irving +wrote “the predictions of the ancient oracles were +rarely so unequivocal,” is part of the “chorus” at +the end of the second act of Seneca's “Medea,” written +near the date of St. Paul's first Epistle to the +Thessalonians.</p> + +<p>Seneca, the celebrated Roman (Stoic) philosopher, +was born at or very near the time of our Saviour's +birth. There are legends of his acquaintance +with Paul, at Rome, but though he wrote able and +quotable treatises <i>On Consolation</i>, <i>On Providence</i>, +<i>On Calmness of Soul</i>, and <i>On the Blessed Life</i>, there +is no direct evidence that the savor of Christian +faith ever qualified his works or his personal +principles. He was a man of grand ideas and +inspirations, but he was a time server and a flatterer +of the Emperor Nero, who, nevertheless, caused +his death when he had no further use for him.</p> + +<p>His compulsory suicide occurred A.D. 65, the +year in which St. Paul is supposed to have suffered +martyrdom.</p> + +<a id="png:373" name="png:373"></a><samp class="pgmark" + ><span class="png">373 /</span> 323</samp> + + + +<h4 class="hymn" +>“<span>THE BREAKING WAVES DASHED HIGH.</span>”</h4> + + +<p>Sitting at the tea-table one evening, near a +century ago, Mrs. Hemans read an old account +of the “Landing of the Pilgrims,” and was inspired +to write this poem, which became a favorite in +America—like herself, and all her other works.</p> + +<p>The ballad is inaccurate in details, but presents +the spirit of the scene with true poet insight. Mr. +James T. Fields, the noted Boston publisher, visited +the lady in her old age, and received an autograph +copy of the poem, which is seen in Pilgrim +Hall, Plymouth, Mass.</p> + +<div class="hymn wide"><div class="stanza"> +<div>The breaking waves dashed high, on a stern and rock-bound coast,</div> +<div>And the woods against a stormy sky, their giant branches tossed,</div> +<div>And the heavy night hung dark, the hills and waters o'er,</div> +<div>When a band of exiles moored their bark on the wild New England + shore.</div> +</div><div class="stanza"> +<div>Not as the conqueror comes, they, the true-hearted, came;</div> +<div>Not with the roll of stirring drums, and the trumpet that sings + of fame;</div> +<div>Not as the flying come, in silence and in fear,—</div> +<div><em>They</em> shook the depths of the desert's gloom with their + hymns of lofty cheer.</div> +</div><div class="stanza"> +<div>Amidst the storm they sang, and the stars heard, and the sea!</div> +<div>And the sounding aisles of the dim woods rang to the anthem + of the free!</div> +<div>The ocean eagle soared from his nest by the white waves' foam,</div> +<div>And the rocking pines of the forest roared,—this was their + welcome home!</div> +</div> +<a id="png:374" name="png:374"></a><samp class="pgmark" + ><span class="png">374 /</span> 324</samp> +<div class="stanza"> +<div>There were men with hoary hair amidst that pilgrim band,—</div> +<div>Why had <em>they</em> come to wither there, away from their + childhood's land?</div> +<div>There was woman's fearless eye, lit by her deep love's truth;</div> +<div>There was manhood's brow, serenely high, and the fiery heart + of youth.</div> +</div><div class="stanza"> +<div>What sought they thus afar? bright jewels of the mine?</div> +<div>The wealth of seas? the spoils of war?—They sought a faith's + pure shrine!</div> +<div>Ay, call it holy ground, the soil where first they trod;</div> +<div>They left unstained what there they found,—freedom to worship + God!</div> +</div></div> + +<p>Felicia Dorothea Browne (Mrs. Hemans) was +born in Liverpool, Eng., 1766, and died 1845.</p> + +<h4 class="tune">THE TUNE.</h4> + +<p>The original tune is not now accessible. It was +composed by Mrs. Mary E. (Browne) Arkwright, +Mrs. Hemans' sister, and published in England +about 1835. But the words have been sung in +this country to “Silver St.,” a choral not entirely +forgotten, credited to an English composer, Isaac +Smith, born, in London, about 1735, and died there +in 1800.</p> + + + +<h4 class="hymn" +>“<span>WESTWARD THE COURSE OF EMPIRE.</span>”</h4> + + +<p>Usually misquoted “Westward the <em>Star</em> of Empire,” +etc. This poem of Bishop Berkeley possesses +no lyrical quality but, like the ancient +Roman's words, partakes of the prophetic spirit, +and has always been dear to the American heart +<a id="png:375" name="png:375"></a><samp class="pgmark" + ><span class="png">375 /</span> 325</samp> +by reason of the above line. It seems to formulate +the “manifest destiny” of a great colonizing race +that has already absorbed a continent, and extended +its sway across the Pacific ocean.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Not such as Europe breeds in her decay;</div> +<div class="i1"> Such as she bred when fresh and young,</div> +<div>When heavenly flame did animate her clay,</div> +<div class="i1"> By future poets shall be sung.</div> +</div><div class="stanza"> +<div>Westward the course of empire takes its way;</div> +<div class="i1"> The four first acts already past,</div> +<div>The fifth shall close the drama of the day:</div> +<div class="i1"> Time's noblest offspring is the last.</div> +</div></div> + +<p>George Berkeley was born March 12, 1684, and +educated at Trinity College, Dublin. A remarkable +student, he became a remarkable man, as priest, +prelate, and philosopher. High honors awaited +him at home, but the missionary passion seized him. +Inheriting a small fortune, he sailed to the West, +intending to evangelize and educate the Indians of +the “Summer Islands,” but the ship lost her course, +and landed him at Newport, R.I., instead of the +Bermudas. Here he was warmly welcomed, but +was disappointed in his plans and hopes of founding +a native college by the failure of friends in England +to forward funds, and after a residence of six years +he returned home. He died at Cloyne, Ireland, +1753.</p> + +<p>The house which Bishop Berkeley built is still +shown (or was until very recently) at Newport +after one hundred and seventy-eight years. He +wrote the <ins class="transcriber" + title="Transcriber's note: original has opening double quotes"><i>Principles +of Human Knowledge</i></ins>, +<a id="png:376" name="png:376"></a><samp class="pgmark" + ><span class="png">376 /</span> 326</samp> +the <i>Minute Philosopher</i>, and many other works +of celebrity in their time, and a scholarship in Yale +bears his name; but he is best loved in this country +for his <i>Ode to America</i>.</p> + +<p>Pope in his list of great men ascribes—</p> + +<p class="quote"> +To Berkeley every virtue under heaven. +</p> + + + +<h4 class="hymn">“<span>SOUND THE LOUD TIMBREL.</span>”</h4> + + +<p>One would scarcely guess that this bravura +hymn of victory and “Come, ye disconsolate,” were +written by the same person, but both are by +Thomas Moore. The song has all the vigor and +vivacity of his “Harp That Once Through Tara's +Halls,” without its pathos. The Irish poet chose +the song of Miriam instead of the song of Deborah +doubtless because the sentiment and strain of the +first of these two great female patriots lent themselves +more musically to his lyric verse—and his +poem is certainly martial enough to convey the +spirit of both.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sound the loud timbrel o'er Egypt's dark sea!</div> +<div class="i1"> Jehovah hath triumphed, His people are free!</div> +<div>Sing, for the pride of the tyrant is broken;</div> +<div class="i1"> His chariots, his horsemen, + all splendid and brave—</div> +<div>How vain was their boasting, the Lord hath but spoken,</div> +<div class="i1"> And chariots and horsemen are sunk in the wave.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Of all the different composers to whose music +Moore's “sacred songs” were sung—Beethoven, +<a id="png:377" name="png:377"></a><samp class="pgmark" + ><span class="png">377 /</span> 327</samp> +Mozart, Stevenson, and the rest—Avison seems to +be the only one whose name and tune have clung +to the poet's words; and we have the man and the +melody sent to us, as it were, by the lyrist himself. +The tune is now rarely sung except at church +festivals and village entertainments, but the life +and clamor of the scene at the Red Sea are in it, +and it is something more than a mere musical +curiosity. Its style, however, is antiquated—with +its timbrel beat and its canorous harmony and +“coda fortis”—and modern choirs have little use +in religious service for the sonata written for viols +and horns.</p> + +<p>It was Moore's splendid hymn that gave it +vogue in England and Ireland, and sent it across +the sea to find itself in the house of its friends with +the psalmody of Billings and Swan. Moore was +the man of all men to take a fancy to it and make +language to its string-and-trumpet concert. He +was a musician himself, and equally able to adapt +a tune and to create one. As a festival performance, +replete with patriotic noise, let Avison's old +“Sound the Timbrel” live.</p> + +<p>Charles Avison was born at Newcastle-on-Tyne, +1710. He studied in Italy, wrote works on music, +and composed sonatas and concertos for stringed +orchestras. For many years he was organist of +St. Nicholas' Kirk in his native town.</p> + +<p>The tune to “Sound the Loud Timbrel” is a +chorus from one of his longer compositions. He +died in 1770.</p> + +<a id="png:378" name="png:378"></a><samp class="pgmark" + ><span class="png">378 /</span> 328</samp> + + + +<h4 class="hymn" +>“<span>THE HARP THAT ONCE THROUGH TARA'S HALLS.</span>”</h4> + + +<p>This is the only one of Moore's patriotic “Irish +Melodies” that lives wherever sweet tones are +loved and poetic feeling finds answering hearts. +The exquisite sadness of its music and its text is +strangely captivating, and its untold story beckons +from its lines.</p> + +<p>Tara was the ancient home of the Irish kings. +King Dermid, who had apostatized from the faith +of St. Patrick and his followers, in A.D., 554, +violated the Christian right of sanctuary by taking +an escaped prisoner from the altar of refuge in +Temple Ruadan (Tipperary) and putting him to +death. The patron priest and his clergy marched +to Tara and solemnly pronounced a curse upon +the King. Not long afterwards Dermid was +assassinated, and superstition shunned the place +“as a castle under ban.” The last human resident +of “Tara's Hall” was the King's bard, who +lingered there, forsaken and ostracized, till he +starved to death. Years later one daring visitor +found his skeleton and his broken harp.</p> + +<p>Moore utilized this story of tragic pathos as a +figure in his song for “fallen Erin” lamenting her +lost royalty—under a curse that had lasted thirteen +hundred years.</p> + +<div class="hymn"><div class="stanza"> +<div>The harp that once through Tara's halls</div> +<div class="i1"> The soul of music shed,</div> +<div>Now hangs as mute on Tara's walls</div> +<div class="i1"> As if that soul were fled.</div> +</div> +<a id="png:379" name="png:379"></a><samp class="pgmark" + ><span class="png">379 /</span> 329</samp> +<div class="stanza"> +<div>So sleeps the pride of former days,</div> +<div class="i1"> So glory's thrill is o'er,</div> +<div>And hearts that once beat high for praise</div> +<div class="i1"> Now feel that pulse no more.</div> +</div></div> + +<p>No one can read the words without “thinking” +the tune. It is supposed that Moore composed +them both.</p> + + + + +<h4 class="hymn"><span>THE MARSEILLAISE HYMN.</span></h4> + + +<p class="ctrhymn"><span> +Ye sons of France, awake to glory!<br /> +Hark! hark! what millions bid you rise! +</span></p> + +<p>The “Marseillaise Hymn” so long supposed to be +the musical as well as verbal composition of +Roget de Lisle, an army engineer, was proved to +be only his words set to an air in the “Credo” of a +German mass, which was the work of one Holzman +in 1726. De Lisle was known to be a poet +and musician as well as a soldier, and, as he is said to +have played or sung at times in the churches and +convents, it is probable that he found and copied +the manuscript of Holzman's melody. His haste +to rush his fiery “Hymn” before the public in the +fever of the Revolution allowed him no time to +make his own music, and he adapted the German's +notes to his words and launched the song in the +streets of Strasburg. It was first sung in Paris by +a band of chanters from Marseilles, and, like the +trumpets blown around Jericho, it shattered the +walls of the French monarchy to their foundations.</p> + +<p>The “Marseillaise Hymn” is mentioned here for +its patriotic birth and associations. An attempt to +<a id="png:380" name="png:380"></a><samp class="pgmark" + ><span class="png">380 /</span> 330</samp> +make a religious use of it is recorded in the <a href="#png:210">Fourth +Chapter</a>.</p> + + + +<h4 class="hymn"><span>ODE ON SCIENCE.</span></h4> + + +<p>This is a “patriotic hymn,” though a queer production +with a queer name, considering its contents; +and its author was no intimate of the Muses. +Liberty is supposed to be somehow the corollary +of learning, or vice versa—whichever the reader +thinks.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The morning sun shines from the East</div> +<div>And spreads his glories to the West.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>So Science spreads her lucid ray</div> +<div>O'er lands that long in darkness lay;</div> +<div>She visits fair Columbia,</div> +<div>And sets her sons among the stars.</div> +<div>Fair Freedom, her attendant, waits, etc.</div> +</div></div> + +<h4 class="tune">THE TUNE</h4> + +<p class="runon">Was the really notable part of this old-time +“Ode,” the favorite of village assemblies, and the inevitable +practice-piece for amateur violinists. The author +of the crude symphony was Deacon Janaziah (or +Jazariah) Summer, of Taunton, Mass., who prepared +it—music and probably words—for the +semi-centennial of Simeon Dagget's Academy in +1798. The “Ode” was subsequently published +in Philadelphia, and also in Albany. It was a song +of the people, and sang itself through the country +<a id="png:381" name="png:381"></a><samp class="pgmark" + ><span class="png">381 /</span> 331</samp> +for fifty or sixty years, always culminating in the +swift crescendo chorus and repeat—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The British yoke and Gallic chain</div> +<div>Were urged upon our necks in vain;</div> +<div>All haughty tyrants we disdain,</div> +<div>And shout “Long live America!”</div> +</div></div> + +<p>The average patriot did not mind it if “Columbi-<em>ay</em>” +and “Ameri-<em>kay</em>” were not exactly classic +orthoëpy.</p> + + + +<h4 class="hymn">“<span>HAIL COLUMBIA.</span>”</h4> + + +<p>This was written (1798) by Judge Joseph Hopkinson, +born, in Philadelphia, 1770, and died there, +1843. He wrote it for a friend in that city who +was a theatre singer, and wanted a song for Independence +Day. The music (to which it is still +sung) was “The President's March,” by a composer +named Fyles, near the end of the 18th +century.</p> + +<p>There is nothing hymn-like in the words, which +are largely a glorification of Gen. Washington, but +the tune, a concerted piece better for band than +voices, has the drum-and-anvil chorus quality suitable +for vociferous mass singing—and a zealous +Salvation Army corps on field nights could even fit +a processional song to it with gospel words.</p> + + + +<h4 class="hymn"><span>OLD “CHESTER.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Let tyrants shake their iron rod,</div> +<div class="i1"> And slavery clank her galling chains:</div> +<div>We'll fear them not; we trust in God;</div> +<div class="i1"> New England's God forever reigns.</div> +</div></div> + +<a id="png:382" name="png:382"></a><samp class="pgmark" + ><span class="png">382 /</span> 332</samp> +<p>Old “Chester,” both words and tune the work +of William Billings, is another of the provincial +freedom songs of the Revolutionary period, and of +the days when the Republic was young. Billings +was a zealous patriot, and (says a writer in Moore's +<i>Cyclopedia of Music</i>) “one secret, no doubt, of the +vast popularity his works obtained was the patriotic +ardor they breathed. The words above quoted +are an example, and ‘Chester,’ it is said, was +frequently heard from every fife in the New England +ranks. The spirit of the Revolution was also +manifest in his ‘Lamentation over Boston,’ his +‘Retrospect,’ his ‘Independence,’ +his ‘Columbia,’ and many other pieces.”</p> + +<p>William Billings was born, in Boston, Oct. 7, 1746. +He was a man of little education, but his genius for +music spurred him to study the tuneful art, and enabled +him to learn all that could be learned without +a master. He began to make tunes and publish +them, and his first book, the <i>New England +Psalm-singer</i> was a curiosity of youthful crudity and +confidence, but in considerable numbers it was sold, +and sung—and laughed at. He went on studying +and composing, and compiled another work, which +was so much of an improvement that it got the name +of <i>Billings' Best</i>. A third singing-book followed, and +finally a fourth entitled the <i>Psalm Singer's Amusement</i>, +both of which were popular in their day. His +<a id="Majesty" name="Majesty">“Majesty”</a> has tremendous +capabilities of sound, +and its movement is fully up to the requirements of +Nahum Tate's verses,—</p> + +<a id="png:383" name="png:383"></a><samp class="pgmark" + ><span class="png">383 /</span> 333</samp> +<div class="hymn"> +<div class="stanza"> +<div>And on the wings of mighty winds</div> +<div class="i1"> Came flying all abroad.</div> +</div></div> + +<p>William Billings died in 1800, and his remains +lie in an unmarked grave in the old “Granary” +Burying Ground in the city of his birth.</p> + +<p>National feeling has taken maturer speech and +finer melody, but it was these ruder voices that set +the pitch. They were sung with native pride and +affection at fireside vespers and rural feasts with +the adopted songs of Burns and Moore and Mrs. +Hemans, and, like the lays of Scotland and Provence, +they breathed the flavor of the country air +and soil, and taught the generation of home-born +minstrelsy that gave us the Hutchinson family, +Ossian E. Dodge, Covert with his “Sword of +Bunker Hill,” and Philip Phillips, the “Singing +Pilgrim.”</p> + + + +<h4 class="hymn"><span>THE STAR SPANGLED BANNER.</span></h4> + + +<p>Near the close of the last war with England, +Francis Scott Key, of Baltimore, the author of this +splendid national hymn, was detained under guard +on the British flag-ship at the mouth of the Petapsco, +where he had gone under a flag of truce to +procure the release of a captured friend, Dr. William +Beanes of Upper Marlboro, Md.</p> + +<p>The enemy's fleet was preparing to bombard +Fort McHenry, and Mr. Key's return with his +friend was forbidden lest their plans should be +disclosed. Forced to stay and witness the attack +on his country's flag, he walked the deck through +<a id="png:384" name="png:384"></a><samp class="pgmark" + ><span class="png">384 /</span> 334</samp> +the whole night of the bombardment until the +break of day showed the brave standard still flying +at full mast over the fort. Relieved of his patriotic +anxiety, he pencilled the exultant lines and chorus +of his song on the back of a letter, and, as soon as he +was released, carried it to the city, where within +twenty-four hours it was printed on flyers, circulated +and sung in the streets to the air of “Anacreon +in Heaven”—which has been the “Star Spangled +Banner” tune ever since.</p> + +<div class="hymn wide"> +<div class="stanza"> +<div>O say, can you see by the dawn's early light</div> +<div>What so proudly we hailed at the twilight's last gleaming?</div> +<div>Whose broad stripes and bright stars through the perilous fight</div> +<div>O'er the ramparts we watched, were so gallantly streaming,</div> +<div>And the rockets red glare, the bombs bursting in air</div> +<div>Gave proof through the night that the flag was still there:</div> +<div class="i1"> O say, does the star-spangled banner yet wave,</div> +<div class="i1"> O'er the land of the free and the home of the brave?</div> +</div><div class="stanza"> +<div class="stars i2">* * * * * *</div> +</div><div class="stanza"> +<div class="i1"> O thus be it ever when freemen shall stand,</div> +<div class="i1"> Between their loved homes and the war's desolation;</div> +<div class="i1"> Blessed with victory and peace, + may the heaven-rescued land</div> +<div class="i1"> Praise the Power that hath made + and preserved us a nation.</div> +<div class="i1"> Then conquer we must, when our cause it is just,</div> +<div class="i1"> And this be our motto, + “<i>In God is our trust</i>.”</div> +<div class="i1"> And the star-spangled banner in triumph shall wave,</div> +<div class="i1"> O'er the land of the free and the home of the brave.</div> +</div></div> + +<p title="Illustation of Samuel Smith originally opposite">The original +star-spangled banner that waved +over Fort McHenry in sight of the poet when he +wrote the famous hymn was made and presented +to the garrison by a girl of fifteen, afterwards Mrs. +<a id="png:387" name="png:387"></a><samp class="pgmark" + ><span class="png">387 /</span> 335</samp> +Sanderson, and is still preserved in the Sanderson +family at Baltimore.</p> + +<p>The additional stanza to the “Star-Spangled +Banner”—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When our land is illumined with Liberty's smile, etc.,</div> +</div></div> + +<p class="runon">—was composed by Dr. O.W. Holmes, in 1861.</p> + +<p>The tune “Anacreon in Heaven” was an old +English hunting air composed by John Stafford +Smith, born at Gloucester, Eng. 1750. He was +composer for Covent Garden Theater, and conductor +of the Academy of Ancient Music. Died +Sep. 20, 1836. The melody was first used in +America to Robert Treat Paine's song, “Adams +and Liberty.” Paine, born 1778—died 1811, was +the son of Robert Treat Paine, signer of the Declaration +of Independence.</p> + + + + +<h4 class="hymn" +>“<span>STAND! THE GROUND'S YOUR OWN, MY BRAVES.</span>”</h4> + + +<p>Sympathetic admiration for the air, “Scots wha +hae wi' Wallace bled,” (or “Bruce's address,” as it +was commonly called), with the syllables of Robert +Burns' silvery verse, lingered long in the land after +the wars were ended. It spoke in the poem of +John Pierpont, who caught its pibroch thrill, and +built the metre of “Warren's Address at the Battle +of Bunker Hill” on the model of “Scots wha hae.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Stand! the ground's your own, my braves;</div> +<div>Will ye give it up to slaves?</div> +<div>Will ye look for greener graves?</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div> +<a id="png:388" name="png:388"></a><samp class="pgmark" + ><span class="png">388 /</span> 336</samp> +<div class="stanza"> +<div>In the God of battles trust:</div> +<div>Die we may, or die we must,</div> +<div>But O where can dust to dust</div> +<div class="i1"> Be consigned so well,</div> +</div><div class="stanza"> +<div>As where Heaven its dews shall shed,</div> +<div>On the martyred patriot's bed,</div> +<div>And the rocks shall raise their head</div> +<div class="i1"> Of his deeds to tell?</div> +</div></div> + +<p>This poem, written about 1823, held a place +many years in school-books, and was one of the +favorite school-boy declamations. Whenever sung +on patriotic occasions, the music was sure to be +“Bruce's Address.” That typical Scotch tune was +played on the Highland bag-pipes long before +Burns was born, and known as “Hey tuttie taite.” +“Heard on Fraser's hautboy, it used to fill my +eyes with tears,” Burns himself once wrote.</p> + +<p>Rev. John Pierpont was born in Litchfield, Ct., +April 6, 1785. He was graduated at Yale, 1804, +taught school, studied law, engaged in trade, and +finally took a course in theology and became a +Unitarian minister, holding the pastorate of Hollis +St. Church, Boston, thirty-six years. He travelled +in the East, and wrote “Airs of Palestine.” His +poem, “The Yankee Boy,” has been much quoted. +Died in Medford, Mass., Aug. 26, 1866.</p> + +<a id="png:385" name="png:385"></a><samp class="pgmark" + ><span class="png">385 /</span> opp 334</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Samuel F. Smith"> + <tr valign="bottom"> + <td><a id="Illus17" name="Illus17" + ><img src="images/illus17-samuelsmith-cameo.jpg" alt= + "Samuel F. Smith" width="216" height="268" /></a></td> + <td><table summary="Caption"> + <tr><td>Samuel F. Smith</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + +<h4 class="hymn">“<span>MY COUNTRY, 'TIS OF THEE.</span>”</h4> + + +<p>This simple lyric, honored so long with the name +“America,” and the title “Our National Hymn,” +<a id="png:389" name="png:389"></a><samp class="pgmark" + ><span class="png">389 /</span> 337</samp> +was written by Samuel Francis Smith, while a +theological student at Andover, Feb. 2, 1832. He +had before him several hymn and song tunes which +Lowell Mason had received from Germany, and, +knowing young Smith to be a good linguist, had +sent to him for translation. One of the songs, of +national character, struck Smith as adaptable to +home use if turned into American words, and he +wrote four stanzas of his own to fit the tune.</p> + +<p>Mason printed them with the music, and under +his magical management the hymn made its debut +on a public occasion in Park St. Church, Boston, +July 4, 1832. Its very simplicity, with its reverent +spirit and easy-flowing language, was sure to +catch the ear of the multitude and grow into familiar +use with any suitable music, but it was the +foreign tune that, under Mason's happy pilotage, +winged it for the western world and launched it +on its long flight.</p> + +<div class="hymn"> +<div class="stanza"> +<div>My country, 'tis of thee,</div> +<div>Sweet land of liberty,</div> +<div class="i1"> Of thee I sing;</div> +<div>Land where my fathers died,</div> +<div>Land of the pilgrims' pride,</div> +<div>From every mountain-side</div> +<div class="i1"> Let freedom ring.</div> +</div><div class="stanza"> +<div class="stars">* * * * * *</div> +</div><div class="stanza"> +<div>Let music swell the breeze,</div> +<div>And ring from all the trees</div> +<div class="i1"> Sweet Freedom's song;</div> +<div>Let mortal tongues awake,</div> +<a id="png:390" name="png:390"></a><samp class="pgmark" + ><span class="png">390 /</span> 338</samp> +<div>Let all that breathe partake,</div> +<div>Let rocks their silence break,</div> +<div class="i1"> The sound prolong.</div> +</div><div class="stanza"> +<div>Our fathers' God, to Thee,</div> +<div>Author of liberty,</div> +<div class="i1"> To Thee we sing;</div> +<div>Long may our land be bright</div> +<div>With Freedom's holy light;</div> +<div>Protect us by Thy might,</div> +<div class="i1"> Great God, our King.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Pages, and at least two volumes, have been written +to prove the origin of that cosmopolitan, half-Gregorian +descant known here as “America,” and +in England as “God Save the King.” William C. +Woodbridge of Boston brought it home with him +from Germany. The Germans had been singing +it for years (and are singing it now, more or less) +to the words, “Heil Dir Im Siegel Kranz,” and the +Swiss to “Rufst Du mein Vaterland.” It was +sung in Sweden, also, and till 1833 it was in public +use in Russia commonly enough to give it a national +character. Von Weber introduced it in his +“Jubel” overture, and Beethoven, in 1814, copied +it in C Major and wrote piano variations on it. +It has been ascribed to Henry Purcell (1696), to +Lulli, a French composer (1670), to Dr. John Bull +(1619), and to Thomas Ravenscroft and an old +Scotch carol as old as 1609. One might fancy that +the biography of the famous air resembled Melchizedek's.</p> +<a id="png:391" name="png:391"></a><samp class="pgmark" + ><span class="png">391 /</span> 339</samp> + +<p>The truth appears to be that certain bars of +music which might easily happen to be similar, +or even identical, when plain-song was the common +style, were produced at different times and places, +and one man finally harmonized the wandering +strains into a complete tune. It is now generally +conceded that the man was Henry Carey, a popular +English composer and dramatist of the first half +of the 18th century, who sang the melody as it now +is, in 1740, at a public dinner given in honor of +Admiral Vernon after his capture of Porto Bello +(Brazil). This antedates any authenticated use +of the tune <i>ipsissima forma</i> in England or continental +Europe.</p> + +<p>The American history of it simply is that Woodbridge +gave it to Mason and Mason gave it to +Smith—and Smith gave it “My Country 'Tis of +Thee.”</p> + + + + +<h4 class="hymn">“<span>BY THE RUDE BRIDGE.</span>”</h4> + + +<p>This genuinely American poem, written by +Ralph Waldo Emerson and called usually the +“Concord Hymn,” was prepared for the dedication +of the Battle-monument in Concord, April 19, 1836, +and sung there to the <ins class="transcriber" + title="Transcriber's note: original has 'time'">tune</ins> of “Old Hundred.” +Apparently no change has been made in the +original except of a single word in the first line.</p> + +<div class="hymn"> +<div class="stanza"> +<div>By the rude bridge that arched the flood,</div> +<div class="i1"> Their flag to April's breeze unfurled,</div> +<div>Here once the embattled farmers stood,</div> +<div class="i1"> And fired the shot heard round the world.</div> +</div> +<a id="png:392" name="png:392"></a><samp class="pgmark" + ><span class="png">392 /</span> 340</samp> +<div class="stanza"> +<div>The foe long since in silence slept;</div> +<div class="i1"> Alike the conqueror silent sleeps;</div> +<div>And Time the ruined bridge has swept</div> +<div class="i1"> Down the dark stream which seaward creeps.</div> +</div><div class="stanza"> +<div>On this green bank, by this soft stream,</div> +<div class="i1"> We set today a votive stone;</div> +<div>That memory may their deed redeem,</div> +<div class="i1"> When, like our sires, our sons are gone.</div> +</div><div class="stanza"> +<div>Spirit, that made those heroes dare</div> +<div class="i1"> To die, and leave their children free,</div> +<div>Bid Time and Nature gently spare</div> +<div class="i1"> The shaft we raise to them and Thee.</div> +</div></div> + +<p>This does not appear in the hymnals and owns +no special tune. Its niche of honor is in the temple +of anthology, but it will always be called the “Concord +Hymn”—and the fourth line of its first stanza +is a perennial quotation.</p> + +<p>Ralph Waldo Emerson, LL.D., the renowned +American essayist and poet, was born in Boston, +1803. He graduated at Harvard in 1821, and was +ordained to the Unitarian ministry, but turned his +attention to literature, writing and lecturing on +ethical and philosophical themes, and winning +universal fame by his original and suggestive prose +and verse. He died April 27, 1882.</p> + + + +<h4 class="hymn"><span>BATTLE HYMN OF THE REPUBLIC.</span></h4> + + +<p>After a visit to the Federal camps on the Potomac +in 1861, Mrs. Julia Ward Howe returned to +her lodgings in Washington, fatigued, as she says, +by her “long, cold drive,” and slept soundly. +<a id="png:393" name="png:393"></a><samp class="pgmark" + ><span class="png">393 /</span> 341</samp> +Awakening at early daybreak, she began “to twine +the long lines of a hymn which promised to suit the +measure of the ‘John Brown’ melody.”</p> + +<p>This hymn was written out after a fashion in the +dark, by Mrs. Howe, and she then went back to sleep.</p> + +<div class="hymn wide"> +<div class="stanza"> +<div>Mine eyes have seen the glory of the coming of the Lord;</div> +<div>He is trampling out the vintage + where the grapes of wrath are stored;</div> +<div>He hath loosed the fateful lightning of His terrible swift sword;</div> +<div class="i2"> His truth is marching on.</div> +</div><div class="stanza"> +<div>I have seen Him in the watch-fires of a hundred circling camps,</div> +<div>They have builded Him an altar in the evening dews and damps;</div> +<div>I can read His righteous sentence by the dim and flaring lamps;</div> +<div class="i2"> His day is marching on.</div> +</div><div class="stanza"> +<div>I have read a fiery gospel writ in burnished rows of steel;</div> +<div>“As ye deal with my contemners, + so with you my grace shall deal;”</div> +<div>Let the Hero, born of woman, crush the serpent with His heel,</div> +<div class="i2"> Since God is marching on.</div> +</div><div class="stanza"> +<div>He has sounded forth the trumpet that shall never call retreat;</div> +<div>He is sifting out the hearts of men before His judgment seat;</div> +<div>Oh, be swift, my soul, to answer Him! be jubilant my feet!</div> +<div class="i2"> Our God is marching on.</div> +</div><div class="stanza"> +<div>In the beauty of the lilies Christ was born across the sea,</div> +<div>With a glory in His bosom that transfigures you and me;</div> +<div>As He died to make men holy, let us die to make men free.</div> +<div class="i2"> While God is marching on.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The music of the old camp-meeting refrain,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Say, brothers will you meet us?</div> +</div></div> + +<p class="runon">—or,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O brother, will you meet me,</div> +</div></div> + +<a id="png:394" name="png:394"></a><samp class="pgmark" + ><span class="png">394 /</span> 342</samp> +<p class="runon">(No. 173 in the <i>Revivalist</i>,) was written in 1855, by +John William Steffe, of Richmond, Va., for a fire +company, and was afterwards arranged by Franklin +H. Lummis. The air of the “John Brown +Song” was caught from this religious melody. The +old hymn-tune had the “Glory, Hallelujah” coda, +cadenced off with, “For ever, ever more.”</p> + +<p>In 1860–61 the garrison of soldiers at work on +the half-dismantled defenses of Fort Warren in +Boston Harbor, were fain to lighten labor and mock +fatigue with any species of fun suggested by circumstances +or accident, and, as for music, they sang +everything they could remember or make up. +John Brown's memory and fate were fresh in the +Northern mind, and the jollity of the not very +reverent army men did not exclude frequent allusions +to the rash old Harper's Ferry hero.</p> + +<p>A wag conjured his spirit into the camp with a witticism +as to what he was doing, and a comrade retorted,</p> + +<p>“Marchin' on, of course.”</p> + +<p>A third cried, “Pooh, John Brown's underground.”</p> + +<p>A serio-comic debate added more words, and in +the midst of the banter, a musical fellow strung a +rhythmic sentence and trolled it to the Methodist +tune. “John Brown's body lies a mould'rin' in the +ground” was taken up by others who knew the air, +the following line was improvised almost instantly, +and soon, to the accompaniment of pick, shovel +and crowbar,—</p> + +<p class="quote"> +His soul goes marching on, +</p> + +<a id="png:395" name="png:395"></a><samp class="pgmark" + ><span class="png">395 /</span> 343</samp> +<p class="runon">—rounded the couplet with full lung power through +all the repetitions, till the inevitable “glory, glory +hallelujah” had the voice of every soldier in the +fort. The song “took,” and the marching chorus +of the Federal armies of the Civil War was started +on its way. Mrs. Howe gave it a poem that made +its rusticity sublime, and the “Battle Hymn of the +Republic” began a career that promises to run till +battle hymns cease to be sung.</p> + +<p>Julia Ward was born in New York city, May 27, +1819. In 1843 she became the wife of Samuel +Gridley Howe, the far-famed philanthropist and +champion of liberty, and with him edited an anti-slavery +paper, the <i>Boston Commonwealth</i>, until the +Civil War closed its mission. During the war she +was active and influential—and has never ceased +to be so—in the cause of peace and justice, and in +every philanthropic movement. Her great hymn +first brought her prominently before the public, but +her many other writings would have made a literary +reputation. Her four surviving children are all eminent +in the scientific and literary world.</p> + + + +<h4 class="hymn"><span>KELLER'S AMERICAN HYMN.</span></h4> + + +<p>Naturally the title suggests the authorship of the +ode, but fate made Keller a musician rather than +a poet and hymnist, and the honors of the fine +anthem are divided. At the grand performance +which created its reputation, the hymn of Dr. O.W. +Holmes was substituted for the composer's words. +This is Keller's first stanza:</p> + +<a id="png:396" name="png:396"></a><samp class="pgmark" + ><span class="png">396 /</span> 344</samp> +<div class="hymn"> +<div class="stanza"> +<div>Speed our republic, O Father on high!</div> +<div class="i1"> Lead us in pathways of justice and right,</div> +<div>Rulers, as well as the ruled, one and all,</div> +<div class="i1"> Girdle with virtue the armor of might.</div> +<div>Hail! three times hail, to our country and flag!</div> +<div class="i1"> Rulers, as well as the ruled, one and all,</div> +<div>Girdle with virtue the armor of might;</div> +<div class="i1"> Hail! three times hail, to our country and flag!</div> +</div></div> + +<p>“Flag” was the unhappy word at the end of +every one of the four stanzas. To match a short +vowel to an orotund concert note for two beats and +a “hold” was impossible. When the great Peace +Jubilee of 1872, in Boston, was projected, Dr. +Holmes was applied to, and responded with a lyric +that gave each stanza the rondeau effect designed +by the composer, but replaced the flat final with a +climax syllable of breadth and music:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Angel of Peace, thou hast wandered too long!</div> +<div class="i1"> Spread thy white wings to the sunshine of love!</div> +<div>Come while our voices are blended in song,</div> +<div class="i1"> Fly to our ark like the storm-beaten dove!</div> +<div>Fly to our ark on the wings of the dove,</div> +<div class="i1"> Speed o'er the far-sounding billows of song,</div> +<div>Crown'd with thine olive-leaf garland of love,</div> +<div class="i1"> Angel of Peace, thou hast waited too long!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Angels of Bethlehem, answer the strain!</div> +<div class="i1"> Hark! a new birth-song is filling the sky!</div> +<div>Loud as the storm-wind that tumbles the main,</div> +<div class="i1"> Bid the full breath of the organ reply,</div> +<div>Let the loud tempest of voices reply,</div> +<div class="i1"> Roll its long surge like the earth-shaking main!</div> +<div>Swell the vast song till it mounts to the sky!</div> +<div class="i1"> Angels of Bethlehem, echo the strain!</div> +</div></div> + +<a id="png:397" name="png:397"></a><samp class="pgmark" + ><span class="png">397 /</span> 345</samp> +<p>But the glory of the <em>tune</em> was Keller's own.</p> + +<p>Soon after the close of the war a prize of $500 had +been offered by a committee of American gentlemen +for the best “national hymn” (meaning words and +music). Mr. Keller, though a foreigner, was a +naturalized citizen and patriot and entered the lists +as a competitor with the zeal of a native and the +ambition of an artist. Sometime in 1866 he finished +and copyrighted the noble anthem that bears his +name, and then began the struggle to get it before +the public and test its merit. To enable him to +bring it out before the New York Academy of +Music, where (unfortunately) he determined to +make his first trial, his brother kindly lent him four +hundred dollars (which he had laid by to purchase +a little home), and he borrowed two hundred more +elsewhere.</p> + +<p>The performance proved a failure, the total +receipts being only forty-two dollars, Keller was +$500 in debt, and his brother's house-money was +gone. But he refused to accept his failure as final. +Boston (where he should have begun) was introduced +to his masterpiece at every opportunity, and +gradually, with the help of the city bands and a few +public concerts, a decided liking for it was worked +up. It was entered on the program of the Peace Jubilee +and sung by a chorus of ten thousand voices. +The effect was magnificent. “Keller's American +Hymn” became a recognized star number in the +repertoire of “best” national tunes; and now few +<a id="png:398" name="png:398"></a><samp class="pgmark" + ><span class="png">398 /</span> 346</samp> +public occasions where patriotic music is demanded +omit it in their menu of song.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote" style="margin-right: 10%;"><p>* +In Butterworth's “<i>Story of the Tunes</i>,” under the account +of Keller's grand motet, the following sacred hymn is inserted as +“often sung to it:”—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Father Almighty, we bow at thy feet;</div> +<div class="i1"> Humbly thy grace and thy goodness we own.</div> +<div>Answer in love when thy children entreat,</div> +<div class="i1"> Hear our thanksgiving ascend to thy throne.</div> +<div>Seeking thy blessing, in worship we meet,</div> +<div class="i1"> Trusting our souls on thy mercy alone;</div> +<div>Father Almighty, we bow at thy feet.</div> +</div><div class="stanza"> +<div>Breathe, Holy Spirit, thy comfort divine,</div> +<div class="i1"> Tune every voice to thy music of peace;</div> +<div>Hushed in our hearts, with one whisper of thine,</div> +<div class="i1"> Pride and the tumult of passion will cease.</div> +<div>Joy of the watchful, who wait for thy sign,</div> +<div class="i1"> Hope of the sinful, who long for release,</div> +<div>Breathe, Holy Spirit, thy comfort divine.</div> +</div><div class="stanza"> +<div>God of salvation, thy glory we sing,</div> +<div class="i1"> Honors to thee in thy temple belong;</div> +<div>Welcome the tribute of gladness we bring,</div> +<div class="i1"> Loud-pealing organ and chorus of song.</div> +<div>While our high praises, Redeemer and King,</div> +<div class="i1"> Blend with the notes of the angelic throng,</div> +<div>God of salvation, thy glory we sing.</div> +<div class="right">—<i>Theron Brown</i>.</div> +</div></div> +</div> + +<p>It is pathetic to know that the composer's one +great success brought him only a barren renown. +The prize committee, on the ground that <em>none</em> +of the competing pieces reached the high standard of +excellence contemplated, withheld the $500, and +Keller's work received merely the compliment of +being judged worth presentation. The artist had +his copyright, but he remained a poor man.</p> + +<p>Matthias Keller was born at Ulm, Wurtemberg, +March 20, 1813. In his youth he was both a +<a id="png:399" name="png:399"></a><samp class="pgmark" + ><span class="png">399 /</span> 347</samp> +musician and a painter. Coming to this country, he +chose the calling that promised the better and +quicker wages, playing in bands and theatre +orchestras, but never accumulating money. He +could make fine harmonies as well as play them, +but English was not his mother-tongue, and though +he wrote a hundred and fifty songs, only one made +him well-known. When fame came to him it did +not bring him wealth, and in his latter days, crippled +by partial paralysis, he went back to his early art +and earned a living by painting flowers and retouching +portraits and landscapes. He died in +1875, only three years after his Coliseum triumph.</p> + + + +<h4 class="hymn">“<span>GOD BLESS OUR NATIVE LAND.</span>”</h4> + + +<p>This familiar patriotic hymn is notable—though +not entirely singular—for having two authors. +The older singing-books signed the name of J.S. +Dwight to it, until inquiring correspondence +brought out the testimony and the joint claim of +Dwight and C.T. Brooks, and it appeared that +both these scholars and writers translated it from +the German. Later hymnals attach both their +names to the hymn.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +For a full account of this disputed hymn, and the curious trick of memory +which confused <em>four</em> names in the question of its authorship, see +Dr. Benson's <i>Studies of Familiar Hymns</i>, pp. 179–190</p></div> + +<p>John Sullivan Dwight, born, in Boston, May 13, +1813, was a virtuoso in music, and an enthusiastic +student of the art and science of tonal harmony. +He joined a Harvard musical club known as “The +<a id="png:400" name="png:400"></a><samp class="pgmark" + ><span class="png">400 /</span> 348</samp> +Pierian Sodality” while a student at the University, +and after his graduation became a prolific writer +on musical subjects. Six years of his life were +passed in the “Brook Farm Community.” He +was best known by his serial magazine, Dwight's +<i>Journal of Music</i>, which was continued from 1852 +to 1881. His death occurred in 1893.</p> + +<p>Rev. Charles Timothy Brooks, the translator of +Faust, was born, in Salem, Mass., June 20, 1813, +being only about a month younger than his friend +Dwight. Was a student at Harvard University +and Divinity School 1829–1835, and was ordained +to the Unitarian ministry and settled at Newport, +R.I. He resigned his charge there (1871) on account +of ill health, and occupied himself with literary +work until his death, Jan. 14, 1883.</p> + +<div class="hymn"> +<div class="stanza"> +<div>God bless our native land!</div> +<div>Firm may she ever stand</div> +<div class="i1"> Through storm and night!</div> +<div>When the wild tempests rave.</div> +<div>Ruler of wind and wave,</div> +<div>Do Thou our country save</div> +<div class="i1"> By Thy great might!</div> +</div><div class="stanza"> +<div>For her our prayer shall rise</div> +<div>To God above the skies;</div> +<div class="i1"> On Him we wait.</div> +<div>Thou who art ever nigh,</div> +<div>Guarding with watchful eye;</div> +<div>To Thee aloud we cry,</div> +<div class="i1"> God save the State!</div> +</div></div> + +<p>The tune of “Dort,” by Lowell Mason, has long +been the popular melody for this hymn. Indeed +<a id="png:401" name="png:401"></a><samp class="pgmark" + ><span class="png">401 /</span> 349</samp> +the two were united by Mason himself. It is +braver music than “America,” and would have +carried Dr. Smith's hymn nobly, but the borrowed +tune, on the whole, better suits “My Country 'tis +of thee,”—and besides, it has the advantage of a +middle-register harmony easy for a multitude of +voices.</p> + + + +<h4 class="hymn" +>“<span>THOU, TOO, SAIL ON, O SHIP OF STATE,</span>”</h4> + + +<p class="runon">The closing canto of Longfellow's “Launching +of the Ship,” almost deserves a patriotic hymn-tune, +though its place and use are commonly with +school recitations.</p> + + + +<h4 class="hymn" +>“<span>GOD OF OUR FATHERS, KNOWN OF OLD.</span>”</h4> + + +<p>Rudyard Kipling, in a moment of serious reflection +on the flamboyant militarism of British +sentiment during the South African War, wrote +this remarkable “Recessional,” so strikingly unlike +his other war-time poems. It is to be hoped +he did not suddenly repent his Christian impulse, +but with the chauvinistic cry around him, “Our +Country, right or wrong!” he seems to have felt +the contrast of his prayer—and flung it into the +waste-basket. His watchful wife rescued it (the +story says) and bravely sent it to the London +Times. The world owes her a debt. The hymn +is not only an anthem for Peace Societies, but a +tonic for true patriotism. When Freedom fights +in self-defense, she need not force herself to “forget” +the Lord of Hosts.</p> + +<a id="png:402" name="png:402"></a><samp class="pgmark" + ><span class="png">402 /</span> 350</samp> +<div class="hymn"> +<div class="stanza"> +<div>God of our fathers, known of old,</div> +<div class="i1"> Lord of our far-flung battle-line,</div> +<div>Beneath whose awful hand we hold</div> +<div class="i1"> Dominion over palm and pine;</div> +<div>Lord God of Hosts, be with us yet,</div> +<div class="i1"> Lest we forget, lest we forget.</div> +</div><div class="stanza"> +<div>The tumult and the shouting dies,</div> +<div class="i1"> The captains and the kings depart,</div> +<div>Still stands Thine ancient sacrifice,</div> +<div class="i1"> An humble and a contrite heart.</div> +<div>Lord God of Hosts, be with us yet,</div> +<div class="i1"> Lest we forget, lest we forget.</div> +</div><div class="stanza"> +<div>Far-called, our navies melt away,</div> +<div class="i1"> On dune and headland sinks the fire;</div> +<div>Lo all our pomp of yesterday</div> +<div class="i1"> Is one with Nineveh and Tyre.</div> +<div>Judge of the nations, spare us yet,</div> +<div class="i1"> Lest we forget, lest we forget.</div> +</div><div class="stanza"> +<div>If, drunk with sight of power, we loose</div> +<div class="i1"> Wild tongues that have not Thee in awe,</div> +<div>Such boasting as the Gentiles use</div> +<div class="i1"> Or lesser breeds without the law,</div> +<div>Lord God of Hosts, be with us yet,</div> +<div class="i1"> Lest we forget, lest we forget.</div> +</div><div class="stanza"> +<div>For heathen heart that puts her trust,</div> +<div class="i1"> In recking tube and iron shard,</div> +<div>All valiant dust that builds on dust</div> +<div class="i1"> And guarding, calls not Thee to guard,</div> +<div>For frantic boast and foolish word</div> +<div class="i1"> Thy mercy on thy people, Lord!</div> +</div></div> + +<p>Had Kipling cared more for his poem, and kept +it longer in hand, he might have revised a line or +two that would possibly seem commonplace to +<a id="png:403" name="png:403"></a><samp class="pgmark" + ><span class="png">403 /</span> 351</samp> +him—and corrected the grammar in the first line +of the second stanza. But of so fine a composition +there is no call for finical criticism. The “Recessional” +is a product of the poet's holiest mood. +“The Spirit of the Lord came upon him”—as the +old Hebrew phrase is, and for the time he was a +rapt prophet, with a backward and a forward +vision. Providence saved the hymn, and it touched +and sank into the better mind of the nation. It is +already learned by heart—and sung—wherever +English is the common speech, and will be heard +in numerous translations, with the wish that there +were more patriotic hymns of the same Christian +temper and strength.</p> + +<p>Rudyard Kipling was born in Hindostan in 1865. +Even with his first youthful experiments in the field +of literature he was hailed as the coming apostle of +muscular poetry and prose. For a time he made +America his home, and it was while here that he +faced death through a fearful and protracted sickness +that brought him very near to God. He has visited +many countries and described them all, and, though +sometimes his imagination drives a reckless pen, +the Christian world hopes much from a man whose +genius can make the dullest souls listen.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The music set to Kipling's hymn is Stainer's +“Magdalen”—(not his “Magdalina,” which is a +common-metre tune)—and wonderfully fits the +<a id="png:404" name="png:404"></a><samp class="pgmark" + ><span class="png">404 /</span> 352</samp> +words and enhances their dignity. It is a grave +and earnest melody in D flat, with two bars in +unison at “Lord God of Hosts, be with us yet,” +making the utterance of the prayer a deep and powerful +finale.</p> + +<p>John Stainer, Doctor of Music, born June 6, 1840, +was nine years the chorister of St. Paul's, London, +and afterwards organist to the University of Oxford. +He is a member of the various musical societies of +the Kingdom, and a Chevalier of the Legion of +Honor. His talent for sacred music is rare and versatile, +and he seems to have consecrated himself as a +musician and composer to the service of the church.</p> + +<p class="thoughtbreak">Every civilized nation has its patriotic hymns. In +fact what makes a nation a nation is largely the unifying +influences of its common song. Even the +homeless Hebrew nation is kept together by its +patriotic Psalms. The ethnic melodies would fill +a volume with their story. The few presented in +this chapter represent their range of quality and +character—defiant as the Marseillaise, thrilling as +“Scots' wha hae,” joyful as “The Star-spangled +Banner,” breezy and bold as the “Ranz de +Vaches,” or sweet as the “Switzers' Song of Home.”</p> + +<a id="png:405" name="png:405"></a><samp class="pgmark" + ><span class="png">405 /</span> 353</samp> + + + + +<h2 class="chap">CHAPTER X.</h2> +<hr class="chap" /> + +<h1>SAILORS' HYMNS.</h1> +<hr class="chap" /> + + +<p>The oldest sailors' hymn is found in the 107th +Psalm, vss. 23–30:</p> + +<div class="hymn"> +<div class="stanza"> +<div>They that go down to the sea in ships,</div> +<div class="i1"> To do business in great waters,</div> +<div class="i1"> These see the works of the Lord,</div> +<div class="i1"> And His wonders in the deep, etc.</div> +</div></div> + +<p>Montgomery has made this metrical rendering +of these verses:</p> + +<div class="hymn"> +<div class="stanza"> +<div>They that toil upon the deep,</div> +<div class="i1"> And in vessels light and frail</div> +<div>O'er the mighty waters sweep</div> +<div class="i1"> With the billows and the gale,</div> +</div><div class="stanza"> +<div>Mark what wonders God performs</div> +<div class="i1"> When He speaks, and, unconfined,</div> +<div>Rush to battle all His storms</div> +<div class="i1"> In the chariots of the wind.</div> +</div></div> + +<p class="runon">The hymn is not in the collections, and has no tune. +Addison paraphrased the succeeding verses of the +Psalm in his hymn, “How are thy servants blessed +O Lord,” sung to Hugh Wilson's<sup>*</sup> tune +of “Avon”:</p> + +<a id="png:406" name="png:406"></a><samp class="pgmark" + ><span class="png">406 /</span> 354</samp> +<div class="hymn"> +<div class="stanza"> +<div>When by the dreadful tempest borne</div> +<div class="i1"> High on the broken wave,</div> +<div>They know Thou art not slow to hear,</div> +<div class="i1"> Nor impotent to save.</div> +</div><div class="stanza"> +<div>The storm is laid, the winds retire,</div> +<div class="i1"> Obedient to Thy will;</div> +<div>The sea that roars at Thy command,</div> +<div class="i1"> At Thy command is still.</div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +Hugh Wilson was a Scotch weaver of Kilmarnock, born 1764; died 1824.</p></div> + + + +<h4 class="hymn">“<span>FIERCE WAS THE WILD BILLOW.</span>”</h4> + + +<h4 class="quote" title="[Greek: Zopheras trikumias]" +>(Ζοφερᾱς +τρικυμίας)</h4> + +<p>The ancient writer, Anatolius, who composed +this hymn has for centuries been confounded with +“St” Anatolius, patriarch of Constantinople, who +died A.D. 458. The author of the hymn lived in +the seventh century, and except that he wrote several +hymns, and also poems in praise of the martyrs, +nothing or next to nothing, is known of him. The +“Wild Billow” song was the principle seaman's +hymn of the early church. It is being introduced into +modern psalmody, the translation in use ranking +among the most successful of Dr. John Mason +Neale's renderings from the Greek.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Fierce was the wild billow,</div> +<div class="i1"> Dark was the night;</div> +<div>Oars labored heavily,</div> +<div class="i1"> Foam glimmered white;</div> +<div>Trembled the mariners;</div> +<div class="i1"> Peril was nigh;</div> +<div>Then said the God of God,</div> +<div class="i1"> “Peace! It is I!”</div> +</div> +<a id="png:407" name="png:407"></a><samp class="pgmark" + ><span class="png">407 /</span> 355</samp> +<div class="stanza"> +<div>Ridge of the mountain wave,</div> +<div class="i1"> Lower thy crest!</div> +<div>Wall of Euroclydon,</div> +<div class="i1"> Be thou at rest!</div> +<div>Sorrow can never be,</div> +<div class="i1"> Darkness must fly,</div> +<div>When saith the Light of Light,</div> +<div class="i1"> “Peace! It is I!”</div> +</div></div> + +<h4 class="tune">THE TUNE.</h4> + +<p>The desire to represent the antiquity of the hymn +and the musical style of Its age, and on the other +hand the wish to utilize it in the tune-manuals for +Manners' Homes and Seamen's Bethels, makes a +difficulty for composers to study—and the task is +still open to competition. Considering the peculiar +tone that sailors' singing instinctively takes—and +has taken doubtless from time immemorial perhaps +the plaintive melody of “Neale,” by J.H. +Cornell, comes as near to a vocal success as could +be hoped. The music is of middle register and less +than octave range, natural scale, minor, and the +triple time lightens a little the dirge-like harmony +while the weird sea-song effect is kept. A chorus +of singing tars must create uncommon emotion, +chanting this coronach of the storm.</p> + +<p>John Henry Cornell was born in New York city, +May 8, 1838, and was for many years organist at +St. Paul's Chapel, Trinity Church. He is the author +of numerous educational works on the theory and +practice of music. He composed the above tune in +1872. Died March 1, 1894.</p> + +<a id="png:408" name="png:408"></a><samp class="pgmark" + ><span class="png">408 /</span> 356</samp> + + + +<h4 class="hymn">“<span>AVE, MARIS STELLA.</span>”</h4> + + +<p>One of the titles which the Roman Catholic world +applied to the Mother of Jesus, in the Middle Ages, +was “Stella Maris,” “Star of the Sea.” Columbus, +being a Catholic, sang this hymn, or caused it to be +sung, every evening, it is said, during his perilous +voyage to an unknown land. The marine epithet +by which the Virgin Mary is addressed is admirable +as a stroke of poetry, and the hymn—of six +stanzas—is a prayer which, though offered to her +as to a divine being, was no doubt sincere in the +simple sailor hearts of 1492.</p> + +<p>The two following quatrains finish the voyagers' +petition, and point it with a doxology—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Vitam praesta puram,</div> +<div>Iter para tutum,</div> +<div>Ut videntes Jesum</div> +<div>Semper collaetemur.</div> +</div><div class="stanza"> +<div>Sit laus Deo Patri,</div> +<div>Summo Christo decus,</div> +<div>Spiritui Sancto,</div> +<div>Tribus honor unus!</div> +</div></div> + +<p class="runon">A free translation is—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Guide us safe, unspotted</div> +<div>Through life's long endeavor</div> +<div>Till with Thee and Jesus</div> +<div>We rejoice forever.</div> +</div><div class="stanza"> +<div>Praise to God the Father,</div> +<div>Son and Spirit be;</div> +<div>One and equal honor</div> +<div>To the Holy Three.</div> +</div></div> + +<a id="png:409" name="png:409"></a><samp class="pgmark" + ><span class="png">409 /</span> 357</samp> +<p class="runon">Inasmuch as this ancient hymn did not attain the +height of its popularity and appear in all the breviaries +until the 10th century, its assumed age has +been doubted, but its reputed author, Venantius +Fortunatus, Bishop of Poitiers, was born about 531, +at Treviso, Italy, and died about 609. Though a +religious teacher, he was a man of romantic and convivial +instincts—a strange compound of priest, poet +and <i>beau chevalier</i>. Duffield calls him “the last +of the classics and first of the troubadours,” and +states that he was the “first of the Christian poets +to begin that worship of the Virgin Mary which +rose to a passion and sank to an idolatry.”</p> + + +<h4 class="tune">TUNES</h4> + +<p class="runon">To this ancient rogation poem have been composed +by Aiblinger (Johann Caspar), Bavarian, (1779–1867,) +by Proch (Heinrich), Austrian, (1809–1878,) +by Tadolini (Giovanni), Italian, (1803–1872,) and by +many others. The “Ave, Maris Stella” is in constant +use in the Romish church, and its English +translation by Caswall is a favorite hymn in the +<i>Lyra Catholica</i>.</p> + + + +<h4 class="hymn">“<span>AVE, SANCTISSIMA!</span>”</h4> + + +<p>This beautiful hymn is not introduced here in +order of time, but because it seems akin to the +foregoing, and born of its faith and traditions—though +it sounds rather too fine for a sailor song, on +<a id="png:410" name="png:410"></a><samp class="pgmark" + ><span class="png">410 /</span> 358</samp> +ship or shore. Like the other, the tuneful prayer is +the voice of ultramontane piety accustomed to deify +Mary, and is entitled the “Evening Song to the +Virgin.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ave Sanctissima! we lift our souls to Thee</div> +<div>Ora pro nobis! 'tis nightfall on the sea.</div> +<div>Watch us while shadows lie</div> +<div>Far o'er the waters spread;</div> +<div>Hear the heart's lonely sigh;</div> +<div class="i1"> Thine, too, hath bled.</div> +</div><div class="stanza"> +<div>Thou that hast looked on death,</div> +<div>Aid us when death is near;</div> +<div>Whisper of heaven to faith;</div> +<div>Sweet Mother, hear!</div> +<div>Ora pro nobis! the wave must rock our sleep;</div> +<div class="i1"> Ora, Mater, ora! Star of the Deep!</div> +</div></div> + +<p>This was first written in four separate quatrains, +“'Tis nightfall on the sea” being part of the first +instead of the second line, and “We lift our souls,” +etc., was “Our souls rise to Thee,” while the apostrophe +at the end read, “Thou Star of the Deep.”</p> + +<p>The fact of the modern origin of the hymn does +not make it less probable that the earlier one of +Fortunatus suggested it. It was written by Mrs. +Hemans, and occurs between the forty-third and +forty-fourth stanzas of her long poem, “The +Forest Sanctuary.”</p> + +<p>A Spanish Christian who had embraced the +Protestant faith fled to America (such is the story +of the poem) to escape the cruelties of the Inquisition, +and took with him his Catholic wife and +his child. During the voyage the wife pined away +<a id="png:411" name="png:411"></a><samp class="pgmark" + ><span class="png">411 /</span> 359</samp> +and died, a martyr to her conjugal loyalty and +love. The hymn to the Virgin purports to have +been her daily evening song at sea, plaintively +remembered by the broken-hearted husband and +father in his forest retreat on the American shore +with his motherless boy.</p> + +<p>The music was composed by a sister of Mrs. +Hemans, Mrs. Hughes, who probably arranged +the lines as they now stand in the tune.</p> + +<p>The song, though its words appear in the <i>Parochial +Hymn-book</i>, seems to be in use rather as +parlor music than as a part of the liturgy.</p> + + + +<h4 class="hymn">“<span>JESUS, LOVER OF MY SOUL.</span>”</h4> + + +<p>The golden quality of this best-known and loved +of Charles Wesley's hymns is attested by two indorsements +that cannot be impeached; its perennial +life, and the blessings of millions who needed +it.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, Lover of my soul</div> +<div class="i1"> Let me to Thy bosom fly,</div> +<div>While the billows near me roll,</div> +<div class="i1"> While the tempest still is high.</div> +</div><div class="stanza"> +<div>Hide me, O my Saviour, hide,</div> +<div class="i1"> Till the storm of life is past,</div> +<div>Safe into the haven guide,</div> +<div class="i1"> O receive my soul at last!</div> +</div></div> + +<p>Wesley is believed to have written it when a +young man, and story and legend have been busy +with the circumstances of its birth. The most +poetical account alleges that a dove chased by a +<a id="png:412" name="png:412"></a><samp class="pgmark" + ><span class="png">412 /</span> 360</samp> +hawk dashed through his open window into his +bosom, and the inspiration to write the line—</p> + +<p class="quote"> +Let me to Thy bosom fly, +</p> + +<p class="runon">—was the genesis of the poem. Another report has it +that one day Mr. Wesley, being pursued by infuriated +persecutors at Killalee, County Down, +Ireland, took refuge in a milk-house on the homestead +of the Island Band Farm. When the mob +came up the farmer's wife, Mrs. Jane Lowrie +Moore, offered them refreshments and secretly +let out the fugitive through a window to the back +garden, where he concealed himself under a hedge +till his enemies went away. When they had gone +he had the hymn in his mind and partly jotted +down. This tale is circumstantial, and came +through Mrs. Mary E. Hoover, Jane Moore's +granddaughter, who told it many years ago to her +pastor, Dr. William Laurie of Bellefonte, Pa. So +careful a narrative deserves all the respect due to +a family tradition. Whether this or still another +theory of the incidental cause of the wonderful +hymn shall have the last word may never be decided +nor is it important.</p> + +<p>There is “antecedent probability,” at least, in +the statement that Wesley wrote the first two +stanzas soon after his perilous experience in a +storm at sea during his return voyage from America +to England in 1736. In a letter dated Oct. 28 of +that year, he describes the storm that washed away +a large part of the ship's cargo, strained her seams +<a id="png:413" name="png:413"></a><samp class="pgmark" + ><span class="png">413 /</span> 361</samp> +so that the hardest pumping could not keep pace +with the inrushing water, and finally forced the +captain to cut the mizzen-mast away. Young +Wesley was ill and sorely alarmed, but knew, he +says, that he “abode under the shadow of the Almighty,” +and finally, “in this dreadful moment,” +he was able to encourage his fellow-passengers who +were “in an agony of fear,” and to pray with and +for them.</p> + +<p>It was his awful hazard and bare escape in that +tempest that prompted the following stanzas—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> O Thou who didst prepare</div> +<div class="i1"> The ocean's caverned cell,</div> +<div>And teach the gathering waters there</div> +<div class="i2"> To meet and dwell;</div> +<div class="i1"> Toss'd in our reeling bark</div> +<div class="i1"> Upon this briny sea,</div> +<div>Thy wondrous ways, O Lord, we mark,</div> +<div class="i2"> And sing to Thee.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div class="i1"> Borne on the dark'ning wave,</div> +<div class="i1"> In measured sweep we go,</div> +<div>Nor dread th' unfathomable grave,</div> +<div class="i2"> Which yawns below;</div> +<div class="i1"> For He is nigh who trod</div> +<div class="i1"> Amid the foaming spray,</div> +<div>Whose billows own'd th' Incarnate God,</div> +<div class="i2"> And died away.</div> +</div></div> + +<p>And naturally the memory of his almost shipwreck +on the wild Atlantic colored more or less the +visions of his muse, and influenced the metaphors +of his verse for years.</p> + +<a id="png:414" name="png:414"></a><samp class="pgmark" + ><span class="png">414 /</span> 362</samp> +<p>The popularity of “Jesus, Lover of my Soul” not +only procured it, at home, the name of “England's +song of the sea,” but carried it with “the course of +Empire” to the West, where it has reigned with +“Rock of Ages,” for more than a hundred and +fifty years, joint primate of inspired human songs.</p> + +<p>Compiled incidents of its heavenly service would +fill a chapter. A venerable minister tells of the +supernal comfort that lightened his after years of +sorrow from the dying bed of his wife who whispered +with her last breath, “Hide me, O my +Saviour, hide.”</p> + +<p>A childless and widowed father in Washington +remembers with a more than earthly peace, the wife +and mother's last request for Wesley's hymn, and +her departure to the sound of its music to join the +spirit of her babe.</p> + +<p>A summer visitor in Philadelphia, waiting on a +hot street-corner for a car to Fairmount Park, overheard +a quavering voice singing the same hymn +and saw an emaciated hand caressing a little plant +in an open window—and carried away the picture +of a fading life, and the words—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Other refuge have I none,</div> +<div>Hangs my helpless soul on Thee.</div> +</div></div> + +<p>On one of the fields of the Civil War, just after +a bloody battle, the Rev. James Rankin of the +United Presbyterian Church bent over a dying +soldier. Asked if he had any special request to +make, the brave fellow replied, “Yes, sing ‘Jesus, +Lover of my Soul.’”</p> + +<a id="png:415" name="png:415"></a><samp class="pgmark" + ><span class="png">415 /</span> 363</samp> +<p>The clergyman belonged to a church that sang +only Psalms. But what a tribute to that ubiquitous +hymn that such a man knew it by heart! A +moment's hesitation and he recalled the words, and, +for the first time in his life, sang a sacred song that +was not a Psalm. When he reached the lines,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Safe into the haven guide,</div> +<div class="i1"> O receive my soul at last,</div> +</div></div> + +<p class="runon">—his hand was in the frozen grip of a dead man, +whose face wore “the light that never was on sea +or land.” The minister went away saying to himself, +“If this hymn is good to die by, it is good to live +by.”</p> + +<a id="png:419" name="png:419"></a><samp class="pgmark" + ><span class="png">419 /</span> opp 366</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of William B. Bradbury"> + <tr valign="bottom"> + <td><a id="Illus18" name="Illus18" + ><img src="images/illus18-williambradbury-cameo.jpg" alt= + "William B. Bradbury" width="183" height="263" /></a></td> + <td><table summary="Caption"> + <tr><td>William B. Bradbury</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Of all the tone-masters who have studied and +felt this matchless hymn, and given it vocal wings—Marsh, +Zundel, Bradbury, Dykes, Mason—none +has so exquisitely uttered its melting prayer, +syllable by syllable, as Joseph P. Holbrook in his +“Refuge.” Unfortunately for congregational use, +it is a duo and quartet score for select voices; but +the four-voice portion can be a chorus, and is often +so sung. Its form excludes it from some hymnals +or places it as an optional beside a congregational +tune. But when rendered by the choir on special +occasions its success in conveying the feeling +and soul of the words is complete. There is a +prayer in the swell of every semitone and the touch +of every accidental, and the sweet concord of the +<a id="png:416" name="png:416"></a><samp class="pgmark" + ><span class="png">416 /</span> 364</samp> +duet—soprano with tenor or bass—pleads on to +the end of the fourth line, where the full harmony +reinforces it like an organ with every stop in play. +The tune is a rill of melody ending in a river of +song.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Holbrook has also an arrangement of Franz Abt's, “When the Swallows +Homeward Fly” written to “Jesus, Lover of my Soul,” +but with Wesley's words it is far less effective than his original work. +“Refuge” is not a manufacture but an inspiration.</p></div> + +<p>For general congregational use, Mason's “Whitman” +has wedded itself to the hymn perhaps +closer than any other. It has revival associations +reaching back more than sixty years.</p> + + + +<h4 class="hymn" +>“<span>WHEN MARSHALLED ON THE NIGHTLY PLAIN.</span>”</h4> + + +<p>Perhaps no line in all familiar hymnology more +readily suggests the name of its author than this. +In the galaxy of poets Henry Kirke White was a +brief luminary whose brilliancy and whose early +end have appealed to the hearts of three generations. +He was born at Nottingham, Eng., in the +year 1795. His father was a butcher, but the son, +disliking the trade, was apprenticed to a weaver +at the age of fourteen. Two years later he entered +an attorney's office as copyist and student.</p> + +<p>The boy imbibed sceptical notions from some +source, and might have continued to scoff at +religion to the last but for the experience of his +intimate friend, a youth named Almond, whose life +was changed by witnessing one day the happy +death of a Christian believer. Decided to be a +<a id="png:417" name="png:417"></a><samp class="pgmark" + ><span class="png">417 /</span> 365</samp> +Christian himself, it was some time before he +mustered courage to face White's ridicule and +resentment. He simply drew away from him. +When White demanded the reason he was obliged +to tell him that they two must henceforth walk +different paths.</p> + +<p>“Good God!” exclaimed White, “you surely +think worse of me than I deserve!”</p> + +<p>The separation was a severe shock to Henry, +and the real grief of it sobered his anger to reflection +and remorse. The light of a better life came +to him when his heart melted—and from that time +he and Almond were fellows in faith as well as +friendship.</p> + +<p>In his hymn the young poet tells the stormy +experience of his soul, and the vision that guided +him to peace.</p> + +<div class="hymn"> +<div class="stanza"> +<div>When, marshalled on the nightly plain,</div> +<div class="i1"> The glittering host bestud the sky,</div> +<div>One star alone of all the train</div> +<div class="i1"> Can fix the sinner's wandering eye.</div> +<div>Hark, hark! to God the chorus breaks,</div> +<div class="i1"> From every host, from every gem,</div> +<div>But one alone the Saviour speaks;</div> +<div class="i1"> It is the Star of Bethlehem.</div> +</div><div class="stanza"> +<div>Once on the raging seas I rode:</div> +<div class="i1"> The storm was loud, the night was dark;</div> +<div>The ocean yawned, and rudely blowed</div> +<div class="i1"> The wind that tossed my foundering bark.</div> +<div>Deep horror then my vitals froze,</div> +<div class="i1"> Death-struck, I ceased the tide to stem,</div> +<div>When suddenly a star arose;</div> +<div class="i1"> It was the Star of Bethlehem.</div> +</div> +<a id="png:418" name="png:418"></a><samp class="pgmark" + ><span class="png">418 /</span> 366</samp> +<div class="stanza"> +<div>It was my guide, my light, my all,</div> +<div class="i1"> It bade my dark forebodings cease;</div> +<div>And through the storm and danger's thrall,</div> +<div class="i1"> It led me to the port of peace.</div> +<div>Now, safely moored, my perils o'er,</div> +<div class="i1"> I'll sing, first in night's diadem,</div> +<div>For ever and for evermore,</div> +<div class="i1"> The Star, the Star of Bethlehem!</div> +</div></div> + +<p>Besides this delightful hymn, with its graphic +sea-faring metaphors, two others, at least, of the +same boy-poet hold their place in many of the +church and chapel collections:</p> + +<div class="hymn"> +<div class="stanza"> +<div>The Lord our God is clothed with might,</div> +<div class="i1"> The winds obey His will;</div> +<div>He speaks, and in his heavenly height</div> +<div class="i1"> The rolling sun stands still.</div> +</div></div> + +<p class="runon">And—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Oft in danger, oft in woe,</div> +<div>Onward, Christians, onward go.</div> +</div></div> + +<p>Henry Kirke White died in the autumn of 1806, +when he was scarcely twenty years old. His “Ode +to Disappointment,” and the miscellaneous flowers +and fragments of his genius, make up a touching +volume. The fire of a pure, strong spirit burning +through a consumptive frame is in them all.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p title="Illustration of William Bradbury originally opposite">“When, +marshalled on the mighty plain” has +a choral set to it in the <i>Methodist Hymnal</i>—credited +to Thos. Harris, and entitled “Crimea”—which +divides the three stanzas into six, and +<a id="png:421" name="png:421"></a><samp class="pgmark" + ><span class="png">421 /</span> 367</samp> +breaks the continuity of the hymn. Better sing it +in its original form—long metre double—to the +dear old melody of “Bonny Doon.” The voices +of Scotland, England and America are blended in it.</p> + +<p>The origin of this Caledonian air, though sometimes +fancifully traced to an Irish harper and +sometimes to a wandering piper of the Isle of Man, +is probably lost in antiquity. Burns, however, +whose name is linked with it, tells this whimsical +story of it, though giving no date save “a good +many years ago,”—(apparently about 1753). A +virtuoso, Mr. James Millar, he writes, wishing he +were able to compose a Scottish tune, was told by a +musical friend to sit down to his harpsichord and +make a rhythm of some kind <em>solely on the black +keys</em>, and he would surely turn out a Scotch tune. +The musical friend, pleased at the result of his +jest, caught the string of plaintive sounds made by +Millar, and fashioned it into “Bonny Doon.”</p> + + + +<h4 class="hymn">“<span>LAND AHEAD!</span>”</h4> + + +<p>The burden of this hymn was suggested by the +dying words of John Adams, one of the crew of +the English ship Bounty who in 1789 mutinied, +set the captain and officers adrift, and ran the +vessel to a tropical island, where they burned her. +In a few years vice and violence had decimated +the wicked crew, who had exempted themselves +from all divine and human restraint, until the last +man alive was left with only native women and +<a id="png:422" name="png:422"></a><samp class="pgmark" + ><span class="png">422 /</span> 368</samp> +half-breed children for company. His true name +was Alexander Smith, but he had changed it to John +Adams.</p> + +<p>The situation forced the lonely Englishman to +a sense of solemn responsibility, and in bitter remorse, +he sought to retrieve his wasted life, and +spend the rest of his exile in repentance and repentant +works. He found a Bible in one of the dead +seamen's chests, studied it, and organized a community +on the Christian plan. A new generation +grew up around him, reverencing him as governor, +teacher, preacher and judge, and speaking his +language—and he was wise enough to exercise his +authority for the common good, and never abuse it. +Pitcairn's Island became “the Paradise of the +Pacific.” It has not yet belied its name. Besides +its opulence of rural beauty and natural products, +its inhabitants, now the third generation from the +“mutineer missionary,” are a civilized community +without the vices of civilization. There is no +licentiousness, no profanity, no Sabbath-breaking, +no rum or tobacco—and <em>no sickness</em>.</p> + +<p>John Adams died in 1829—after an island residence +of forty years. In his extreme age, while he +lay waiting for the end, he was asked how he felt in +view of the final voyage.</p> + +<p>“Land ahead!” murmured the old sailor—and +his last words were, “Rounding the Cape—into +the harbor.”</p> + +<p>That the veteran's death-song should be perpetuated +in sacred music is not strange.</p> + +<a id="png:423" name="png:423"></a><samp class="pgmark" + ><span class="png">423 /</span> 369</samp> +<div class="hymn"> +<div class="stanza"> +<div>Land ahead! its fruits are waving</div> +<div class="i1"> O'er the hills of fadeless green;</div> +<div>And the living waters laving</div> +<div class="i1"> Shores where heavenly forms are seen.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>Rocks and storms I'll fear no more,</div> +<div>When on that eternal shore;</div> +<div>Drop the anchor! furl the sail!</div> +<div>I am safe within the veil.</div> +</div><div class="stanza"> +<div>Onward, bark! the cape I'm rounding;</div> +<div class="i1"> See, the blessed wave their hands;</div> +<div>Hear the harps of God resounding</div> +<div class="i1"> From the bright immortal bands.</div> +</div></div> + +<p>The authorship of the hymn is credited to Rev. +E. Adams—whether or not a <ins class="transcriber" + title="Transcriber's note: original has 'descendent'">descendant</ins> of the +Island Patriarch we have no information. It was +written about 1869.</p> + +<p>The ringing melody that bears the words was +composed by John Miller Evans, born Nov. 30, +1825; died Jan. 1, 1892. The original air—with a +simple accompaniment—was harmonized by Hubert +P. Main, and published in <i>Winnowed Hymns</i> +in 1873.</p> + + + +<h4 class="hymn" +>“<span>ETERNAL FATHER, STRONG TO SAVE.</span>”</h4> + + +<p>This is sung almost universally on English ships. +It is said to have been one of Sir Evelyn Wood's +favorites. The late William Whiting wrote it in +1860, and it was incorporated with some alterations +in the standard English Church collection +<a id="png:424" name="png:424"></a><samp class="pgmark" + ><span class="png">424 /</span> 370</samp> +entitled <i>Hymns Ancient and Modern</i>. It is a +translation from a Latin hymn, a triune litany addressing +a stanza each to Father, Son and Holy +Spirit. The whole four stanzas have the same +refrain, and the appeal to the Father, who bids—</p> + +<div class="hymn"> +<div class="stanza"> +<div>—the mighty ocean deep</div> +<div>Its own appointed limits keep,</div> +</div></div> + +<p class="runon">—varies in the appeal to Christ, who—</p> + +<div class="hymn"> +<div class="stanza"> +<div>—<em>walked</em> upon the foaming deep.</div> +</div></div> + +<p class="runon">The third and fourth stanzas are the following:</p> + +<div class="hymn"> +<div class="stanza"> +<div>O Holy Spirit, Who didst brood</div> +<div>Upon the waters dark and rude,</div> +<div>And bid their angry tumult cease,</div> +<div>And give, for wild confusion, peace;</div> +<div class="i1"> Oh, hear us when we cry to Thee</div> +<div>For those in peril on the sea.</div> +</div><div class="stanza"> +<div>O Trinity of love and power,</div> +<div>Our brethren shield in danger's hour;</div> +<div>From rock and tempest, fire and foe,</div> +<div>Protect them wheresoe'er they go:</div> +<div class="i1"> Thus evermore shall rise to Thee</div> +<div>Glad hymns of praise from land to sea.</div> +</div></div> + +<p>William Whiting was born at Kensington, London, +Nov. 1, 1825. He was Master of Winchester +College Chorister's School Died in 1878.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The choral named “Melita” (in memory of St. +Paul's shipwreck) was composed by Dr. Dykes +in 1861, and its strong and easy chords and +<a id="png:425" name="png:425"></a><samp class="pgmark" + ><span class="png">425 /</span> 371</samp> +moderate note range are nobly suited to the devout +hymn.</p> + + + +<h4 class="hymn">“<span>THE OCEAN HATH NO DANGER.</span>”</h4> + + +<p>This charming sailors' lyric is the work of the +Rev. Godfrey Thring. Its probable date is 1862, +and it appeared in Morell and Howe's collection +and in <i>Hymns Congregational and Others</i>, published +in 1866, which contained a number from +his pen. Rector Thring was born at Alford, Somersetshire, +Eng., March 25, 1823, and educated at +Shrewsbury School and Baliol College, Oxford. +In 1858 he succeeded his father as Rector of Alford.</p> + +<p>He compiled <i>A Church of England Hymnbook</i> +in 1880.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The ocean hath no danger</div> +<div class="i1"> For those whose prayers are made</div> +<div>To Him who in a manger</div> +<div class="i1"> A helpless Babe was laid,</div> +<div>Who, born to tribulation</div> +<div class="i1"> And every human ill,</div> +<div>The Lord of His creation,</div> +<div class="i1"> The wildest waves can still.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Though life itself be waning</div> +<div class="i1"> And waves shall o'er us sweep,</div> +<div>The wild winds sad complaining</div> +<div class="i1"> Shall lull us still to sleep,</div> +<div>For as a gentle slumber</div> +<div class="i1"> E'en death itself shall prove</div> +<div>To those whom Christ doth number</div> +<div class="i1"> As worthy of His love.</div> +</div></div> + +<a id="png:426" name="png:426"></a><samp class="pgmark" + ><span class="png">426 /</span> 372</samp> +<p>The tune “Morlaix,” given to the hymn by Dr. +Dykes, is simple, but a very sweet and appropriate +harmony.</p> + + + +<h4 class="hymn" +>“<span>FIERCE RAGED THE TEMPEST ON THE DEEP.</span>”</h4> + + +<p>This fine lyric, based on the incident in the storm +on the Sea of Galilee, is the work of the same writer +and owes its tune “St. Aelred” to the same composer.</p> + +<p>The melody has an impressive rallentando of +dotted semibreves to the refrain, “Peace, be still,” +after the more rapid notes of the three-line stanzas.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The wild winds hushed, the angry deep<br /></div> +<div>Sank like a little child to sleep,<br /></div> +<div>The sullen waters ceased to leap.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>So when our life is clouded o'er<br /></div> +<div>And storm-winds drift us from the shore<br /></div> +<div>Say, lest we sink to rise no more,</div> +<div class="i2"> “Peace! be still.”</div> +</div></div> + + + +<h4 class="hymn">“<span>PULL FOR THE SHORE.</span>”</h4> + + +<p>When a shipwrecked crew off a rocky coast were +hurrying to the long-boat, a sailor begged leave to +run back to the ship's forecastle and save some of +his belongings.</p> + +<p>“No sir,” shouted the Captain, “she's sinking! +There's nothing to do but to pull for the shore.” +Philip P. Bliss caught up the words, and wrought +them into a hymn and tune.</p> + +<a id="png:427" name="png:427"></a><samp class="pgmark" + ><span class="png">427 /</span> 373</samp> +<div class="hymn"> +<div class="stanza"> +<div>Light in the darkness, sailor, day is at hand!</div> +<div>See o'er the foaming billows fair Haven's land;</div> +<div>Drear was the voyage, sailor, now almost o'er;</div> +<div>Safe in the life-boat, sailor, pull for the shore!</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>Pull for the shore, sailor, pull for the shore!</div> +<div>Heed not the rolling waves, but bend to the oar;</div> +<div>Safe in the life-boat, sailor, cling to self no more;</div> +<div>Leave the poor old stranded wreck and pull for the shore!</div> +</div></div> + +<p>The hymn-tune is a buoyant allegro—solo and +chorus—full of hope and courage, and both imagery +and harmony appeal to the hearts of seamen. It is +popular, and has long been one of the song numbers +in demand at religious services both on sea and land.</p> + + + +<h4 class="hymn">“<span>JESUS, SAVIOUR, PILOT ME.</span>”</h4> + + +<p>The Rev. Edward Hopper, D.D. wrote this +hymn while pastor of Mariner's Church at New +York harbor, “The Church of the Sea and Land.” +He was born in 1818, and graduated at Union +Theological Seminary in 1843.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus, Saviour, pilot me</div> +<div>Over life's tempestuous sea,</div> +<div>Unknown waves before me roll,</div> +<div>Hiding rock and treacherous shoal;</div> +<div>Chart and compass come from Thee,</div> +<div>Jesus, Saviour, pilot me!</div> +</div></div> + +<p>Only three stanzas of this rather lengthy hymn +are in common use.</p> + +<a id="png:428" name="png:428"></a><samp class="pgmark" + ><span class="png">428 /</span> 374</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p class="runon">Without title except “Savior, pilot me.” +A simple and pleasing melody composed by John Edgar +Gould, late of the firm of Gould and Fischer, piano +dealers, Phila., Pa. He was born in Bangor, Me., +April 9, 1822. Conductor of music and composer of +psalm and hymn tunes and glees, he also compiled +and published no less than eight books of church, +Sunday-school, and secular songs. Died in Algiers, +Africa, Feb. 13, 1875.</p> + + + +<h4 class="hymn">“<span>THROW OUT THE LIFE-LINE.</span>”</h4> + + +<p>This is one of the popular refrains that need but +a single hearing to fix themselves in common +memory and insure their own currency and <i>eclat</i>.</p> + +<p>The Rev. E.S. Ufford, well-known as a Baptist +preacher, lecturer, and evangelist, was witnessing +a drill at the life-saving station on Point Allerton, +Nantasket Beach, when the order to “throw out +the life-line” and the sight of the apparatus in +action, combined with the story of a shipwreck on +the spot, left an echo in his mind till it took the +form of a song-sermon. Returning home, he +pencilled the words of this rousing hymn, and, +being himself a singer and player, sat down to his +instrument to match the lines with a suitable air. +It came to him almost as spontaneously as the +music of “The Ninety and Nine” came to Mr. +Sankey. In fifteen minutes the hymn-tune was +<a id="png:429" name="png:429"></a><samp class="pgmark" + ><span class="png">429 /</span> 375</samp> +made—so far as the melody went. It was published +in sheet form in 1888, and afterwards purchased +by Mr. Sankey, harmonized by Mr. Stebbins, +and published in <i>Winnowed Songs</i>, 1890. +Included in <i>Gospel Hymns</i>, Nov. 6, 1891.</p> + +<p>Ever since it has been a favorite with singing +seamen, and has done active service as one of our +most stirring field-songs in revival work.</p> + +<div class="hymn"><div class="stanza"> +<div>Throw out the Life-line across the dark wave,</div> +<div>There is a brother whom some one should save;</div> +<div>Somebody's brother! oh, who, then, will dare</div> +<div>To throw out the Life-line, his peril to share?</div> +</div><div class="stanza"> +<div>Throw out the Life-line with hand quick and strong!</div> +<div>Why do you tarry, why linger so long?</div> +<div>See! he is sinking; oh, hasten today—</div> +<div>And out with the Life-boat! away, then away!</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div class="i1"> Throw out the Life-line!</div> +<div class="i1"> Throw out the Life-line!</div> +<div>Some one is drifting away;</div> +<div class="i1"> Throw out the Life-line!</div> +<div class="i1"> Throw out the Life-line!</div> +<div>Some one is sinking today.</div> +</div></div> + +<p>One evening, in the midst of their hilarity at +their card-tables, a convivial club in one of the large +Pennsylvania cities heard a sweet, clear female +voice singing this solo hymn, followed by a chime +of mingled voices in the chorus. A room in the +building had been hired for religious meetings, and +tonight was the first of the series. A strange coolness +dampened the merriment in the club-room, +<a id="png:430" name="png:430"></a><samp class="pgmark" + ><span class="png">430 /</span> 376</samp> +as the singing went on, and the gradual silence +became a hush, till finally one member threw down +his cards and declared, “If what they're saying is +right, then we're wrong.”</p> + +<p>Others followed his example, then another, and +another.</p> + +<p class="quote"> +There is a brother whom some one should save. +</p> + +<p class="runon">Quietly the revellers left their cards, cigars and +half-emptied glasses and went home.</p> + +<p>Said the ex-member who told the story years +after to Mr. Ufford, “‘Throw Out the Life-line’ +broke up that club.”</p> + +<p>He is today one of the responsible editors of a +great city daily—and his old club-mates are all +holding positions of trust.</p> + +<p>A Christian man, a prosperous manufacturer in +a city of Eastern Massachusetts, dates his first +religious impressions from hearing this hymn when +sung in public for the first time, twenty years ago.</p> + +<p>Visiting California recently, Mr. Ufford sang his +hymn at a watch-meeting and told the story of the +loss of the Elsie Smith on Cape Cod in 1902, exhibiting +also the very life-line that had saved sixteen +lives from the wreck. By chance one of those sixteen +was in the audience.</p> + +<p>An English clergyman who was on duty at Gibraltar +when an emigrant ship went on the rocks +in a storm, tells with what pathetic power and +effect “Throw out the Life-line” was sung at a +special Sunday service for the survivors.</p> + +<a id="png:431" name="png:431"></a><samp class="pgmark" + ><span class="png">431 /</span> 377</samp> + +<p>At one of Evan Roberts' meetings in Laughor, +Wales, one speaker related the story of a “vision,” +when in his room alone, and a Voice that bade him +pray, and when he knelt but could not pray, commanded +him to “Throw out the Life-line.” He +had scarcely uttered these words in his story when +the whole great congregation sprang to its feet and +shouted the hymn together like the sound of many +waters.</p> + +<p>“There is more electricity in that song than in +any other I ever heard,” Dr. Cuyler said to Mr. +Sankey when he heard him sing it. Its electricity +has carried it nearly round the world.</p> + +<p>The Rev. Edward Smith Ufford was born in +Newark, N.J., 1851, and educated at Stratford +Academy (Ct.) and Bates Theological Seminary, +Me. He held several pastorates in Maine and +Massachusetts, but a preference for evangelistic +work led him to employ his talent for object-teaching +in illustrated religious lectures through his own +and foreign lands, singing his hymn and enforcing +it with realistic representation. He is the author +and compiler of several Sunday-school and chapel +song-manuals, as <i>Converts' Praise</i>, <i>Life-long Songs</i>, +<i>Wonderful Love</i> and <i>Gathered Gems</i>.</p> + +<a id="png:432" name="png:432"></a><samp class="pgmark" + ><span class="png">432 /</span> 378</samp> + + + + +<h2 class="chap">CHAPTER XI.</h2> +<hr class="chap" /> + +<h1>HYMNS OF WALES.</h1> +<hr class="chap" /> + + +<p>In writing this chapter the task of identifying +the <em>tune</em>, and its author, in the case of every hymn, +would have required more time and labor than, +perhaps, the importance of the facts would justify.</p> + +<p>Peculiar interest, however, attaches to Welsh +hymns, even apart from the airs which accompany +them, and a general idea of Welsh music may be +gathered from the tone and metre of the lyrics introduced. +More particular information would +necessitate printing the music itself.</p> + +<p>From the days of the Druids, Wales has been a +land of song. From the later but yet ancient time +when the people learned the Christian faith, it has +had its Christian psalms. The “March of the +White Monks of Bangor” (7th century) is an epic +of bravery and death celebrating the advance of +Christian martyrs to their bloody fate at the hands +of the Saxon savages. “Its very rhythm pictures +the long procession of white-cowled patriots bearing +peaceful banners and in faith taking their way +to Chester to stimulate the valor of their countrymen.” +<a id="png:433" name="png:433"></a><samp class="pgmark" + ><span class="png">433 /</span> 379</samp> +And ever since the “Battle of the Hallelujahs”—near +Chirk on the border, nine miles from +Wrexham—when the invading Danes were driven +from the field in fright by the rush of the Cymric +army shouting that mighty cry, every Christian +poet in Wales has had a hallelujah in his verse.</p> + +<p>Through the centuries, while chased and hunted +by their conquerors among the Cambrian hills, but +clinging to their independent faith, or even when +paralyzed into spiritual apathy under tribute to a +foreign church, the heavenly song still murmured +in a few true hearts amidst the vain and vicious +lays of carnal mirth. It survived even when people +and priest alike seemed utterly degenerate and godless. +The voice of Walter Bute (1372) rang true for +the religion of Jesus in its purity. Brave John +Oldcastle, the martyr, (1417) clung to the gospel +he learned at the foot of the cross. William Wroth, +<em>clergyman</em>, saved from fiddling at a drunken dance +by a disaster that turned a house of revelry into a +house of death, confessed his sins to God and became +the “Apostle of South Wales.” The young +vicar, Rhys Pritchard (1579) rose from the sunken +level of his profession, rescued through an incident +less tragic. Accustomed to drink himself to inebriety +at a public-house—a socially winked-at indulgence +then—he one day took his pet goat with +him, and poured liquor down the creature's throat. +The refusal of the poor goat to go there again forced +the reckless priest to reflect on his own ways. He +forsook the ale-house and became a changed man.</p> + +<a id="png:434" name="png:434"></a><samp class="pgmark" + ><span class="png">434 /</span> 380</samp> +<p>Among his writings—later than this—is found +the following plain, blunt statement of what continued +long to be true of Welsh society, as represented +in the common use of Sunday time.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Of all the days throughout the rolling year</div> +<div>There's not a day we pass so much amiss,</div> +<div>There's not a day wherein we all appear</div> +<div>So irreligious, so profaned as this.</div> +</div><div class="stanza"> +<div>A day for drunkenness, a day for sport,</div> +<div>A day to dance, a day to lounge away,</div> +<div>A day for riot and excess, too short</div> +<div>Amongst the Welshmen is the Sabbath day.</div> +</div><div class="stanza"> +<div>A day to sit, a day to chat and spend,</div> +<div>A day when fighting 'mongst us most prevails,</div> +<div>A day to do the errands of the Fiend—</div> +<div>Such is the Sabbath in most parts of Wales.</div> +</div></div> + +<p>Meantime some who could read the language—and +the better educated (like the author of the +above rhymes) knew English as well as Welsh—had +seen a rescued copy of <i>Wycliffs New Testament</i>, +a precious publication seized and burnt (like +the bones of its translator) by hostile ecclesiastics, +and suppressed for nearly two hundred years. +Walter Bute, like Obadiah who hid the hundred +prophets, may well be credited with such secret +salvage out of the general destruction. And there +were doubtless others equally alert for the same +quiet service. We can imagine how far the stealthy +taste of that priceless book would help to strengthen +a better religion than the one doled out professionally +to the multitude by a Civil church; and how +<a id="png:435" name="png:435"></a><samp class="pgmark" + ><span class="png">435 /</span> 381</samp> +it kept the hallelujah alive in silent but constant souls; +and in how many cases it awoke a conscience long +hypnotized under corrupt custom, and showed a +renegade Christian how morally untuned he was.</p> + +<p>Daylight came slowly after the morning star, +but when the dawn reddened it was in welcome to +Pritchard's and Penry's gospel song; and sunrise +hastened at the call of Caradoc, and Powell, and +Erbury, and Maurice, the holy men who followed +them, some with the trumpet of Sinai and some +with the harp of Calvary.</p> + +<p>Cambria was being prepared for its first great +revival of religion.</p> + +<p>There was no rich portfolio of Christian hymns +such as exists to-day, but surely there were not +wanting pious words to the old chants of Bangor +and the airs of “Wild Wales.” When time brought +Howell Harris and Daniel Rowland, and the great +“Reformation” of the eighteenth century, the +renowned William Williams, “the Watts of Wales,” +appeared, and began his tuneful work. The +province soon became a land of hymns. The +candles lit and left burning here and there by +Penry, Maurice, and the Owens, blazed up to +beacon-fires through all the twelve counties when +Harris, at the head of the mighty movement, carried +with him the sacred songs of Williams, kindling +more lights everywhere between the Dee and the +British Channel.</p> + +<p>William Williams of Pantycelyn was born in +1717, at Cefncoed Farm, near Llandovery. Three +<a id="png:436" name="png:436"></a><samp class="pgmark" + ><span class="png">436 /</span> 382</samp> +years younger than Harris, (an Oxford graduate,) +and educated only at a village school and an +academy at Llwynllwyd, he was the song protagonist +of the holy campaign as the other was its +champion preacher. From first to last Williams +wrote nine hundred and sixteen hymns, some of +which are still heard throughout the church militant, +and others survive in local use and affection. +He died Jan. 11, 1791, at Pantycelyn, where he had +made his home after his marriage. One of the +hymns in his <i>Gloria</i>, his second publication, may +well have been his last. It was dear to him above +others, and has been dear to devout souls in many +lands.</p> + +<div class="hymn"> +<div class="stanza"> +<div>My God, my portion and my love;</div> +<div>My all on earth, my all above,</div> +<div class="i1"> My all within the tomb;</div> +<div>The treasures of this world below</div> +<div>Are but a vain, delusive show,</div> +<div class="i1"> Thy bosom is my home.</div> +</div></div> + +<p>It was fitting that Williams should name the +first collection of his hymns (all in his native Welsh) +<i>The Hallelujah</i>. Its lyrics are full of adoration +for the Redeemer, and thanksgivings for His work.</p> + + + +<h4 class="hymn" +>“<span>ONWARD RIDE IN TRIUMPH, JESUS,</span>”</h4> + +<h4 class="quote"><i>Marchog, Jesu, yn llwyddiannus</i>,</h4> + + +<p class="runon">Has been sung in Wales for a century and a half, +and is still a favorite.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Onward ride in triumph, Jesus,</div> +<div class="i1"> Gird thy sword upon thy thigh;</div> +<a id="png:437" name="png:437"></a><samp class="pgmark" + ><span class="png">437 /</span> 383</samp> +<div>Neither earth nor Hell's own vastness</div> +<div class="i1"> Can Thy mighty power defy.</div> +<div>In Thy Name such glory dwelleth</div> +<div class="i1"> Every foe withdraws in fear,</div> +<div>All the wide creation trembleth</div> +<div class="i1"> Whensoever Thou art near.<sup>*</sup></div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +The following shows the style of Rev. Elvet Lewis' translation:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Blessed Jesus, march victorious</div> +<div class="i1"> With Thy sword fixed at Thy side;</div> +<div>Neither death nor hell can hinder</div> +<div class="i1"> The God-Warrior in His ride.</div> +</div></div> +</div> + +<p>The unusual militant strain in this pæan of +conquest soon disappears, and the gentler aspects +of Christ's atoning sacrifice occupy the writer's +mind and pen.</p> + + + + +<h4 class="hymn">“<span>IN EDEN—O THE MEMORY!</span>”</h4> + +<h4 class="quote"><i>Yn Eden cofiaf hyny byth!</i></h4> + +<p>The text, “He was wounded for our transgressions,” +is amplified in this hymn, and the +Saviour is shown bruising Himself while bruising +the serpent.</p> + +<p>The first stanza gives the key-note,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>In Eden—O the memory!</div> +<div>What countless gifts were lost to me!</div> +<div class="i1"> My crown, my glory fell;</div> +<div>But Calvary's great victory</div> +<div>Restored that vanished crown to me;</div> +<div class="i1"> On this my songs shall dwell;</div> +</div></div> + +<p class="runon">—and the multitude of Williams' succeeding +“songs” that chant the same theme shows how well he kept +<a id="png:438" name="png:438"></a><samp class="pgmark" + ><span class="png">438 /</span> 384</samp> +his promise. The following hymn in Welsh +(<i>Cymmer, Jesu fi fel'r ydwyf</i>) antedates the advice +of Dr. Malan to Charlotte Elliott, “Come just +as you are”—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Take me as I am, O Saviour,</div> +<div class="i1"> Better I can never be;</div> +<div>Thou alone canst bring me nearer,</div> +<div class="i1"> Self but draws me far from Thee.</div> +<div class="i2"> I can never</div> +<div>But within Thy wounds be saved;</div> +</div></div> + +<p class="runon">—and another (<i>Mi dafla maich oddi ar fy ngway</i>) +reminds us of Bunyan's Pilgrim in sight of the +Cross:</p> + +<div class="hymn"> +<div class="stanza"> +<div>I'll cast my heavy burden down,</div> +<div class="i1"> Remembering Jesus' pains;</div> +<div>Guilt high as towering mountain tops</div> +<div class="i1"> Here turns to joyful strains.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>He stretched His pure white hands abroad,</div> +<div class="i1"> A crown of thorns He wore,</div> +<div>That so the vilest sinner might</div> +<div class="i1"> Be cleansed forevermore;</div> +</div></div> + +<p>Williams was called “The Sweet Singer of +Wales” and “The Watts of Wales” because he was +the chief poet and hymn-writer of his time, but +the lady he married, Miss Mary Francis, was +<em>literally</em> a singer, with a voice so full and melodious +that the people to whom he preached during +his itineraries, which she sometimes shared with +him, were often more moved by her sweet hymnody +than by his exhortations. On one occasion +<a id="png:439" name="png:439"></a><samp class="pgmark" + ><span class="png">439 /</span> 385</samp> +the good man, accompanied by his wife, put up at +Bridgend Tavern in Llangefin, Anglesea, and a +mischievous crowd, wishing to plague the “Methodists,” +planned to make night hideous in the house +with a boisterous merry-making. The fiddler, followed +by a gang of roughs, pushed his way to the +parlor, and mockingly asked the two guests if they +would “have a tune.”</p> + +<p>“Yes,” replied Williams, falling in with his +banter, “anything you like, my lad; ‘Nancy Jig’ +or anything else.”</p> + +<p>And at a sign from her husband, as soon as the +fellow began the jig, Mrs. Williams struck in with +one of the poet-minister's well-known Welsh hymns +in the same metre,—</p> + +<div class="hymn"><div class="stanza"> +<div><i>Gwaed Dy groes sy'n c' odi fyny</i></div> +</div><div class="stanza"> +<div>Calvary's blood the weak exalteth</div> +<div class="i1"> More than conquerors to be,<sup>*</sup></div> +</div></div> + +<p class="runon">—and followed the player note for note, singing the +sacred words in her sweet, clear voice, till he +stopped ashamed, and took himself off with all his +gang.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +A less literal but more hymn-like translation is:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesu's blood can raise the feeble</div> +<div class="i1"> As a conqueror to stand;</div> +<div>Jesu's blood is all-prevailing</div> +<div class="i1"> O'er the mighty of the land:</div> +<div class="i2"> Let the breezes</div> +<div class="i1"> Blow from Calvary on me.</div> +</div></div> + +<p class="b"> +Says the author of <i>Sweet Singers of Wales</i>, “This refrain has +been the password of many powerful revivals.”</p></div> +<a id="png:440" name="png:440"></a><samp class="pgmark" + ><span class="png">440 /</span> 386</samp> + +<p>Another hymn—</p> + +<div class="hymn"> +<div class="stanza"> +<div><i>O' Llefara! addfwyn Jesu,</i></div> +</div><div class="stanza"> +<div>Speak, O speak, thou gentle Jesus,</div> +</div></div> + +<p class="runon">—recalls the well-known verse of Newton, “How +sweet the name of Jesus sounds.” Like many +of Williams' hymns, it was prompted by occasion. +Some converts suffered for lack of a “clear experience” +and complained to him. They were +like the disciples in the ship, “It was dark, and +Jesus had not yet come unto them.” The poet-preacher +immediately made this hymn-prayer for +all souls similarly tried. Edward Griffiths translates +it thus:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Speak, I pray Thee, gentle Jesus,</div> +<div class="i1"> O how passing sweet Thy words,</div> +<div>Breathing o'er my troubled spirit,</div> +<div class="i1"> Peace which never earth affords,</div> +<div>All the world's distracting voices,</div> +<div class="i1"> All th' enticing tones of ill,</div> +<div>At Thy accents, mild, melodious</div> +<div class="i1"> Are subdued, and all is still.</div> +</div><div class="stanza"> +<div>Tell me Thou art mine, O Saviour</div> +<div class="i1"> Grant me an assurance clear,</div> +<div>Banish all my dark misgivings,</div> +<div class="i1"> Still my doubting, calm my fear.</div> +</div></div> + +<p>Besides his Welsh hymns, published in the first +and in the second and larger editions of his +<i>Hallelujah</i>, and in two or three other collections, +William Williams wrote and published two books +<a id="png:441" name="png:441"></a><samp class="pgmark" + ><span class="png">441 /</span> 387</samp> +of English hymns,<sup>*</sup> the <i>Hosanna</i> (1759) and the +<i>Gloria</i> (1772). He fills so large a space in the +hymnology and religious history of Wales that he +will necessarily reappear in other pages of this +chapter.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Possibly they were written in Welsh, and translated into English by his +friend and neighbor, Peter Williams.</p></div> + +<p>From the days of the early religious awakenings +under the 16th century preachers, and after the +ecclesiastical dynasty of Rome had been replaced +by that of the Church of England, there were +periods when the independent conscience of a few +pious Welshmen rose against religious formalism, +and the credal constraints of “established” teaching—and +suffered for it. Burning heretics at the +stake had ceased to be a church practice before +the 1740's, but Howell Harris, Daniel Rowlands, +and the rest of the “Methodist Fathers,” with +their followers, were not only ostracised by society +and haled before magistrates to be fined for preaching, +and sometimes imprisoned, but they were +chased and beaten by mobs, ducked in ponds and +rivers, and pelted with mud and garbage when they +tried to speak or sing. But they kept on talking +and singing. Harris (who had joined the army in +1760) owned a commission, and once he saved +himself from the fury of a mob while preaching—with +cloak over his ordinary dress—by lifting his +cape and showing the star on his breast. No one +dared molest an officer of His Britannic Majesty. +<a id="png:442" name="png:442"></a><samp class="pgmark" + ><span class="png">442 /</span> 388</samp> +But all were not able to use St. Paul's expedient in +critical moments.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Acts 22:25.</p></div> + +<p>William Williams often found immunity in his +hymns, for like Luther—and like Charles Wesley +among the Cornwall sea-robbers—he caught up the +popular glees and ballad-refrains of the street and +market and his wife sang their music to his words. +It is true many of these old Welsh airs were minors, +like “Elvy” and “Babel” (a significant name in +English) and would not be classed as “glees” in +any other country—always excepting Scotland—but +they had the <em>swing</em>, and their mode and style +were catchy to a Welsh multitude. In fact many of +these uncopyrighted bits of musical vernacular +were appropriated by the hymnbook makers, and +christened with such titles as “Pembroke,” “Arabia,” +“Brymgfryd,” “Cwyfan,” “Thydian,” and +the two mentioned above.</p> + +<p>It was the time when Whitefield and the Wesleys +were sweeping the kingdom with their conquering +eloquence, and Howell Harris (their fellow-student +at Oxford) had sided with the conservative +wing of the Gospel Reformation workers, and become +a “Whitfield Methodist.” The Welsh +Methodists, <i>ad exemplum</i>, marched with this Calvinistic +branch—as they do today. Each division +had its Christian bard. Charles Wesley could put +regenerating power into sweet, poetic hymns, and +William Williams' lyrical preaching made the Bible +a travelling pulpit. The great “Beibl Peter +<a id="png:443" name="png:443"></a><samp class="pgmark" + ><span class="png">443 /</span> 389</samp> +Williams” with its commentaries in Welsh, since so +long reverenced and cherished in provincial families, +was not published till 1770, and for many the +printed Word was far to seek.<sup>*</sup> But the gospel +minstrels carried the Word with them. Some of the +long hymns contained nearly a whole body of +divinity.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +As an incident contributory to the formation of the British and Foreign Bible +Society, the story has been often repeated of the little girl who wept when +she missed her Catechism appointment, and told Thomas Charles of Bala that +the bad weather was the cause of it, for she had to walk seven miles to find +a Bible every time she prepared her lessons. +See <a href="#png:434">page 380</a>.</p></div> + +<p>The Welsh learn their hymns by heart, as they +do the Bible—a habit inherited from those old days +of scarcity, when memory served pious people instead +of print—so that a Welsh prayer-meeting is +never embarrassed by a lack of books. An anecdote +illustrates this characteristic readiness. In +February, 1797, when Napoleon's name was a +terror to England, the French landed some troops +near Fishguard, Pembrokeshire. Mounted heralds +spread the news through Wales, and in the village +of Rhydybont, Cardiganshire, the fright nearly +broke up a religious meeting; but one brave +woman, Nancy Jones, stopped a panic by singing +this stanza of one of Thomas Williams' +hymns,—</p> + +<div class="hymn"> +<div class="stanza"> +<div><i>Diuw os wyt am ddylenu'r bya</i></div> +</div><div class="stanza"> +<div>If Thou wouldst end the world, O Lord,</div> +<div>Accomplish first Thy promised Word,</div> +<div>And gather home with one accord</div> +<div class="i1"> From every part Thine own,</div> +<a id="png:444" name="png:444"></a><samp class="pgmark" + ><span class="png">444 /</span> 390</samp> +<div>Send out Thy Word from pole to pole,</div> +<div>And with Thy blood make thousands whole,</div> +<div class="i1"> And, <em>after that come down</em>.</div> +</div></div> + +<p class="runon">Nancy Jones would have been a useful member of +the “Singing Sisters” band, so efficient a century +or more afterwards.</p> + +<p>The <em>tunes</em> of the Reformation under the “Methodist +Fathers” continued far down the century to be +the country airs of the nation, and reverberations +of the great spiritual movement were heard in their +rude music in the mountain-born revival led by +Jack Edward Watkin in 1779 and in the local +awakenings of 1791 and 1817. Later in the 19th +century new hymns, and many of the old, found +new tunes, made for their sake or imported from +England and America.</p> + +<p>The sanctified gift of song helped to make 1829 +a year of jubilee in South Wales, nor was the same +aid wanting during the plague in 1831, when the +famous Presbyterian preacher, John Elias,<sup>*</sup> won +nearly a whole county to Christ.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Those who read his biography will call him the +“Seraphic John Elias.”</p> + +<p class="b">His name was John Jones when he was admitted a member of the +presbytery. What followed is a commentary on the embarrassing frequency of a +common name, nowhere realized so universally as it is in Wales.</p> + +<p class="b">“What is his father's name?” asked the moderator +when John Jones was announced.</p> + +<p class="b">“Elias Jones,” was the answer.</p> + +<p class="b">“Then call the young man John Elias,” said the +speaker, “otherwise we shall by and by have nobody but +John Joneses.”</p> + +<p class="b">And “John Elias” it remained.</p></div> + +<p>An accession of temperance hymns in Wales +followed the spread of the “Washingtonian” +<a id="png:445" name="png:445"></a><samp class="pgmark" + ><span class="png">445 /</span> 391</samp> +movement on the other side of the Atlantic in 1840, +and began a moral reformation in the county of +Merioneth that resulted in a spiritual one, and +added to the churches several thousand converts, +scarcely any of whom fell away.</p> + +<p>The revival of 1851–2 was a local one, but was +believed by many to have been inspired by a +celestial antiphony. The remarkable sounds were +either a miracle or a psychic wonder born of the +intense imagination of a sensitive race. A few +pious people in a small village of Montgomeryshire +had been making special prayer for an outpouring +of the spirit, but after a week of meetings +with no sign of the result hoped for, they were +returning to their homes, discouraged, when they +heard strains of sweet music in the sky. They +stopped in amazement, but the beautiful singing +went on—voices as of a choir invisible, indistinct but +melodious, in the air far above the roof of the chapel +they had just left. Next day, when the astonished +worshippers told the story, numbers in the district +said they had heard the same sounds. Some had +gone out at eleven o'clock to listen, and thought that +angels must be singing. Whatever the music meant, +the good brethren's and sisters' little meetings became +crowded very soon after, and the longed-for +out-pouring came mightily upon the neighborhood. +Hundreds from all parts flocked to the churches, all +ages joining in the prayers and hymns and testimonies, +and a harvest of glad believers followed +a series of meetings “led by the Holy Ghost.”</p> + +<a id="png:446" name="png:446"></a><samp class="pgmark" + ><span class="png">446 /</span> 392</samp> + +<p>The sounds in the sky were never explained; +but the belief that God sent His angels to sing an +answer to the anxious prayers of those pious +brethren and sisters did no one any harm.</p> + +<p>Whether this event in Montgomeryshire was a +preparation for what took place six or seven years +later is a suggestive question only, but when the +wave of spiritual power from the great American +revival of 1857–8 reached England, its first messenger +to Wales, Rev. H.R. Jones, a Wesleyan, had +only to drop the spark that “lit a prairie fire.” +The reformation, chiefly under the leadership of +Mr. Jones and Rev. David Morgan, a Presbyterian, +with their singing bands, was general and +lasting, hundreds of still robust and active Christians +today dating their new birth from the Pentecost +of 1859 and its ingathering of eighty thousand +souls.</p> + +<p>A favorite hymn of that revival was the penitential +cry,—</p> + +<p class="quote"> +<i>O'th flaem, O Dduw! 'r wy'n dyfod,</i> +</p> + +<p class="runon">—in the seven-six metre so much loved in Wales.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Unto Thy presence coming,</div> +<div class="i1"> O God, far off I stand:</div> +<div>“A sinner” is my title,</div> +<div class="i1"> No other I demand.</div> +</div><div class="stanza"> +<div>For mercy I am seeking</div> +<div class="i1"> For mercy still shall cry;</div> +<div>Deny me not Thy mercy;</div> +<div class="i1"> O grant it or I die!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<a id="png:447" name="png:447"></a><samp class="pgmark" + ><span class="png">447 /</span> 393</samp> +<div>I heard of old that Jesus,</div> +<div class="i1"> Who still abides the same,</div> +<div>To publicans gave welcome,</div> +<div class="i1"> And sinners deep in shame.</div> +</div><div class="stanza"> +<div>Oh God! receive me with them,</div> +<div class="i1"> Me also welcome in,</div> +<div>And pardon my transgression,</div> +<div class="i1"> Forgetting all my sin.</div> +</div></div> + +<p>The author of the hymn was Thomas Williams of +Glamorganshire, born 1761; died 1844. He published +a volume of hymns, <i>Waters of Bethesda</i> in 1823.</p> + +<p>The Welsh minor tune of “Clwyd” may appropriately +have been the music to express the contrite +prayer of the words. The living composer, John +Jones, has several tunes in the Welsh revival +manual of melodies, <i>Ail Attodiad</i>.</p> + +<p>The <ins class="transcriber" + title="Transcriber's note: original has 'unparalled'">unparalleled</ins> religious movement of 1904–5 +was a praying and singing revival. The apostle +and spiritual prompter of that unbroken campaign +of Christian victories—so far as any single +human agency counted—was Evan Roberts, of +Laughor, a humble young worker in the mines, who +had prayed thirteen years for a mighty descent of +the heavenly blessing on his country and for a clear +indication of his own mission. His convictions +naturally led him to the ministry, and he went to +Newcastle Emlyn to study. Evangelical work had +been done by two societies, made up of earnest +Christians, and known as the “Forward Movement” +and the “Simultaneous Mission.” Beginnings +of a special season of interest as a result of +<a id="png:448" name="png:448"></a><samp class="pgmark" + ><span class="png">448 /</span> 394</samp> +their efforts, appeared in the young people's prayer +meetings in February, 1904, at New Quay, Cardiganshire. +The interest increased, and when branch-work +was organized a young praying and singing +band visited Newcastle Emlyn in the course of +one of their tours, and held a rally meeting. Evan +Roberts went to the meeting and found his own +mission. He left his studies and consecrated himself, +soul and body, to revival work. In every +spiritual and mental quality he was surpassingly +well-equipped. To the quick sensibility of his +poetic nature he added the inspiration of a seer +and the zeal of a devotee. Like Moses, Elijah, +and Paul in Arabian solitudes, and John in the +Dead Sea wilds, he had prepared himself in +silence and alone with God; and though, on +occasion, he could use effectively his gift of words, +he stood distinct in a land of matchless pulpit +orators as “the silent leader.” Without preaching +he dominated the mood of his meetings, and without +dictating he could change the trend of a service +and shape the next song or prayer on the intuition +of a moment. In fact, judged by its results, it +was God Himself who directed the revival, only +He endowed His minister with the power of divination +to watch its progress and take the stumbling-blocks +out of the way. By a kind of hallowed +psychomancy, that humble man would detect a +discordant presence, and hush the voices of a congregation +till the stubborn soul felt God in the +stillness, and penitently surrendered.</p> + +<a id="png:449" name="png:449"></a><samp class="pgmark" + ><span class="png">449 /</span> 395</samp> +<p>Many tones of the great awakening of 1859 +heard again in 1904–5,—the harvest season without +a precedent, when men, women and children +numbering ten per cent of the whole population of +a province were gathered into the membership of +the church of Christ. But there were tones a century +older heard in the devotions of that harvest-home +in Wales. A New England Christian would +have felt at home, with the tuneful assemblies at +Laughor, Trencynon, Bangor, Bethesda, Wrexham, +Cardiff, or Liverpool, singing Lowell Mason's +“Meribah” or the clarion melody of Edson's +“Lenox” to Wesley's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Blow ye the trumpet, blow,</div> +<div class="i1"> The gladly solemn sound;</div> +</div></div> + +<p class="runon">—or to his other well-known—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Arise my soul, arise,</div> +<div class="i1"> Shake off thy guilty fears,</div> +<div>The bleeding Sacrifice</div> +<div class="i1"> In thy behalf appear.</div> +</div></div> + +<p>In short, the flood tide of 1904 and 1905 brought +in very little new music and very few new hymns. +“Aberystwyth” and “Tanymarian,” the minor +harmonies of Joseph Party and Stephens; E.M. +Price's “St. Garmon;” R.M. Pritchard's, “Hyfrydol,” +and a few others, were choral favorites, +but their composers were all dead, and the congregations +loved the still older singers who had +found familiar welcome at their altars and firesides. +The most cherished and oftenest chosen hymns +<a id="png:450" name="png:450"></a><samp class="pgmark" + ><span class="png">450 /</span> 396</samp> +were those of William Williams and Ann Griffiths, +of Charles Wesley, of Isaac Watts—indeed the +very tongues of fire that appeared at Jerusalem +took on the Cymric speech, and sang the burning +lyrics of the poet-saints. And in their revival joy +Calvinistic Wales sang the New Testament with +more of its Johannic than of its Pauline texts. The +covenant of peace—Christ and His Cross—is the +theme of all their hymns.</p> + + +<a id="png:453" name="png:453"></a><samp class="pgmark" + ><span class="png">453 /</span> opp 398</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Isaac Watts"> + <tr valign="bottom"> + <td><a id="Illus19" name="Illus19" + ><img src="images/illus19-isaacwatts-cameo.jpg" alt= + "Isaac Watts" width="199" height="277" /></a></td> + <td><table summary="Caption"> + <tr><td>Isaac Watts, D.D.</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn" +>“<span>HERE BEHOLD THE TENT OF MEETING.</span>”</h4> + + +<h4 class="quote"><i>Dyma Babell y cyfarfod.</i></h4> + + +<p>This hymn, written by Ann Griffiths, is entitled +“Love Eternal,” and praises the Divine plan to +satisfy the Law and at the same time save the +sinner. The first stanza gives an idea of the +thought:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Here behold the tent of meeting,</div> +<div class="i1"> In the blood a peace with heaven,</div> +<div>Refuge from the blood-avengers,</div> +<div class="i1"> For the sick a Healer given.</div> +<div>Here the sinner nestles safely</div> +<div class="i1"> At the very Throne divine,</div> +<div>And Heaven's righteous law, all holy.</div> +<div class="i1"> Still on him shall smile and shine.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>HOW SWEET THE COVENANT TO REMEMBER.</span>”</h4> + + +<h4 class="quote"><i>Bydd melus gofio y cyfammod.</i></h4> + + +<p>This, entitled “Mysteries of Grace,” is also +from the pen of Ann Griffiths. It has the literalness +<a id="png:451" name="png:451"></a><samp class="pgmark" + ><span class="png">451 /</span> 397</samp> +noticeable in much of the Welsh religious +poetry, and there is a note of pietism in it. The +two last stanzas are these:</p> + +<div class="hymn"> +<div class="stanza"> +<div>He is the great Propitiation</div> +<div class="i1">Who with the thieves that anguish bare;</div> +<div>He nerved the arms of His tormentors</div> +<div class="i1">To drive the nails that fixed Him there.</div> +<div>While He discharged the sinner's ransom,</div> +<div class="i1">And made the Law in honor be,</div> +<div>Righteousness shone undimmed, resplendent,</div> +<div class="i1">And me the Covenant set free.</div> +</div><div class="stanza"> +<div>My soul, behold Him laid so lowly,</div> +<div class="i1">Of peace the Fount, of Kings the Head,</div> +<div>The vast creation in Him moving</div> +<div class="i1">And He low-lying with the dead!</div> +<div>The Life and portion of lost sinners,</div> +<div class="i1">The marvel of heaven's seraphim,</div> +<div>To sea and land the God Incarnate</div> +<div class="i1">The choir of heaven cries, “Unto Him!”</div> +</div></div> + +<p>Ann Griffiths' earliest hymn will be called her +sweetest. Fortunately, too, it is more poetically +translated. It was before the vivid consciousness +and intensity of her religious experience had given +her spiritual writings a more involved and mystical +expression.</p> + +<div class="hymn"> +<div class="stanza"> +<div>My soul, behold the fitness</div> +<div class="i1">Of this great Son of God,</div> +<div>Trust Him for life eternal</div> +<div class="i1">And cast on Him thy load,</div> +<div>A man—touched with the pity</div> +<div class="i1">Of every human woe,</div> +<a id="png:452" name="png:452"></a><samp class="pgmark" + ><span class="png">452 /</span> 398</samp> +<div>A God—to claim the kingdom</div> +<div class="i1">And vanquish every foe.</div> +</div></div> + +<p>This stanza, the last of her little poem on the +“Eternal Fitness of Jesus,” came to her when, +returning from an exciting service, filled with +thoughts of her unworthiness and of the glorious +beauty of her Saviour, she had turned down a +sheltered lane to pray alone. There on her knees +in communion with God her soul felt the spirit of +the sacred song. By the time she reached home +she had formed it into words.</p> + +<p>The first and second stanzas, written later, are +these:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Great Author of salvation</div> +<div class="i1">And providence for man,</div> +<div>Thou rulest earth and heaven</div> +<div class="i1">With Thy far-reaching plan.</div> +<div>Today or on the morrow,</div> +<div class="i1">Whatever woe betide,</div> +<div>Grant us Thy strong assistance,</div> +<div class="i1">Within Thy hand to hide.</div> +</div><div class="stanza"> +<div>What though the winds be angry,</div> +<div class="i1">What though the waves be high</div> +<div>While wisdom is the Ruler,</div> +<div class="i1">The Lord of earth and sky?</div> +<div>What though the flood of evil</div> +<div class="i1">Rise stormily and dark?</div> +<div>No soul can sink within it;</div> +<div class="i1">God is Himself the ark.</div> +</div></div> + +<p title="Illustration of Isaac Watts originally opposite">Mrs. +Ann Griffiths, of Dolwar Fechan, Montgomeryshire, +was born in 1776, and died in 1805. +“She remains,” says Dr. Parry, her fellow-countryman, +<a id="png:455" name="png:455"></a><samp class="pgmark" + ><span class="png">455 /</span> 399</samp> +“a romantic figure in the religious history of +Wales. Her hymns leave upon the reader an undefinable +impression both of sublimity and mysticism. +Her brief life-history is most worthy of study +both from a literary and a religious point of +view.”</p> + +<p>A suggestive chapter of her short earthly career +is compressed in a sentence by the author of +“Sweet Singers of Wales:”</p> + +<p>“She had a Christian life of eight years and a +married life of ten months.”</p> + +<p>She died at the age of twenty-nine. In 1904, +near the centennial of her death, amid the echoes of +her own hymns, and the rising waves of the great +Refreshing over her native land, the people of +Dolwar Fechan dedicated the new “Ann Griffiths +Memorial Chapel” to her name and to the glory +of God.</p> + +<p>Although the Welsh were not slow to adopt the +revival tones of other lands, it was the native, and +what might be called the national, lyrics of that +emotional race that were sung with the richest +unction and <i>hwyl</i> (as the Cymric word is) during +the recent reformation, and that evinced the strongest +hold on the common heart. Needless to say +that with them was the world-famous song of +William Williams,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Guide me, O Thou Great Jehovah;</div> +</div><div class="stanza"> +<div><i>Arglwydd ar wain truy'r anialoch</i>;</div> +</div></div> + +<p class="runon">—and that of Dr. Heber Evans,—</p> + +<a id="png:456" name="png:456"></a><samp class="pgmark" + ><span class="png">456 /</span> 400</samp> +<div class="hymn"> +<div class="stanza"> +<div>Keep me very near to Jesus,</div> +<div class="i1">Though beneath His Cross it be,</div> +<div>In this world of evil-doing</div> +<div class="i1">'Tis the Cross that cleanseth me;</div> +</div></div> + +<p class="runon">—and also that native hymn of expectation, high +and sweet, whose writer we have been unable to +identify—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The glory is coming! God said it on high,</div> +<div>When light in the evening will break from the sky;</div> +<div>The North and South and the East and the West,</div> +<div>With joy of salvation and peace will be bless'd.</div> +</div><div class="stanza"> +<div class="stars i2">* * * * * *</div> +</div><div class="stanza"> +<div>O summer of holiness, hasten along!</div> +<div>The purpose of glory is constant and strong;</div> +<div>The winter will vanish, the clouds pass away;</div> +<div>O South wind of Heaven, breath softly today!</div> +</div></div> + +<p>Of the almost countless hymns that voiced the +spirit of the great revival, the nine following are +selected because they are representative, and all +favorites—and because there is no room for a +larger number. The first line of each is given in +the original Welsh:</p> + + + +<h4 class="hymn">“<span>DWY ADEN COLOMEN PE CAWN.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>O had I the wings of a dove</div> +<div class="i1"> How soon would I wander away</div> +<div>To gaze from Mount Nebo I'd love</div> +<div class="i1"> On realms that are fairer than day.</div> +<div>My vision, not clouded nor dim,</div> +<div class="i1"> Beyond the dark river should run;</div> +<div>I'd sing, with my thoughts upon Him,</div> +<div class="i1"> The sinless, the crucified one.</div> +</div></div> +<a id="png:457" name="png:457"></a><samp class="pgmark" + ><span class="png">457 /</span> 401</samp> + +<p>This is another of Thomas Williams' hymns. +One of the tunes suitable to its feeling and its +measure was “Edom,” by Thomas Evans. It was +much sung in 1859, as well as in 1904.</p> + + + + +<h4 class="hymn">“<span>CAELBOD YN FORSEC DAN YR IAN.</span>”</h4> + +<div class="hymn"> +<div class="stanza"> +<div>Early to bear the yoke excels</div> +<div>By far the joy in sin that dwells;</div> +<div>The paths of wisdom still are found</div> +<div>In peace and solace to abound.</div> +</div><div class="stanza"> +<div>The young who serve Him here below</div> +<div>The wrath to come shall never know;</div> +<div>Of such in heaven are pearls that shine</div> +<div>Unnumbered in the crown divine.</div> +</div></div> + +<p>Written for children and youth by Rev. Thomas +Jones, of Denbigh, born 1756; died 1820,—a +Calvinistic Methodist preacher, author of a biography +of Thomas Charles of Bala, and various +theological works.</p> + + + + +<h4 class="hymn">“<span>DYMA GARIAD FEL Y MOROEDD, + TOSTURIASTHAN FEL Y LLI.</span>”</h4> + +<div class="hymn"> +<div class="stanza"> +<div>Love unfathomed as the ocean</div> +<div class="i1"> Mercies boundless as the wave!</div> +<div>Lo the King of Life, the guiltless,</div> +<div class="i1"> Dies my guilty soul to save;</div> +<div>Who can choose but think upon it,</div> +<div class="i1"> Who can choose but praise and sing?</div> +<div>Here is love, while heaven endureth,</div> +<div class="i1"> Nought can to oblivion bring.</div> +</div></div> +<a id="png:458" name="png:458"></a><samp class="pgmark" + ><span class="png">458 /</span> 402</samp> + +<p>This is called “The great Welsh love-song.” +It was written by Rev. William Rees, D.D., +eminent as a preacher, poet, politician and essayist. +One of the greatest names of nineteenth century +Wales. He died in 1883.</p> + +<p>The tune, “Cwynfan Prydian,” sung to this +hymn is one of the old Welsh minors that would +sound almost weird to our ears, but Welsh voices +can sing with strange sweetness the Saviour's passion +on which Christian hearts of that nation love so +well to dwell, and the shadow of it, with His love +shining through, creates the paradox of a joyful +lament in many of their chorals. We cannot +imitate it.</p> + + + +<h4 class="hymn" +>“<span>RHYFEDDODAU DYDD YR ADGYFODIDD.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Unnumbered are the marvels</div> +<div class="i1"> The Last Great Day shall see,</div> +<div>With earth's poor storm-tossed children</div> +<div class="i1"> From tribulation free,</div> +<div>All in their shining raiment</div> +<div class="i1"> Transfigured, bright and brave,</div> +<div>Like to their Lord ascending</div> +<div class="i1"> In triumph from the grave.</div> +</div></div> + +<p class="runon">The author of this Easter hymn is unknown.</p> + +<p>The <em>most</em> popular Welsh hymns would be +named variously by different witnesses according +to the breadth and length of their observation. +Two of them, as a Wrexham music publisher +testifies, are certainly the following; “Heaven and +Home,” and “Lo, a Saviour for the Fallen.” The +<a id="png:459" name="png:459"></a><samp class="pgmark" + ><span class="png">459 /</span> 403</samp> +first of these was sung in the late revival with +“stormy rapture.”</p> + + + + +<h4 class="hymn" +>“<span>O FRYNAU CAERSALEM CEIR GIVELED.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>The heights of fair Salem ascended,</div> +<div class="i1"> Each wilderness path we shall see;</div> +<div>Now thoughts of each difficult journey</div> +<div class="i1"> A sweet meditation shall be.</div> +<div>On death, on the grave and its terrors</div> +<div class="i1"> And storms we shall gaze from above</div> +<div>And freed from all cares we shall revel (?)</div> +<div class="i1"> In transports of heavenly love.</div> +</div></div> + +<p>According to the mood of the meeting this was +pitched in three sharps to Evelyn Evans' tune of +“Eirinwg” or with equal Welsh enthusiasm in +the C minor of old “Darby.”</p> + +<p>The author of the hymn was the Rev. David +Charles, of Carmarthen, born 1762; died 1834. +He was a heavenly-minded man who loved to +dwell on the divine and eternal wonders of redemption. +A volume of his sermons was spoken +of as “Apples of gold in pictures of silver,” and +the beautiful piety of all his writings made them +strings of pearls. He understood English as well +as Welsh, and enjoyed the hymns not only of +William and Thomas Williams but of Watts, +Wesley, Cowper, and Newton.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +The following verses were written by him in English:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Spirit of grace and love divine,<br /></div> +<div>Help me to sing that Christ is mine;<br /></div> +<div>And while the theme my tongue employs<br /></div> +<div>Fill Thou my soul with living joys.<br /></div> +</div><div class="stanza"> +<div>Jesus is mine—surpassing thought!<br /></div> +<div>Well may I set the world at nought;<br /></div> +<div>Jesus is mine, O can it be<br /></div> +<div>That Jesus lived and died for me?</div> +</div></div></div> +<a id="png:460" name="png:460"></a><samp class="pgmark" + ><span class="png">460 /</span> 404</samp> + +<h4 class="hymn">“<span>DYMA GEIDWAD I R COLLEDIG.</span>”</h4> + +<div class="hymn"> +<div class="stanza"> +<div>Lo! a Saviour for the fallen,</div> +<div class="i1"> Healer of the sick and sore,</div> +<div>One whose love the vilest sinners</div> +<div class="i1"> Seeks to pardon and restore.</div> +<div>Praise Him, praise Him</div> +<div class="i1"> Who has loved us evermore!</div> +</div></div> + +<p>The little now known of the Rev. Morgan +Rhys, author of this hymn, is that he was a schoolmaster +and preacher, and that he was a contemporary +and friend of William Williams. Several of +his hymns remain in use of which the oftenest sung +is one cited above, and “<i>O agor fy llygaid i weled:</i>”</p> + +<div class="hymn"> +<div class="stanza"> +<div>I open my eyes to this vision,</div> +<div class="i1"> The deeps of Thy purpose and word;</div> +<div>The law of Thy lips is to thousands</div> +<div class="i1"> Of gold and of silver preferred;</div> +<div>When earth is consumed, and its treasure,</div> +<div class="i1"> God's words will unchanging remain,</div> +<div>And to know the God-man is my Saviour</div> +<div class="i1"> Is life everlasting to gain.</div> +</div></div> + +<p>“Lo! a Saviour for the Fallen” finds an appropriate +voice in W.M. Robert's tune of “Nesta,” and +also, like many others of the same measure, in the +much-used minors “Llanietyn,” “Catharine,” and +“Bryn Calfaria.”</p> + +<a id="png:461" name="png:461"></a><samp class="pgmark" + ><span class="png">461 /</span> 405</samp> + + + + +<h4 class="hymn" +>“<span>O SANCTEIDDIA F'ENAID ARGLWYDD.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Sanctify, O Lord, my spirit,</div> +<div class="i1"> Every power and passion sway,</div> +<div>Bid Thy holy law within me</div> +<div class="i1"> Dwell, my wearied soul to stay;</div> +<div class="i2"> Let me never</div> +<div class="i1"> Rove beyond Thy narrow way.</div> +</div></div> + +<p>This one more hymn of William Williams is +from his “Song of a Cleansed Heart” and is +amply provided with tunes, popular ones like +“Tyddyn Llwyn,” “Y Delyn Aur,” or +“Capel-Y-Ddol” lending their deep minors to its lines with a +thrilling effect realized, perhaps, only in the land +of Taliessin and the Druids.</p> + +<p>The singular history and inspiring cause of one +old Welsh hymn which after various mutilations +and vicissitudes survives as the key-note of a +valued song of trust, seems to illustrate the Providence +that will never let a good thing be lost. It +is related of the Rev. David Williams, of Llandilo, +an obscure but not entirely forgotten preacher, +that he had a termagant wife, and one stormy +night, when her bickerings became intolerable, he +went out in the rain and standing by the river composed +in his mind these lines of tender faith:</p> + +<div class="hymn"> +<div class="stanza"> +<div>In the waves and mighty waters</div> +<div class="i1"> No one will support my head</div> +<div>But my Saviour, my Beloved,</div> +<div class="i1"> Who was stricken in my stead.</div> +<div>In the cold and mortal river</div> +<a id="png:462" name="png:462"></a><samp class="pgmark" + ><span class="png">462 /</span> 406</samp> +<div class="i1"> He would hold my head above;</div> +<div>I shall through the waves go singing</div> +<div class="i1"> For one look of Him I love.</div> +</div></div> + +<p>Apparently the sentiment and substantially the +expression of this humble hymn became the burden +of more than one Christian lay. Altered and +blended with a modern gospel hymn, it was sung +at the crowded meetings of 1904 to Robert Lowry's +air of “Jesus Only,” and often rendered very +impressively as a solo by a sweet female voice.</p> + +<div class="hymn"> +<div class="stanza"> +<div>In the deep and mighty waters</div> +<div class="i1"> There is none to hold my head</div> +<div>But my loving Bridegroom, Jesus,</div> +<div class="i1"> Who upon the cross hath bled.</div> +</div><div class="stanza"> +<div>If I've Jesus, Jesus only</div> +<div class="i1"> Then my sky will have a gem</div> +<div>He's the Sun of brightest splendor,</div> +<div class="i1"> He's the Star of Bethlehem.</div> +</div><div class="stanza"> +<div>He's the Friend in Death's dark river,</div> +<div class="i1"> He will lift me o'er the waves,</div> +<div>I will sing in the deep waters</div> +<div class="i1"> If I only see His face.</div> +<div>If I've Jesus, Jesus only, etc.</div> +</div></div> + +<p>A few of the revival tunes have living authors +and are of recent date; and the minor harmony of +“Ebenezer” (marked “Ton Y Botel”), which was +copied in this country by the New York <i>Examiner,</i> +with its hymn, is apparently a <ins class="transcriber" + title="Transcriber's note: original reads 'cotemporary'">contemporary</ins> +piece. It was first sung at Bethany Chapel, Cardiff, Jan, +8, 1905, the hymn bearing the name of Rev. W.E. +Winks.</p> + +<a id="png:463" name="png:463"></a><samp class="pgmark" + ><span class="png">463 /</span> 407</samp> +<div class="hymn"> +<div class="stanza"> +<div>Send Thy Spirit, I beseech Thee,</div> +<div class="i1"> Gracious Lord, send while I pray;</div> +<div>Send the Comforter to teach me,</div> +<div class="i1"> Guide me, help me in Thy way.</div> +<div>Sinful, wretched, I have wandered</div> +<div class="i1"> Far from Thee in darkest night,</div> +<div>Precious time and talents squandered,</div> +<div class="i1"> Lead, O lead me into light.</div> +</div><div class="stanza"> +<div>Thou hast heard me; light is breaking—</div> +<div class="i1"> Light I never saw before.</div> +<div>Now, my soul with joy awaking,</div> +<div class="i1"> Gropes in fearful gloom no more:</div> +<div>O the bliss! my soul, declare it;</div> +<div class="i1"> Say what God hath done for thee;</div> +<div>Tell it out, let others share it—</div> +<div class="i1"> Christ's salvation, full and free.</div> +</div></div> + +<p>One cannot help noticing the fondness of the +Welsh for the 7-6, 8-7, and 8-7-4 metres. These +are favorites since they lend themselves so naturally +to the rhythms of their national music—though +their newest hymnals by no means exclude +exotic lyrics and melodies. Even “O mother dear, +Jerusalem,” one of the echoes of Bernard of +Cluny's great hymn, is cherished in their tongue +(<i>O, Frynian Caerselem</i>) among the favorites of +song. Old “Truro” by Dr. Burney appears +among their tunes, Mason's “Ernan,” “Lowell” +and “Shawmut,” I.B. Woodbury's “Nearer +Home” (to Phebe Cary's hymn), and even George +Hews' gently-flowing “Holley.” Most of these tunes +retain their own hymns, but in Welsh translation. +To find our Daniel Read's old “Windham” there +<a id="png:464" name="png:464"></a><samp class="pgmark" + ><span class="png">464 /</span> 408</samp> +is no surprise. The minor mode—a song-instinct +of the Welsh, if not of the whole Celtic family of +nations, is their rural inheritance. It is in the +wind of their mountains and the semitones of their +streams; and their nature can make it a gladness +as the Anglo-Saxon cannot. So far from being a +gloomy people, their capacity for joy in spiritual +life is phenomenal. In psalmody their emotions +mount on wings, and they find ecstacy in solemn +sounds.</p> + +<p>“A temporary excitement” is the verdict of +skepticism on the Reformation wave that for a +twelvemonth swept over Wales with its ringing +symphonies of hymn and tune. But such excitements +are the May-blossom seasons of God's +eternal husbandry. They pass because human +vigor cannot last at flood-tide, but in spiritual +economy they will always have their place, “If +the blossoms had not come and gone there would +be no fruit.”</p> + +<a id="png:465" name="png:465"></a><samp class="pgmark" + ><span class="png">465 /</span> 409</samp> + + + + +<h2 class="chap">CHAPTER XII.</h2> +<hr class="chap" /> + +<h1>FIELD HYMNS.</h1> +<hr class="chap" /> + + +<p>Hymns of the hortatory and persuasive tone are +sufficiently numerous to make an “embarrassment +of riches” in a compiler's hands. Not a few songs +of invitation and awakening are either quoted or +mentioned in the chapter on “Old Revival Hymns,” +and many appear among those in the last chapter, +(on the <i>Hymns of Wales</i>;) but the <em>working</em> songs of +Christian hymnology deserve a special space <em>as</em> such.</p> + + +<h4 class="hymn" +>“<span>COME HITHER ALL YE WEARY SOULS,</span>”</h4> + + +<p class="runon">Sung to “Federal St.,” is one of the older +soul-winning calls from the great hymn-treasury of Dr. +Watts; and another note of the same sacred bard,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Life is the time to serve the Lord,</div> +</div></div> + +<p class="runon">—is always coupled with the venerable tune of +“Wells.”<sup>*</sup> Aged Christians are still remembered +who were wont to repeat or sing with quavering +voices the second stanza,—</p> + +<a id="png:466" name="png:466"></a><samp class="pgmark" + ><span class="png">466 /</span> 410</samp> + +<div class="hymn"> +<div class="stanza"> +<div>The living know that they must die,</div> +<div class="i1"> But all the dead forgotten lie;</div> +<div>Their memory and their sense are gone,</div> +<div class="i1"> Alike unknowing and unknown.</div> +</div></div> + +<p class="runon">And likewise from the fourth stanza,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>There are no acts of pardon passed</div> +<div class="i1"> In the cold grave to which we haste.</div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +One of Israel Holroyd's tunes. He was born in England, about 1690, and +was both a composer and publisher of psalmody. His chief collection is dated +1746.</p></div> + + +<h4 class="hymn">“<span>AND WILL THE JUDGE DESCEND?</span>”</h4> + + +<p class="runon">Is one of Doddridge's monitory hymns, once sung +to J.C. Woodman's tune of “State St.” with the +voice of both the Old and New Testaments in the +last verse:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ye sinners, seek His grace</div> +<div class="i1">Whose wrath ye cannot bear;</div> +<div>Fly to the shelter of His Cross,</div> +<div class="i1">And find Salvation there.</div> +</div></div> + +<p>Jonathan Call Woodman was born in Newburyport, +Mass., July 12, 1813, and was a teacher, composer, +and compiler. Was organist of St. George's +Chapel, in Flushing, L.I., and in 1858 published +<i>The Musical Casket</i>. Died January, 1894. He +wrote “State St.” for William B. Bradbury, in +August, 1844.</p> + + + + +<h4 class="hymn">“<span>HASTEN SINNER, TO BE WISE</span>”</h4> + + +<p class="runon">Is one of the few unforgotten hymns of Thomas +Scott, every second line repeating the solemn +caution,—</p> + +<p class="quote"> +Stay not for tomorrow's sun, +</p> + +<a id="png:467" name="png:467"></a><samp class="pgmark" + ><span class="png">467 /</span> 411</samp> +<p class="runon">—and every line enforcing its exhortation with a +new word, “To be wise,” “to implore,” +“to return,” +and “to be blest” were natural cumulatives +that summoned and wooed the sinner careless and +astray. It is a finished piece of work, but it owes its +longevity less to its structural form than to its spirit. +For generations it has been sung to “Pleyel's +Hymn.”</p> + +<p>The Rev. Thomas Scott (not Rev. Thomas Scott +the Commentator) was born in Norwich, Eng., in +1705, and died at Hupton, in Norfolk, 1776. He +was a Dissenting minister, pastor for twenty-one +years—until disabled by feeble health—at Lowestoft +in Suffolk. He was the author of—</p> + +<p class="quote"> +Angels roll the rock away. +</p> + + + + +<h4 class="hymn" +>“<span>MUST JESUS BEAR THE CROSS ALONE?</span>”</h4> + + +<p>This emotional and appealing hymn still holds +its own in the hearts of millions, though probably +two hundred years old. It was written by a clergyman +of the Church of England, the Rev. Thomas +Shepherd, Vicar of Tilbrook, born in 1665. Joining +the Nonconformists in 1694, he settled first in +Castle Hill, Nottingham, and afterward in Bocking, +Essex, where he remained until his death, January, +1739. He published a selection of his sermons, +and <i>Penitential Cries</i>, a book of sacred lyrics, some +of which still appear in collections.</p> + +<p>The startling question in the above line is answered +with emphasis in the third of the stanza,—</p> +<a id="png:468" name="png:468"></a><samp class="pgmark" + ><span class="png">468 /</span> 412</samp> + +<div class="hymn"> +<div class="stanza"> +<div><em>No!</em> There's a cross for every one,</div> +<div class="i1"> And there's a cross for <em>me</em>,</div> +</div></div> + +<p class="runon">—and this is followed by the song of resolve and +triumph,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The consecrated cross I'll bear,</div> +<div class="i1"> Till death shall set me free.</div> +<div>And then go home my crown to wear,</div> +<div class="i1"> For there's a crown for me.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>O precious cross! O glorious crown!</div> +<div class="i1">O Resurrection Day!</div> +<div>Ye angels from the stars flash down</div> +<div class="i1">And bear my soul away!</div> +</div></div> + +<p>The hymn is a personal New Testament. No +one who analyzes it and feels its Christian vitality +will wonder why it has lived so long.</p> + +<h4 class="tune">THE TUNE.</h4> + +<p>For half a century George N. Allen, composer +of “Maitland,” the music inseparable from the +hymn, was credited with the authorship of the +words also, but his vocal aid to the heart-stirring +poem earned him sufficient praise. The tune did +not meet the hymn till the latter was so old that the +real author was mostly forgotten, for Allen wrote +the music in 1849; but if the fine stanzas needed +any renewing it was his tune that made them new. +Since it was published nobody has wanted another.</p> + +<p>George Nelson Allen was born in Mansfield, +Mass., Sept. 7, 1812, and lived at Oberlin, O. It +<a id="png:469" name="png:469"></a><samp class="pgmark" + ><span class="png">469 /</span> 413</samp> +was there that he composed “Maitland,” and compiled +the <i>Social and Sabbath Hymn-book</i>—besides +songs for the <i>Western Bell</i>, published by Oliver +Ditson and Co. He died in Cincinnati, Dec. 9, +1877.</p> + + + +<h4 class="hymn" +>“<span>AWAKE MY SOUL, STRETCH EVERY NERVE!</span>”</h4> + + +<p>This most popular of Dr. Doddridge's hymns +is also the richest one of all in lyrical and spiritual +life. It is a stadium song that sounds the starting-note +for every young Christian at the outset of his +career, and the slogan for every faint Christian on +the way.</p> + +<div class="hymn"> +<div class="stanza"> +<div>A <em>heavenly</em> race demands thy zeal,</div> +<div class="i1"> And an immortal crown.</div> +</div></div> + +<p>Like the “Coronation” hymn, it transports the +devout singer till he feels only the momentum of +the words and forgets whether it is common or +hallelujah metre that carries him along.</p> + +<div class="hymn"> +<div class="stanza"> +<div>A cloud of witnesses around</div> +<div class="i1"> Hold thee in full survey;</div> +<div>Forget the steps already trod,</div> +<div class="i1"> And onward urge thy way!</div> +</div><div class="stanza"> +<div>'Tis God's all-animating voice</div> +<div class="i1"> That calls thee from on high,</div> +<div>'Tis His own hand presents the prize</div> +<div class="i1"> To thine aspiring eye.</div> +</div></div> + +<p>In all persuasive hymnology there is no more +kindling lyric that this. As a field-hymn it is +indispensable.</p> + +<a id="png:470" name="png:470"></a><samp class="pgmark" + ><span class="png">470 /</span> 414</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Whenever and by whomsoever the brave processional +known as “Christmas” was picked from +among the great Handel's Songs and mated with +Doddridge's lines, the act gave both hymn and +tune new reason to endure, and all posterity +rejoices in the blend. Old “Christmas” was originally +one of the melodies in the great Composer's +Opera of “Cirœ” (Cyrus) 1738. It was written +to Latin words (<i>Non vi piacque</i>) and afterwards +adapted to an English versification of Job 29:15, +“I was eyes to the blind.”</p> + +<p>Handel, himself became blind at the age of sixty +eight (1753).</p> + +<a id="png:471" name="png:471"></a><samp class="pgmark" + ><span class="png">471 /</span> opp 414</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Handel"> + <tr valign="bottom"> + <td><a id="Illus20" name="Illus20" + ><img src="images/illus20-gfhandel-cameo.jpg" + alt="George Frederick Handel" width="211" height="302" /></a></td> + <td><table summary="Caption"> + <tr><td>George Frederick Handel</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn" +>“<span>THERE IS A GREEN HILL FAR AWAY.</span>”</h4> + + +<p>Written in 1848 by Miss Cecil Frances Humphreys, +an Irish lady, daughter of Major John +Humphreys of Dublin. She was born in that city +in 1823. Her best known name is Mrs. Cecil +Frances Alexander, her husband being the Rt. Rev. +William Alexander, Bishop of Derry. Among her +works are <i>Hymns for Little Children</i>, <i>Narrative +Hymns</i>, <i>Hymns Descriptive and Devotional</i>, and +<i>Moral Songs</i>. Died 1895.</p> + +<p>“There is a <em>green</em> hill” is poetic license, but the +hymn is sweet and sympathetic, and almost childlike +in its simplicity.</p> + +<div class="hymn"> +<div class="stanza"> +<div>There is a green hill far away</div> +<div class="i1"> Without the city wall,</div> +<a id="png:473" name="png:473"></a><samp class="pgmark" + ><span class="png">473 /</span> 415</samp> +<div>Where our dear Lord was crucified</div> +<div class="i1"> Who died to save us all.</div> +</div><div class="stanza"> +<div>We may not know, we cannot tell</div> +<div class="i1"> What pains He had to bear;</div> +<div>But we believe it was for us</div> +<div class="i1"> He hung and suffered there.</div> +</div></div> + + +<h4 class="tune">THE TUNES.</h4> + +<p>There is no room here to describe them all. Airs +and chorals by Berthold Tours, Pinsuti, John +Henry Cornell, Richard Storrs Willis, George C. +Stebbins and Hubert P. Main have been adapted +to the words—one or two evidently composed for +them. It is a hymn that attracts tune-makers—literally +so commonplace and yet so quiet and +tender, with such a theme and such natural melody +of line—but most of the scores indicated are choir +music rather than congregational. Mr. Stebbins' +composition comes nearest to being the favorite, if +one judges by the extent and frequency of its use. +It can be either partly or wholly choral; and the +third stanza makes the refrain—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O dearly, dearly has He loved</div> +<div class="i1"> And we must love Him too,</div> +<div>And trust in His redeeming blood,</div> +<div class="i1"> And try His works to do.</div> +</div></div> + + + +<h4 class="hymn">“<span>REJOICE AND BE GLAD!</span>”</h4> + + +<p>This musical shout of joy, written by Dr. Horatius +Bonar, scarcely needs a new song helper, as did +<a id="png:474" name="png:474"></a><samp class="pgmark" + ><span class="png">474 /</span> 416</samp> +Bishop Heber's famous hymn—not because it is +better than Heber's but because It was wedded at +once to a tune worthy of it.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Rejoice and be glad! for our King is on high;<br /></div> +<div>He pleadeth for us on His throne in the sky.<br /></div> +<div>Rejoice and be glad! for He cometh again;<br /></div> +<div>He cometh in glory, the Lamb that was slain</div> +<div class="i5"> Hallelujah! Amen.</div> +</div></div> + +<p>The hymn was composed in 1874.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The author of the “English Melody” (as ascribed +in <i>Gospel Hymns</i>) is said to have been John +Jenkins Husband, born in Plymouth, Eng., about +1760. He was clerk at Surrey Chapel and composed +several anthems. Came to the United States +In 1809. Settled in Philadelphia, where he taught +music and was clerk of St. Paul's P.E. Church. +Died there in 1825.</p> + +<p>His tune, exactly suited to the hymn, is a true +Christian pæan. It has few equals as a rouser to a +sluggish prayer-meeting—whether sung to Bonar's +words or those of Rev. William Paton Mackay +(1866)—</p> + +<div class="hymn"> +<div class="stanza"> +<div>We praise Thee, O God, for the Son of Thy love,</div> +</div></div> + +<p class="runon">—with the refrain of similar spirit +in both hymns—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hallelujah! Thine the glory, Hallelujah! Amen,</div> +<div>Hallelujah! Thine the glory; revive us again;</div> +</div></div> + +<p class="runon">—or,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sound His praises! tell the story of Him who was slain!</div> +<div>Sound His praises! tell with gladness, + “He liveth again.”</div> +</div></div> + +<a id="png:475" name="png:475"></a><samp class="pgmark" + ><span class="png">475 /</span> 417</samp> +<p>Husband's tune is supposed to have been written +very early in the last century. Another tune composed +by him near the same date to the words—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“We are on our journey home</div> +<div>To the New Jerusalem,”</div> +</div></div> + +<p class="runon">—is equally musical and animating, and with a vocal +range that brings out the full strength of choir and +congregation.</p> + + + +<h4 class="hymn">“<span>COME, SINNER, COME.</span>”</h4> + + +<p>A singular case of the same tune originating in +the brain of both author and composer is presented +in the history of this hymn of Rev. William Ellsworth +Witter, D.D., born in La Grange, N.Y., +Dec. 9, 1854. He wrote the hymn in the autumn of +1878, while teaching a district school near his home. +The first line—</p> + +<p class="quote"> +While Jesus whispers to you, +</p> + +<p class="runon">—came to him during a brief turn of outdoor work +by the roadside and presently grew to twenty-four +lines. Soon after, Prof. Horatio Palmer, knowing +Witter to be a verse writer, invited him to contribute +a hymn to a book he had in preparation, and +this hymn was sent. Dr. Palmer set it to music, it +soon entered into several collections, and Mr. Sankey +sang it in England at the Moody meetings.</p> + +<p>Dr. Witter gives this curious testimony,</p> + +<p>“While I cannot sing myself, though very fond of +music, the hymn sang itself to me by the roadside +<a id="png:476" name="png:476"></a><samp class="pgmark" + ><span class="png">476 /</span> 418</samp> +<em>in almost the exact tune given to it by Professor Palmer</em>.” +Which proves that Professor Palmer had +the feeling of the hymn—and that the maker of a +true hymn has at least a sub-consciousness of its +right tune, though he may be neither a musician nor +a poet.</p> + +<div class="hymn"> +<div class="stanza"> +<div>While Jesus whispers to you,</div> +<div class="i2"> Come, sinner, come!</div> +<div>While we are praying for you,</div> +<div class="i2"> Come, sinner, come!</div> +<div>Now is the time to own Him,</div> +<div class="i2"> Come, sinner, come!</div> +<div>Now is the time to know Him,</div> +<div class="i2"> Come, sinner, come!</div> +</div></div> + + + +<h4 class="hymn" +>“<span>ONE MORE DAY'S WORK FOR JESUS.</span>”</h4> + + +<p>The writer of this hymn was Miss Anna Warner, +one of the well-known “Wetherell Sisters,” +joint authors of <i>The Wide World</i>, <i>Queechy</i>, and a +numerous succession of healthful romances very +popular in the middle and later years of the last +century. Her own pen name is “Amy Lothrop,” +under which she has published many religious +poems, hymns and other varieties of literary work. +She was born in 1820, at Martlaer, West Point, +N.Y., where she still resides.</p> + +<div class="hymn"><div class="stanza"> +<div>One more day's work for Jesus,</div> +<div>One less of life for me:</div> +<div class="i1"> But heaven is nearer,</div> +<div class="i1"> And Christ is dearer</div> +<div>Than yesterday to me.</div> +<a id="png:477" name="png:477"></a><samp class="pgmark" + ><span class="png">477 /</span> 419</samp> +<div class="i1"> His love and light</div> +<div>Fill all my soul tonight.</div> +</div><div class="stanza"> +<div class="refrain">Refrain:—</div> +<div>One more day's work for Jesus, <i>(ter)</i></div> +<div>One less of life for me.</div> +</div></div> + +<p>The hymn has five stanzas all expressing the +gentle fervor of an active piety loving service:</p> + +<h4 class="tune">THE TUNE</h4> + +<p class="runon">was composed by the Rev. Robert Lowry, and +first published in <i>Bright Jewels</i>.</p> + + + + +<h4 class="hymn"><span>THE GOSPEL HYMNS.</span></h4> + + +<p>These popular religious songs have been criticised +as “degenerate psalmody” but those who so +style them do not seem to consider the need that +made them.</p> + +<p>The great majority of mankind can only be +reached by missionary methods, and in these art +and culture do not play a conspicuous part. The +multitude could be supplied with technical preaching +and technical music for their religious wants, +but they would not rise to the bait, whereas nothing +so soon kindles their better emotions or so surely +appeals to their better nature as even the humblest +sympathetic hymn sung to a simple and stirring +tune. If the music is unclassical and the hymn +crude there is no critical audience to be offended.</p> + +<a id="png:478" name="png:478"></a><samp class="pgmark" + ><span class="png">478 /</span> 420</samp> +<p>The artless, almost colloquial, words “of a happily +rhymed camp-meeting lyric and the wood-notes +wild” of a new melody meet a situation. Moral +and spiritual lapse makes it necessary at times for +religion to put on again her primitive raiment, and +be “a voice crying in the wilderness.”</p> + +<p>Between the slums and the boulevards live the +masses that shape the generations, and make the +state. They are wage-earners who never hear the +great composers nor have time to form fine musical +and literary tastes. The spiritual influences that +really reach them are of a very direct and simple +kind; and for the good of the church—and the +nation—it is important that at least this elementary +education in the school of Christ should be supplied +them.</p> + +<p>It is the popular hymn tunes that speed a reformation. +So say history and experience. Once in +two hundred years a great revival movement may +produce a Charles Wesley, but the humbler singers +carry the divine fire that quickens religious life +in the years between.</p> + +<p>All this is not saying that the gospel hymns, as a +whole, are or ever professed to be suitable for the +stated service of the sanctuary. Their very style +and movement show exactly what they were made +for—to win the hearing of the multitude, and put +the music of God's praise and Jesus' love into the +mouths and hearts of thousands who had been +strangers to both. They are the modern lay songs +that go with the modern lay sermons. They give +<a id="png:479" name="png:479"></a><samp class="pgmark" + ><span class="png">479 /</span> 421</samp> +voice to the spirit and sentiment of the conference, +prayer and inquiry meetings, the Epworth League +and Christian Endeavor meetings, the temperance +and other reform meetings, and of the mass-meetings +in the cities or the seaside camps.</p> + +<p>During their evangelistic mission in England +and Scotland in 1873, Dwight L. Moody and Ira +D. Sankey used the hymnbook of Philip Phillips, +a compilation entitled <i>Hallowed Songs</i>, some of them +his own. To these Mr. Sankey added others of his +own composing from time to time which were so +enthusiastically received that he published them in +a pamphlet. This, with the simultaneous publication +in America of the revival melodies of Philip +P. Bliss, was the beginning of that series of popular +hymn-and-tune books, which finally numbered six +volumes. Sankey's <i>Sacred Songs and Solos</i> combined +with Bliss's <i>Gospel Songs</i> were the foundation +of the <i>Gospel Hymns</i>.</p> + +<p>Subjectively their utterances are indicative of +ardent piety and unquestioning faith, and on the +other hand their direct and intimate appeal and +dramatic address are calculated to affect a throng +as if each individual in it was the person meant by +the words. The refrain or chorus feature is notable +in nearly all.</p> + +<p>A selection of between thirty and forty of the +most characteristic is here given.</p> + +<a id="png:480" name="png:480"></a><samp class="pgmark" + ><span class="png">480 /</span> 422</samp> + + + +<h4 class="hymn">“<span>HALLELUJAH! 'TIS DONE.</span>”</h4> + + +<p>This is named from its chorus. The song is one +of the spontaneous thanksgivings in revival meetings +that break out at the announcement of a new +conversion.</p> + +<div class="hymn"> +<div class="stanza"> +<div>'Tis the promise of God full salvation to give</div> +<div>Unto him who on Jesus His Son will believe,</div> +<div class="i2"> Hallelujah! 'tis done; I believe on the Son;</div> +<div class="i1"> I am saved by the blood of the crucified One.</div> +</div><div class="stanza"> +<div>Though the pathway be lonely and dangerous too,</div> +<div>Surely Jesus is able to carry me through—</div> +<div class="i2">Hallelujah! etc.</div> +</div></div> + +<p class="runon">The words and music are both by P.P. Bliss.</p> + + + +<h4 class="hymn"><span>THE NINETY AND NINE.</span></h4> + + +<p>The hymn was written by Mrs. Elizabeth Cecilia +Clephane at Melrose, Scotland, early in 1868. +She was born in Edinburgh, June 10, 1830, and +died of consumption, Feb. 19, 1869. The little +poem was seen by Mr. Sankey in the <i>Christian Age</i>, +and thinking it might be useful, he cut it out. At an +impressive moment in one of the great meetings in +Edinburgh, Mr. Moody said to him in a quiet aside, +“Sing something.” Precisely what was wanted for +the hour and theme, and for the thought in the general +mind, was in Mr. Sankey's vest pocket. But how +could it be sung without a tune? With a silent prayer +for help, the musician took out the slip containing +Mrs. Clephane's poem, laid it on the little reed-organ +<a id="png:481" name="png:481"></a><samp class="pgmark" + ><span class="png">481 /</span> 423</samp> +and began playing, and singing. He had to +read the unfamiliar words and at the same time +make up the music. The tune came—and grew as +he went along till he finished the first verse. He +remembered it well enough to repeat it with the second, +and after that it was easy to finish the hymn. +A new melody was born—in the presence of more +than a thousand pairs of eyes and ears. It was a +feat of invention, of memory, of concentration— +and such was the elocution of the trained soloist +that not a word was lost. He had a tearful audience +at the close to reward him; but we can easily credit +his testimony,</p> + +<p> +“It was the most intense moment of my life.” +</p> + +<p>In a touching interview afterwards, a sister of +Mrs. Clephane told Mr. Sankey the authoress had +not lived to see her hymn in print and to know of +its blessed mission.</p> + +<p>The first six lines give the situation of the lost +sheep in the parable of that name—</p> + +<div class="hymn"> +<div class="stanza"> +<div>There were ninety and nine that safely lay</div> +<div class="i1"> In the shelter of the fold;</div> +<div>But one was out on the hills away,</div> +<div class="i1"> Far off from the gates of gold.</div> +<div>Away on the mountains wild and bare,</div> +<div>Away from the tender Shepherd's care.</div> +</div></div> + +<p>And, after describing the Shepherd's arduous +search, the joy at his return is sketched and spiritualized +in the concluding stanza—</p> + +<div class="hymn"> +<div class="stanza"> +<div>But all through the mountains, thunder-riven,</div> +<div class="i1"> And up from the rocky steeps</div> +<a id="png:482" name="png:482"></a><samp class="pgmark" + ><span class="png">482 /</span> 424</samp> +<div>There arose a cry to the gate of heaven,</div> +<div class="i1"> “Rejoice! I have found my sheep.”</div> +<div>And the angels echoed around the Throne,</div> +<div>“Rejoice! for the Lord brings back His own.”</div> +</div></div> + + + +<h4 class="hymn">“<span>HOLD THE FORT!</span>”</h4> + + +<p>This is named also from its chorus. The historic +foundation of the hymn was the flag-signal waved +to Gen. G.M. Corse by Gen. Sherman's order from +Kenesaw Mountain to Altoona during the “March +through Georgia,” in October, 1863. The flag is +still in the possession of A.D. Frankenberry, one of +the Federal Signal-Corps whose message to the +besieged General said, “Hold the fort! We are +coming!” A visit to the scene of the incident inspired +P.P. Bliss to write both the words and the +music.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ho! my comrades, see the signal</div> +<div class="i1"> Waving in the sky!</div> +<div>Reinforcements now appearing,</div> +<div class="i1"> Victory is nigh.</div> +<div>“Hold the fort, for I am coming!”</div> +<div class="i1"> Jesus signals still;</div> +<div>Wave the answer back to heaven,</div> +<div class="i1"> “By Thy grace we will!”</div> +</div></div> + +<p>The popularity of the song (it has been translated +into several languages), made it the author's +chief memento in many localities. On his monument +in Rome, Pennsylvania, is inscribed “P.P. +Bliss—author of ‘Hold the Fort.’”</p> + +<a id="png:483" name="png:483"></a><samp class="pgmark" + ><span class="png">483 /</span> 425</samp> + + + + +<h4 class="hymn">“<span>RESCUE THE PERISHING.</span>”</h4> + + +<p>Few hymns, ancient or modern, have been more +useful, or more variously used, than this little sermon +in song from Luke 14:23, by the blind poet, +Fanny J. Crosby, (Mrs. Van Alstyne). It is sung +not only in the church prayer-meetings with its +spiritual meaning and application, but in Salvation +Army camps and marches, in mission-school +devotions, in social settlement services, in King's +Daughters and Sons of Temperance Meetings, and +in the rallies of every reform organization that +seeks the lost and fallen.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Rescue the perishing, care for the dying,</div> +<div class="i1"> Snatch them in pity from sin and the grave;</div> +<div>Weep o'er the erring ones, lift up the fallen,</div> +<div class="i1"> Tell them of Jesus, the Mighty to Save.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Down in the human heart crushed by the Tempter,</div> +<div class="i1"> Feelings lie buried that grace can restore.</div> +<div>Touched by a loving heart, wakened by kindness,</div> +<div class="i1"> Chords that were broken will vibrate once more.</div> +</div></div> + +<p>The tune is by W.H. Doane, Mus. D., composed +in 1870.</p> + + + + +<h4 class="hymn" +>“<span>WHAT A FRIEND WE HAVE IN JESUS.</span>”</h4> + + +<p>The author was a pious gentleman of Dublin, +Ireland, who came to Canada when he was twenty-five. +His name was Joseph Scriven, born in Dublin, +1820, and graduated at Trinity College. The +accidental death by drowning of his intended bride +<a id="png:484" name="png:484"></a><samp class="pgmark" + ><span class="png">484 /</span> 426</samp> +on the eve of their wedding day, led him to consecrate +his life and fortune to the service of Christ. +He died in Canada, Oct. 10, 1886, (Sankey's <i>Story +of the Gospel Hymns</i>, pp. 245–6.)</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The music was composed by Charles Crozat +Converse, LL.D., musician, lawyer, and writer. +He was born in Warren, Mass., 1832; a descendant +of Edward Converse, the friend of Gov. Winthrop +and founder of Woburn, Mass. He pursued +musical and other studies in Leipsic and Berlin. +His compositions are numerous including concert +overtures, symphonies and many sacred and secular +pieces. Residence at Highwood, Bergen Co., N.J.</p> + +<p>The hymn is one of the most helpful of the +Gospel Collections, and the words and music have +strengthened many a weak and failing soul to “try +again.”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Have we trials and temptations?</div> +<div class="i1"> Is there trouble anywhere?</div> +<div>We should never be discouraged:</div> +<div class="i1"> Take it to the Lord in prayer.</div> +</div></div> + + + +<h4 class="hymn">“<span>I HEAR THE SAVIOUR SAY.</span>”</h4> + + +<p>This is classed with the <i>Gospel Hymns</i>, but it +was a much-used and much-loved revival hymn—especially +in the Methodist churches—several years +before Mr. Moody's great evangelical movement. +It was written by Mrs. Elvina M. Hall (since Mrs. +<a id="png:485" name="png:485"></a><samp class="pgmark" + ><span class="png">485 /</span> 427</samp> +Myers) who was born in Alexandria, Va., in 1818. +She composed it in the spring of 1865, while sitting +in the choir of the M.E. Church, Baltimore, and +the first draft was pencilled on a fly-leaf of a singing +book, <i>The New Lute of Zion</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I hear the Saviour say,</div> +<div class="i1"> Thy strength indeed is small;</div> +<div>Child of weakness, watch and pray,</div> +<div class="i1"> Find in me thine all in all.</div> +</div></div> + +<p>The music of the chorus helped to fix its words +in the common mind, and some idea of the Atonement +acceptable, apparently, to both Arminians +and Calvinists; for Sunday-school children in the +families of both, hummed the tune or sang the +refrain when alone—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> Jesus paid it all,</div> +<div class="i1"> All to Him I owe,</div> +<div>Sin had left a crimson stain;</div> +<div class="i1"> He washed it white as snow.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>John Thomas Grape, who wrote the music, was +born in Baltimore, Md., May 6, 1833. His modest +estimate of his work appears in his remark that he +“dabbled” in music for his own amusement. Few +composers have amused themselves with better +results.</p> + + + +<h4 class="hymn" +>“<span>TELL ME THE OLD, OLD STORY.</span>”</h4> + + +<p>Miss Kate Hankey, born about 1846, the daughter +<a id="png:486" name="png:486"></a><samp class="pgmark" + ><span class="png">486 /</span> 428</samp> +of an English banker, is the author of this very +devout and tender Christian poem, written apparently +in the eighteen-sixties. At least it is said that +her little volume, <i>Heart to Heart</i>, was published in +1865 or 1866, and this volume contains “Tell me +the Old, Old Story,” and its answer.</p> + +<p>We have been told that Miss Hankey was recovering +from a serious illness, and employed her +days of convalescence in composing this song of +devotion, beginning it in January and finishing it in +the following November.</p> + +<p>The poem is very long—a thesaurus of evangelical +thoughts, attitudes, and moods of faith—and +also a magazine of hymns. Four quatrains of +it, or two eight-line stanzas, are the usual length of +a hymnal selection, and editors can pick and +choose anywhere among its expressive verses.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Tell me the old, old story</div> +<div class="i1"> Of unseen things above,</div> +<div>Of Jesus and His glory,</div> +<div class="i1"> Of Jesus and His love.</div> +</div><div class="stanza"> +<div>Tell me the story simply</div> +<div class="i1"> As to a little child,</div> +<div>For I am weak and weary,</div> +<div class="i1"> And helpless and defiled.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Tell me the story simply</div> +<div class="i1"> That I may take it in—</div> +<div>That wonderful Redemption,</div> +<div class="i1"> God's remedy for sin.</div> +</div></div> +<a id="png:487" name="png:487"></a><samp class="pgmark" + ><span class="png">487 /</span> 429</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Dr. W.H. Doane was present at the International +Conference of the Y.M.C.A. at Montreal +in 1867, and heard the poem read—with tears and +in a broken voice—by the veteran Major-General +Russell. It impressed him so much that he borrowed +and copied it, and subsequently set it to +music during a vacation in the White Mountains.</p> + +<p>The poem of fifty stanzas was entitled “The +Story Wanted;” the sequel or answer to it, by +Miss Hankey, was named “The Story Told.” +This second hymn, of the same metre but different +accent, was supplied with a tune by William +Gustavus Fischer.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I love to tell the story</div> +<div class="i1"> Of unseen things above,</div> +<div>Of Jesus and His glory,</div> +<div class="i1"> Of Jesus and His love.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>I love to tell the story</div> +<div class="i1"> Because I know its true;</div> +<div>It satisfies my longings</div> +<div class="i1"> As nothing else can do.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>I love to tell the story;</div> +<div>'Twill be my theme in glory;</div> +<div>To tell the old, old story</div> +<div class="i1"> Of Jesus and his love.</div> +</div></div> + +<p>William Gustavus Fischer was born in Baltimore, +Md., Oct. 14, 1835. He was a piano-dealer in the +<a id="png:488" name="png:488"></a><samp class="pgmark" + ><span class="png">488 /</span> 430</samp> +firm (formerly) of Gould and Fischer. His melody +to the above hymn was written in 1869, and was +harmonized the next year by Hubert P. Main.</p> + + + +<h4 class="hymn"><span>THE PRODIGAL CHILD.</span></h4> + + +<p>This is not only an impressive hymn as sung in +sympathetic music, but a touching poem.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come home! come home!</div> +<div class="i1"> You are weary at heart,</div> +<div>For the way has been dark</div> +<div class="i1"> And so lonely and wild—</div> +<div class="i2"> O prodigal child,</div> +<div class="i2"> Come home!</div> +</div><div class="stanza"> +<div>Come home! Come home!</div> +<div class="i1"> For we watch and we wait,</div> +<div>And we stand at the gate</div> +<div class="i1"> While the shadows are piled;</div> +<div class="i2"> O prodigal child,</div> +<div class="i2"> Come home!</div> +</div></div> + +<p>The author is Mrs. Ellen M.H. Gates, known +to the English speaking world by her famous poem, +“Your Mission.”</p> + + +<h4 class="tune">THE TUNE</h4> + +<p class="runon">To “The Prodigal Child” was composed by Dr. +Doane in 1869 and no hymn ever had a fitter singing +ally. All a mother's yearning is in the refrain +and cadence.</p> + +<p class="quote"> +Come home! Oh, come home! +</p> +<a id="png:489" name="png:489"></a><samp class="pgmark" + ><span class="png">489 /</span> 431</samp> + + + +<h4 class="hymn" +>“<span>LET THE LOWER LIGHTS BE BURNING!</span>”</h4> + + +<p>An illustration, recited in Mr. Moody's graphic +fashion in one of his discourses, suggested this +hymn to P.P. Bliss.</p> + +<p>“A stormy night on Lake Erie, and the sky pitch +dark.”</p> + +<p>‘Pilot, are you sure this is Cleveland? There's +only one light.’</p> + +<p>‘Quite sure, Cap'n.’</p> + +<p>‘Where are the lower lights?’</p> + +<p>‘Gone out, sir.’</p> + +<p>‘Can you run in?’</p> + +<p>‘<em>We've got to</em>, Cap'n—or die.’</p> + +<p>“The brave old pilot did his best, but, alas, he +missed the channel. The boat was wrecked, with +a loss of many lives. The lower lights had gone +out.</p> + +<p>“Brethren, the Master will take care of the great +Lighthouse. It is our work to keep the lower lights +burning!”</p> + +<div class="hymn"> +<div class="stanza"> +<div>Brightly beams our Father's mercy</div> +<div class="i1"> From His lighthouse evermore;</div> +<div>But to us He gives the keeping</div> +<div class="i1"> Of the lights along the shore.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>Let the lower lights be burning!</div> +<div class="i1"> Send a gleam across the wave;</div> +<div>Some poor fainting, struggling seaman</div> +<div class="i1"> You may rescue, you may save.</div> +</div></div> + +<p>Both words and music—composed in 1871—are +by Mr. Bliss. There are wakening chords in +<a id="png:490" name="png:490"></a><samp class="pgmark" + ><span class="png">490 /</span> 432</samp> +the tune—and especially the chorus—when the +counterpoint is well vocalized; and the effect is +more pronounced the greater the symphony of +voices. Congregations find a zest in every note. +“Hold the Fort” can be sung in the street. “Let +the Lower Lights be Burning” is at home between +echoing walls.</p> + +<p>The use of the song in “Bethel” meetings classes +it with sailors' hymns.</p> + + + +<h4 class="hymn">“<span>SWEET HOUR OF PRAYER.</span>”</h4> + + +<p>Included with the <i>Gospel Hymns</i>, but of older +date. Rev. William W. Walford, a blind English +minister, was the author, and it was probably +written about the year 1842. It was recited to +Rev. Thomas Salmon, Congregational pastor at +Coleshill, Eng., who took it down and brought it +to New York, where it was published in the New +York <i>Observer</i>.</p> + +<p>Little is known of Mr. Walford save that in his +blindness, besides preaching occasionally, he +employed his mechanical skill in making small +useful articles of bone and ivory.</p> + +<p>The tune was composed by W.B. Bradbury in +1859, and first appeared with the hymn in <i>Cottage +Melodies</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sweet hour of prayer, sweet hour of prayer</div> +<div>That calls me from a world of care,</div> +<div>And bids me at my Father's throne</div> +<div>Make all my wants and wishes known.</div> +<a id="png:491" name="png:491"></a><samp class="pgmark" + ><span class="png">491 /</span> 433</samp> +<div>In seasons of distress and grief</div> +<div>My soul has often found relief,</div> +<div>And oft escaped the tempter's snare</div> +<div>By thy return, sweet hour of prayer.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>O BLISS OF THE PURIFIED! BLISS OF THE FREE!</span>”</h4> + + +<p>Rev. Francis Bottome, D.D., born in Belper, +Derbyshire, Eng., May 26, 1823, removed to the +United States in 1850, and entered the Methodist +ministry. A man of sterling character and exemplary +piety. He received the degree of Doctor +of Divinity at Dickinson College, Carlisle, Pa. +Was assistant compiler of several singing books, +and wrote original hymns. The above, entitled “O +sing of His mighty love” was composed by him in +1869. The last stanza reads,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O Jesus the Crucified! Thee will I sing,</div> +<div>My blessed Redeemer, my God and my King!</div> +<div>My soul, filled with rapture shall shout o'er the grave</div> +<div>And triumph in death in the Mighty to save.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div class="i1"> O sing of His mighty love (<i>ter</i>)</div> +<div class="i2"> Mighty to save!</div> +</div></div> + +<p>Dr. Bottome returned to England, and died at +Tavistock June 29, 1894.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Bradbury's “Songs of the Beautiful” (in <i>Fresh +Laurels</i>). The hymn was set to this chorus in 1871.</p> + +<a id="png:492" name="png:492"></a><samp class="pgmark" + ><span class="png">492 /</span> 434</samp> + + + +<h4 class="hymn">“<span>WHAT SHALL THE HARVEST BE?</span>”</h4> + + +<p>Very popular in England. Mr. Sankey in his +<i>Story of the Gospel Hymns</i> relates at length the +experience of Rev. W.O. Lattimore, pastor of a +large church in Evanston, Ill., who was saved to +Christian manhood and usefulness by this hymn. +It has suffered some alterations, but its original +composition was Mrs. Emily Oakey's work. The +Parables of the Sower and of the Tares may have +been in her mind when she wrote the lines in 1850, +but more probably it was the text in Gal. 6:7—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sowing the seed by the daylight fair,</div> +<div>Sowing the seed by the noonday glare,</div> +<div>Sowing the seed by the fading light,</div> +<div>Sowing the seed in the solemn night.</div> +<div class="i1"> O, what shall the harvest be?</div> +</div></div> + +<p>Lattimore, the man whose history was so strangely +linked with this hymn, entered the army in 1861, +a youth of eighteen with no vices, but when promoted +to first lieutenant he learned to drink in the +officers' mess. The habit so contracted grew upon +him till when the war was over, though he married +and tried to lead a sober life, he fell a victim +to his appetite, and became a physical wreck. One +day in the winter of 1876 he found himself in a half-drunken +condition, in the gallery of Moody's Tabernacle, +Chicago. Discovering presently that he had +made a mistake, he rose to go out, but Mr. Sankey's +voice chained him. He sat down and heard the +whole of the thrilling hymn from beginning to end. +<a id="png:493" name="png:493"></a><samp class="pgmark" + ><span class="png">493 /</span> 435</samp> +Then he stumbled out with the words ringing in +his ears.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sowing the seed of a lingering pain,</div> +<div>Sowing the seed of a maddened brain,</div> +<div>Sowing the seed of a tarnished name,</div> +<div>Sowing the seed of Eternal shame.</div> +<div class="i1"> O, what shall the harvest be?</div> +</div></div> + +<p>In the saloon, where he went to drown the awakenings +of remorse, those words stood in blazing +letters on every bottle and glass. The voice of God +in that terrible song of conviction forced him back +to the Tabernacle, with his drink untasted. He +went into the inquiry meeting where he found +friends, and was led to Christ. His wife and child, +from whom he had long been exiled, were sent for +and work was found for him to do. A natural eloquence +made him an attractive and efficient helper +in the meetings, and he was finally persuaded to +study for the ministry. His faithful pastorate of +twenty years in Evanston ended with his death in +1899.</p> + +<p>Mrs. Emily Sullivan Oakey was an author and +linguist by profession, and though in her life of +nearly fifty-four years she “never enjoyed a day of +good health,” she earned a grateful memory. Born +in Albany, N.Y., Oct. 8, 1829, she was educated at +the Albany Female Academy, and fitted herself for +the position of teacher of languages and English +literature in the same school, which she honored +by her service while she lived. Her contributions +to the daily press and to magazine literature were +<a id="png:494" name="png:494"></a><samp class="pgmark" + ><span class="png">494 /</span> 436</samp> +numerous, but she is best known by her remarkable +hymn. Her death occurred on the 11th of May, +1883.</p> + + +<h4 class="tune">THE TUNE,</h4> + +<p class="runon">By P.P. Bliss, is one of that composer's tonal successes. +The march of the verses with their recurrent +words is so automatic that it would inevitably +suggest to him the solo and its organ-chords; +and the chorus with its sustained soprano +note dominating the running concert adds the last +emphasis to the solemn repetition. The song with +its warning cry owes no little of its power to this +choral appendix—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Gathered in time or eternity,</div> +<div>Sure, ah sure will the harvest be.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>O THINK OF THE HOME OVER THERE.</span>”</h4> + + +<p>A hymn of Rev. D.W.C. Huntington, suggested +by Ps. 55:6. It was a favorite from the first.</p> + +<p>Rev. DeWitt Clinton Huntington was born at +Townshend, <ins class="transcriber" + title="Transcriber's note: Original reads 'Vt. Apr.,'">Vt., Apr.</ins> +27, 1830. He graduated at +the Syracuse University, and received the degrees +of D.D. and LL.D. from Genesee College. Preacher, +instructor and author—Removed to Lincoln, +Nebraska.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O think of the home over there,</div> +<div class="i1"> By the side of the river of light,</div> +<div>Where the saints all immortal and fair</div> +<div class="i1"> Are robed in their garments of white.</div> +<div class="i4"> Over there, (<i>rep</i>)</div> +</div> +<a id="png:495" name="png:495"></a><samp class="pgmark" + ><span class="png">495 /</span> 437</samp> +<div class="stanza"> +<div>O think of the friends over there,</div> +<div class="i1"> Who before us the journey have trod,</div> +<div>Of the songs that they breathe on the air,</div> +<div class="i1"> In their home in the palace of God.</div> +<div class="i4"> Over there. (<i>rep</i>)</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The melody was composed by Tullius Clinton +O'Kane, born in Delaware, O., March 10, 1830, a +hymnist and musician. It is a flowing tune, with +sweet chords, and something of the fugue feature +in the chorus as an accessory. The voices of a multitude +in full concord make a building tremble with it.</p> + + + +<h4 class="hymn">“<span>WHEN JESUS COMES.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Down life's dark vale we wander</div> +<div class="i1"> Till Jesus comes;</div> +<div>We watch and wait and wonder</div> +<div class="i1"> Till Jesus comes.</div> +</div></div> + +<p>Both words and music are by Mr. Bliss. A +relative of his family, J.S. Ellsworth, says the song +was written in Peoria, Illinois, in 1872, and was +suggested by a conversation on the second coming +of Christ, a subject very near his heart. The +thought lingered in his mind, and as he came down +from his room, soon after, the verses and notes +came to him simultaneously on the stairs. Singing +them over, he seized pencil and paper, and in a few +minutes fixed hymn and tune in the familiar +harmony so well known.</p> + +<a id="png:496" name="png:496"></a><samp class="pgmark" + ><span class="png">496 /</span> 438</samp> +<div class="hymn"> +<div class="stanza"> +<div>No more heart-pangs nor sadness</div> +<div class="i1"> When Jesus comes;</div> +<div>All peace and joy and gladness</div> +<div class="i1"> When Jesus comes.</div> +</div></div> + +<p>The choral abounds in repetition, and is half +refrain, but among all Gospel Hymns remarkable +for their tone-delivery this is unsurpassed in the +swing of its rhythm.</p> + +<div class="hymn"> +<div class="stanza"> +<div>All joy his loved ones bringing</div> +<div class="i1"> When Jesus comes.</div> +<div>All praise thro' heaven ringing</div> +<div class="i1"> When Jesus comes.</div> +<div>All beauty bright and vernal</div> +<div class="i1"> When Jesus comes.</div> +<div>All glory grand, eternal</div> +<div class="i1"> When Jesus comes.</div> +</div></div> + + + +<h4 class="hymn">“<span>TO THE WORK, TO THE WORK.</span>”</h4> + + +<p>One of Fanny Crosby's most animating hymns—with +Dr. W.H. Doane's full part harmony to re-enforce +its musical accent. Mr. Sankey says, “I +sang it for the first time in the home of Mr. and +Mrs. J.B. Cornell at Long Branch. The servants +gathered from all parts of the house while I was singing, +and looked into the parlor where I was seated. +When I was through one of them said, ‘That is +the finest hymn I have heard for a long time,’ I felt +that this was a test case, and if the hymn had such +power over those servants it would be useful in +reaching other people as well; so I published it in +the <i>Gospel Hymns</i> in 1875, where it became one of +<a id="png:497" name="png:497"></a><samp class="pgmark" + ><span class="png">497 /</span> 439</samp> +the best work-songs for our meetings that we had.” +(<i>Story of the Gospel Hymns</i>.)</p> + +<p>The hymn, written in 1870, was first published +in 1871 in “<i>Pure Gold</i>”—a book that had a sale +of one million two hundred thousand copies.</p> + +<div class="hymn"><div class="stanza"> +<div>To the work! to the work! there is labor for all,</div> +<div>For the Kingdom of darkness and error shall fall,</div> +<div>And the name of Jehovah exalted shall be,</div> +<div>In the loud-swelling chorus, “Salvation is free!”</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>Toiling on, toiling on, toiling on, toiling on! (<i>rep</i>)</div> +<div>Let us hope and trust, let us watch and pray,</div> +<div>And labor till the Master comes.</div> +</div></div> + + + +<h4 class="hymn">“<span>O WHERE ARE THE REAPERS?</span>”</h4> + + +<p class="runon">Matt. 13:30 is the text of this lyric from the pen of +Eben E. Rexford.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Go out in the by-ways, and search them all,</div> +<div>The wheat may be there though the weeds are tall;</div> +<div>Then search in the highway, and pass none by,</div> +<div>But gather them all for the home on high.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>Where are the reapers? O who will come,</div> +<div>And share in the glory of the harvest home?</div> +<div>O who will help us to garner in</div> +<div>The sheaves of good from the fields of sin?</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Hymn and tune are alike. The melody and harmony +by Dr. George F. Root have all the eager +<a id="png:498" name="png:498"></a><samp class="pgmark" + ><span class="png">498 /</span> 440</samp> +trip and tread of so many of the gospel hymns, and +of so much of his music, and the lines respond at +every step. Any other composer could not have +escaped the compulsion of the final spondees, and +much less the author of “Tramp, Tramp, Tramp,” +and all the best martial song-tunes of the great war. +In this case neither words nor notes can say to the +other, “We have piped unto you and ye have not +danced,” but a little caution will guard too enthusiastic +singing against falling into the drum-rhythm, +and travestying a sacred piece.</p> + +<p>Eben Eugene Rexford was born in Johnsburg, +N.Y., July 16, 1841, and has been a writer since he +was fourteen years old. He is the author of several +popular songs, as “Silver Threads Among the +Gold,” “Only a Pansy Blossom” etc., and many +essays and treatises on flowers, of which he is passionately +fond.</p> + + + +<h4 class="hymn">“<span>IT IS WELL WITH MY SOUL.</span>”</h4> + + +<p>Horatio Gates Spafford, the writer of this hymn, +was a lawyer, a native of New York state, born +Oct. 30, 1828. While connected with an institution +in Chicago, as professor of medical jurisprudence, +he lost a great part of his fortune by the great fire +in that city. This disaster was followed by the loss +of his children on the steamer, Ville de Havre, Nov. +22, 1873. He seems to have been a devout Christian, +for he wrote his hymn of submissive faith towards +the end of the same year—</p> + +<a id="png:499" name="png:499"></a><samp class="pgmark" + ><span class="png">499 /</span> 441</samp> +<div class="hymn"> +<div class="stanza"> +<div>When peace like a river attendeth my way,</div> +<div>When sorrows like sea-billows roll—</div> +<div>Whatever my lot, Thou hast taught me to say,</div> +<div>“It is well, it is well with my soul.”</div> +</div></div> + +<p>A friend of Spafford who knew his history read +this hymn while repining under an inferior affliction +of his own. “If he can feel like that after +suffering what he has suffered,” he said, “I will +cease my complaints.”</p> + +<p>It may not have been the weight of Mr. Spafford's +sorrows wearing him down, but one would +infer some mental disturbance in the man seven or +eight years later. “In 1881” [writes Mr. Hubert +P. Main] “he went to Jerusalem under the hallucination +that he was a second Messiah—and died there +on the seventh anniversary of his landing in Palestine, +Sept. 5, 1888.” The aberrations of an over-wrought +mind are beckonings to God's compassion. +When reason wanders He takes the soul of His helpless +child into his own keeping—and “it is well.”</p> + +<p>The tune to Spafford's hymn is by P.P. Bliss; a +gentle, gliding melody that suits the mood of the +words.</p> + + + +<h4 class="hymn">“<span>WAITING AND WATCHING FOR ME.</span>”</h4> + + +<p>Written by Mrs. Marianne Farningham Hearn, +born in Kent, Eng., Dec. 17, 1834. The hymn was +first published in the fall of 1864 in the <i>London +Church World</i>. Its <ins class="transcriber" title= + "Transcriber's note: original has 'unrythmical'">unrhythmical</ins> first line—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When mysterious whispers are floating about,</div> +</div></div> + +<p class="runon">—was replaced by the one now familiar—</p> + +<a id="png:500" name="png:500"></a><samp class="pgmark" + ><span class="png">500 /</span> 442</samp> +<div class="hymn"> +<div class="stanza"> +<div>When my final farewell to the world I have said,</div> +<div class="i1"> And gladly lain down to my rest,</div> +<div>When softly the watchers shall say, “He is dead,”</div> +<div class="i1"> And fold my pale hands on my breast,</div> +<div>And when with my glorified vision at last</div> +<div class="i1"> The walls of that City I see,</div> +<div>Will any one there at the Beautiful Gate</div> +<div class="i1"> Be waiting and watching for me?</div> +</div></div> + +<p>Mrs. Hearn—a member of the Baptist denomination—has +long been the editor of the (English) +<i>Sunday School Times</i>, but her literary work has +been more largely in connection with the <i>Christian +World</i> newspaper of which she has been a staff-member +since its foundation.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The long lines, not easily manageable for congregational +singing, are wisely set by Mr. Bliss to +duet music. There is a weighty thought in the +hymn for every Christian, and experience has +shown that a pair of good singers can make it very +affecting, but the only use of the repeat, by way of +a chorus, seems to be to give the miscellaneous +voices a brief chance to sing.</p> + + + +<h4 class="hymn">“<span>HE WILL HIDE ME.</span>”</h4> + +<h4 class="quote">(Isa. 49:2.)</h4> + + +<p>Miss Mary Elizabeth Servoss, the author of this +trustful hymn, was born in Schenectady, N.Y., +Aug. 22, 1849. When a very young girl her +<a id="png:501" name="png:501"></a><samp class="pgmark" + ><span class="png">501 /</span> 443</samp> +admiration of Fanny Crosby's writings, and the great +and good service they were doing in the world, +inspired her with a longing to resemble her. +Though her burden was as real, it was not like the +other's, and her opportunities for religious meditation +and literary work were fewer than those of +the elder lady, but the limited number of hymns +she has written have much of the spirit and beauty +of their model.</p> + +<p>Providence decreed for her a life of domestic +care and patient waiting. For eighteen years she +was the constant attendant of a disabled grandmother, +and long afterwards love and duty made +her the home nurse during her mother's protracted +illness and the last sickness of her father, until both +parents passed away.</p> + +<p>From her present home in Edeson, Ill., some +utterances of her chastened spirit have found their +way to the public, and been a gospel of blessing. +Besides “He Will Hide Me” other hymns of Miss +Servoss are “Portals of Light,” “He Careth,” +“Patiently Enduring,” and “Gates of Praise,” the +last being the best known.</p> + +<div class="hymn"><div class="stanza"> +<div>When the storms of life are raging.</div> +<div class="i1"> Tempests wild on sea and land,</div> +<div>I will seek a place of refuge</div> +<div class="i1"> In the shadow of God's hand.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div>He will hide me, He will hide me,</div> +<div>Where no harm can e'er betide me,</div> +<a id="png:502" name="png:502"></a><samp class="pgmark" + ><span class="png">502 /</span> 444</samp> +<div>He will hide me, safely hide me</div> +<div class="i1"> In the shadow of His hand.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>So while here the cross I'm bearing,</div> +<div class="i1"> Meeting storms and billows wild,</div> +<div>Jesus for my soul is caring,</div> +<div class="i1"> Naught can harm His Father's child.</div> +<div class="i2"> He will hide me, etc.</div> +</div></div> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>An animating choral in nine-eight tempo, with a +swinging movement and fugue chorus, is rather +florid for the hymn, but undeniably musical. Mr. +James McGranahan was the composer. He was +born in Adamsville, Pa., July 4, 1840. His education +was acquired mostly at the public schools, +and both in general knowledge and in musical +accomplishments it may be said of him that he is +“self-made.”</p> + +<p>Music was born in him, and at the age of nineteen, +with some valuable help from men like +Bassini, Webb, Root and Zerrahn, he had studied +to so good purpose that he taught music classes +himself. This talent, joined to the gift of a very +sweet tenor voice, made him the natural successor +of the lamented Bliss, and, with Major D.W. +Whittle, he entered on a career of gospel work, +making between 1881 and 1885 two successful +tours of England, Scotland and Ireland, and +through the chief American cities.</p> + +<a id="png:503" name="png:503"></a><samp class="pgmark" + ><span class="png">503 /</span> 445</samp> + +<p>Among his publications are the <i>Male Chorus +Book</i>, <i>Songs of the Gospel</i> and the <i>Gospel Male +Choir</i>.</p> + +<p>Resides at Kinsman, O.</p> + + + +<h4 class="hymn">“<span>REVIVE THY WORK, O LORD.</span>”</h4> + +<h4 class="quote">(Heb. 3:2.)</h4> + + +<p>The supposed date of the hymn is 1860; the +author, Albert Midlane. He was born at Newport +on the Isle of Wight, Jan. 23, 1825 a business +man, but, being a Sunday-school teacher, he was +prompted to write verses for children. The habit +grew upon him till he became a frequent and +acceptable hymn-writer, both for juvenile and for +general use. English collections have at least three +hundred credited to him.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Revive Thy work, O Lord,</div> +<div class="i1"> Thy mighty arm make bare,</div> +<div>Speak with the voice that wakes the dead,</div> +<div class="i1"> And make Thy people hear.</div> +</div></div> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>Music and words together make a song-litany +alive with all the old psalm-tune unction and the +new vigor; and both were upon Mr. McGranahan +when he wrote the choral. It is one of his successes.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Revive thy work, O Lord,</div> +<div class="i1"> Exalt Thy precious name,</div> +<a id="png:504" name="png:504"></a><samp class="pgmark" + ><span class="png">504 /</span> 446</samp> +<div>And by the Holy Ghost our love</div> +<div class="i1"> For Thee and Thine inflame.</div> +</div><div class="stanza"> +<div class="refrain">Refrain.</div> +<div>Revive Thy work, O Lord,</div> +<div class="i1"> And give refreshing showers;</div> +<div>The glory shall be all Thine own,</div> +<div class="i1"> The blessing shall be ours.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>WHERE IS MY WANDERING BOY TO-NIGHT?</span>”</h4> + + +<p>This remarkable composition—words and music +by Rev. Robert Lowry—has a record among sacred +songs like that of “The Prodigal Son” among +parables.</p> + +<p>A widowed lady of culture, about forty years of +age, who was an accomplished vocalist, had ceased +to sing, though her sweet voice was still in its prime. +The cause was her sorrow for her runaway boy. +She had not heard from him for five years. While +spending a week with friends in a city distant from +home, her hidden talent was betrayed by the friends +to the pastor of their church, where a revival was +in progress, and persuasion that seemed to put a +duty upon her finally procured her consent to sing +a solo.</p> + +<p title="Illustration of Philip Doddridge originally opposite">The church +was crowded. With a force and +feeling that can easily be guessed she sang “Where +Is My Boy Tonight?” and finished the first stanza. +She began the second,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Once he was pure as morning dew,</div> +<div class="i1"> As he knelt at his mother's knee,</div> +<a id="png:507" name="png:507"></a><samp class="pgmark" + ><span class="png">507 /</span> 447</samp> +<div>No face was so bright, no heart more true,</div> +<div class="i1"> And none were so sweet as he;</div> +</div></div> + +<p class="runon">—and as the congregation caught up the +refrain,—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> O where is my boy tonight?</div> +<div class="i1"> O where is my boy tonight?</div> +<div>My heart overflows, for I love him he knows,</div> +<div class="i1"> O where is my boy tonight?</div> +</div></div> + +<p class="runon">—a young man who had been sitting in a back +seat made his way up the aisle and sobbed, +“Mother, I'm here!” The embrace of that mother +and her long-lost boy turned the service into a +general hallelujah. At the inquiry meeting that +night there were many souls at the Mercy Seat who +never knelt there before—and the young wanderer +was one.</p> + +<p>Mr. Sankey, when in California with Mr. Moody, +sang this hymn in one of the meetings and told the +story of a mother in the far east who had commissioned +him to search for her missing son. By a +happy providence the son was in the house—and +the story and the song sent him home repentant.</p> + +<p>At another time Mr. Sankey sang the same +hymn from the steps of a snow-bound train, and +a man between whose father and himself had been +trouble and a separation, was touched, and returned +to be reconciled after an absence of twenty years.</p> + +<p>At one evening service in Stanberry, Mo., the +singing of the hymn by the leader of the choir led +<a id="png:508" name="png:508"></a><samp class="pgmark" + ><span class="png">508 /</span> 448</samp> +to the conversion of one boy who was present, and +whose parents were that night praying for him in +an eastern state, and inspired such earnest prayer +in the hearts of two other runaway boys' parents +that the same answer followed.</p> + +<p>There would not be room in a dozen pages to +record all the similar saving incidents connected +with the singing of “Where Is My Wandering Boy?” +The rhetoric of love is strong in every note and +syllable of the solo, and the tender chorus of voices +swells the song to heaven like an antiphonal prayer.</p> + +<p>Strange to say, Dr. Lowry set lightly by his +hymns and tunes, and deprecated much mention of +them though he could not deny their success. An +active Christian since seventeen years of age, +through his early pulpit service, his six years' +professorship, and the long pastorate in Plainfield, +N.J., closed by his death, he considered preaching +to be his supreme function as it certainly was his +first love. Music was to him “a side-issue,” an +“efflorescence,” and writing a hymn ranked far +below making and delivering a sermon. “I felt a +sort of meanness when I began to be known as a +composer,” he said. And yet he was the author +of a hymn and tune which “has done more to +bring back wandering boys than any other” ever +written.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +“Where Is My Boy Tonight” was composed for a book of temperance +hymns, <i>The Fountain of Song</i>, 1877.</p></div> +<a id="png:509" name="png:509"></a><samp class="pgmark" + ><span class="png">509 /</span> 449</samp> + + +<h4 class="hymn">“<span>ETERNITY.</span>”</h4> + + +<p>This is the title and refrain of both Mrs. Ellen +M.H. Gates' impressive poem and its tune.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O the clanging bells of Time!</div> +<div class="i1"> Night and day they never cease;</div> +<div>We are weaned with their chime,</div> +<div class="i1"> For they do not bring us peace.</div> +<div>And we hush our hearts to hear,</div> +<div class="i1"> And we strain our eyes to see</div> +<div>If thy shores are drawing near</div> +<div class="i2"> Eternity! Eternity!</div> +</div></div> + +<p>Skill was needed to vocalize this great word, but +the ear of Mr. Bliss for musical prosody did not +fail to make it effective. After the beautiful harmony +through the seven lines, the choral reverently +softens under the rallentando of the closing bars, +and dwelling on the awe-inspiring syllables, solemnly +dies away.</p> + + + +<h4 class="hymn"><span>TRIUMPH BY AND BY.</span></h4> + + +<p>This rally-song of the Christian arena is wonderfully +stirring, especially in great meetings, for it +sings best in full choral volume.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The prize is set before us,</div> +<div>To win His words implore us,</div> +<div>The eye of God is o'er us</div> +<div class="i1"> From on high.</div> +<div>His loving tones are falling</div> +<div>While sin is dark, appalling,</div> +<div>'Tis Jesus gently calling;</div> +<div class="i1"> He is nigh!</div> +</div> +<a id="png:510" name="png:510"></a><samp class="pgmark" + ><span class="png">510 /</span> 450</samp> +<div class="stanza"> +<div class="refrain">Chorus.</div> +<div>By and by we shall meet Him,</div> +<div>By and by we shall greet Him,</div> +<div>And with Jesus reign in glory,</div> +<div class="i1"> By and by!</div> +</div><div class="stanza"> +<div>We'll follow where He leadeth,</div> +<div>We'll pasture where He feedeth,</div> +<div>We'll yield to Him who pleadeth</div> +<div class="i1"> From on high.</div> +<div>Then nought from Him shall sever,</div> +<div>Our hope shall brighten ever</div> +<div>And faith shall fail us never;</div> +<div class="i1"> He is nigh.</div> +</div><div class="stanza"> +<div class="refrain">Chorus— <span style="margin-left: 4em; + font-variant: normal; display: inline;">By and by, etc.</span></div> +</div></div> + +<p>Dr. Christopher Ruby Blackall, the author of +the hymn, was born in Albany, N.Y., Sept. 18, +1830. He was a surgeon in the Civil War, and in +medical practice fifteen years, but afterwards became +connected with the American Baptist Publication +Society as manager of one of its branches. +He has written several Sunday-school songs set to +music by W.H. Doane.</p> + + +<h4 class="tune">THE TUNE,</h4> + +<p class="runon">By Horatio R. Palmer is exactly what the hymn +demands. The range scarcely exceeds an octave, +but with the words “From on high,” the stroke of +the soprano on upper D carries the feeling to +unseen summits, and verifies the title of the song. +From that note, through melody and chorus the +“Triumph by and by” rings clear.</p> + +<a id="png:511" name="png:511"></a><samp class="pgmark" + ><span class="png">511 /</span> 451</samp> + + + +<h4 class="hymn">“<span>NOT HALF HAS EVER BEEN TOLD</span>”</h4> + + +<p>This is emotional, but every word and note is +uplifting, and creates the mood for religious +impressions. The writer, Rev. John Bush Atchison, +was born at Wilson, N.Y., Feb. 18, 1840, and +died July 15, 1882.</p> + +<div class="hymn"> +<div class="stanza"> +<div>I have read of a beautiful city</div> +<div class="i1"> Far away in the kingdom of God,</div> +<div>I have read how its walls are of jasper,</div> +<div class="i1"> How its streets are all golden and broad;</div> +<div>In the midst of the street is Life's River</div> +<div class="i1"> Clear as crystal and pure to behold,</div> +<div>But not half of that city's bright glory</div> +<div class="i1"> To mortals has ever been told.</div> +</div></div> + +<p class="runon">The chorus (twice sung)—</p> + +<p class="quote"> +Not half has been told, +</p> + +<p class="runon">—concludes with repeat of the two last lines of this +first stanza.</p> + +<p>Mr. Atchison was a Methodist clergyman who +composed several good hymns. “Behold the Stone +is Rolled Away,” “O Crown of Rejoicing,” and +“Fully Persuaded,” indicate samples of his work +more or less well-known. “Not Half Has Ever +Been Told” was written in 1875.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Dr. Otis F. Presbry, the composer, was a young +farmer of York, Livingston Co., N.Y., born there +the 20th of December, 1820. Choice of a +<a id="png:512" name="png:512"></a><samp class="pgmark" + ><span class="png">512 /</span> 452</samp> +professional life led him to Berkshire Medical College, +where he graduated in 1847. In after years his +natural love of musical studies induced him to give +his time to compiling and publishing religious +tunes, with hymns more especially for Sunday-schools.</p> + +<p>He became a composer and wrote the melody +to Atchison's words in 1877, which was arranged +by a blind musician of Washington, D.C., J.W. +Bischoff by name, with whom he had formed a +partnership. The solo is long—would better, +perhaps, have been four-line instead of eight—but +well sung, it is a flight of melody that holds an +assembly, and touches hearts.</p> + +<p>Dr. Presbry's best known book was <i>Gospel Bells</i> +(1883), the joint production of himself, Bischoff, +and Rev. J.E. Rankin. He died Aug. 20, 1901.</p> + + + +<h4 class="hymn">“<span>COME.</span>”</h4> + + +<p>One of the most characteristic (both words and +music) of the <i>Gospel Hymns</i>—“Mrs. James Gibson +Johnson” is the name attached to it as its +author, though we have been unable to trace and +verify her claim.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O, word of words the sweetest,</div> +<div class="i1"> O, words in which there lie</div> +<div>All promise, all fulfillment,</div> +<div class="i1"> And end of mystery;</div> +<div>Lamenting or rejoicing,</div> +<div class="i1"> With doubt or terror nigh,</div> +<a id="png:513" name="png:513"></a><samp class="pgmark" + ><span class="png">513 /</span> 453</samp> +<div>I hear the “Come” of Jesus,</div> +<div class="i1"> And to His cross I fly.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div class="i1"> Come, come—</div> +<div>Weary, heavy-laden, come, O come to me.</div> +</div></div> + + +<h4 class="tune">THE TUNE,</h4> + +<p class="runon">Composed by James McGranahan, delivers the +whole stanza in soprano or tenor solo, when the +alto, joining the treble, leads off the refrain in duet, +the male voices striking alternate notes until the +full harmony in the last three bars. The style and +movement of the chorus are somewhat suggestive +of a popular glee, but the music of the duet is +flexible and sweet, and the bass and tenor progress +with it not in the ride-and-tie-fashion but marking +time <ins class="transcriber" + title="Transcriber's note: original reads 'wtih'">with</ins> +the title-syllable.</p> + +<p>The contrast between the spiritual and the intellectual +effect of the hymn and its wakeful tune is +illustrated by a case in Baltimore. While Moody +and Sankey were doing their gospel work in that +city, a man, who, it seems, had brought a copy of +the <i>Gospel Hymns</i>, walked out of one of the meetings +after hearing this hymn-tune, and on reaching +home, tore out the leaves that contained the song +and threw them into the fire, saying he had “never +heard such twaddle” in all his life.</p> + +<p>The sequel showed that he had been too hasty. +The hymn would not leave him. After hearing it +night and day in his mind till he began to realize +<a id="png:514" name="png:514"></a><samp class="pgmark" + ><span class="png">514 /</span> 454</samp> +what it meant, he went to Mr. Moody and told him +he was “a vile sinner” and wanted to know how he +could “come” to Christ. The divine invitation +was explained, and the convicted man underwent +a vital change. His converted opinion of the hymn +was quite as remarkably different. He declared it +was “the sweetest one in the book.” (<i>Story of the +Gospel Hymns</i>.)</p> + + + +<h4 class="hymn">“<span>ALMOST PERSUADED.</span>”</h4> + + +<p>The Rev. Mr. Brundage tells the origin of this +hymn. In a sermon preached by him many years +ago, the closing words were:</p> + +<p>“He who is almost persuaded is almost saved, +but to be almost saved is to be entirely lost.” Mr. +Bliss, being in the audience, was impressed with +the thought, and immediately set about the composition +of what proved one of his most popular +songs, deriving his inspiration from the sermon of +his friend, Mr. Brundage. <i>Memoir of Bliss</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Almost persuaded now to believe,</div> +<div>Almost persuaded Christ to receive;</div> +<div>Seems now some soul to say</div> +<div>“Go Spirit, go thy way,</div> +<div>Some more convenient day</div> +<div class="i2"> On Thee I'll call.”</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Almost persuaded—the harvest is past!</div> +</div></div> + +<p>Both hymn and tune are by Mr. Bliss—and the +omission of a chorus is in proper taste. This +<a id="png:515" name="png:515"></a><samp class="pgmark" + ><span class="png">515 /</span> 455</samp> +revival piece brings the eloquence of sense and sound +to bear upon the conscience in one monitory pleading. +Incidents in this country and in England +related in Mr. Sankey's book, illustrate its power. +It has a convicting and converting history.</p> + + + +<h4 class="hymn">“<span>MY AIN COUNTREE.</span>”</h4> + + +<p>This hymn was written by Miss Mary Augusta +Lee one Sabbath day in 1860 at Bowmount, Croton +Falls, N.Y., and first published in the <i>New York +Observer</i>, Dec, 1861. The authoress had been +reading the story of John Macduff who, with his +wife, left Scotland for the United States, and accumulated +property by toil and thrift in the great West. +In her leisure after the necessity for hard work +was past, the Scotch woman grew homesick and +pined for her “ain countree.” Her husband, at +her request, came east and settled with her in sight +of the Atlantic where she could see the waters that +washed the Scotland shore. But she still pined, +and finally to save her life, John <ins class="transcriber" + title="Transcriber's note: original has 'Macdruff'">Macduff</ins> took her +back to the heather hills of the mother-land, where +she soon recovered her health and spirits.</p> + +<div class="hymn wide"> +<div class="stanza"> +<div>I am far from my hame an' I'm weary aften whiles</div> +<div>For the langed-for hame-bringing an' my Father's welcome smiles.</div> +<div>I'll ne'er be fu' content until mine eyes do see</div> +<div>The shinin' gates o' heaven an' mine ain countree.</div> +</div><div class="stanza"> +<div>The airt' is flecked wi' flowers mony-tinted, frish an' gay,</div> +<div>The birdies warble blithely, for my Father made them sae,</div> +<a id="png:516" name="png:516"></a><samp class="pgmark" + ><span class="png">516 /</span> 456</samp> +<div>But these sights an' these soun's will naething be to me</div> +<div>When I hear the angels singin' in my ain countree.</div> +</div></div> + +<p>Miss Lee was born in Croton Falls in 1838, and +was of Scotch descent, and cared for by her grandfather +and a Scotch nurse, her mother dying in her +infancy. In 1870 she became the wife of a Mr. +Demarest, and her married life was spent in +Passaic, N.J., until their removal to Pasadena, +Cal., in hope of restoring her failing health. She +died at Los Angeles, Jan. 8, 1888.</p> + + +<h4 class="tune">THE TUNE</h4> + +<p class="runon">Is an air written in 1864 in the Scottish style by +Mrs. Ione T. Hanna, wife of a banker in Denver, +Colo., and harmonized for choral use by Hubert +P<ins class="transcriber" + title="Transcriber's note: punctuation inferred">.</ins> Main in 1873. Its plaintive sweetness suits the +words which probably inspired it. The tone and +metre of the hymn were natural to the young +author's inheritance; a memory of her grandfather's +home-land melodies, with which he once +crooned “little Mary” to sleep.</p> + +<p>Sung as a closing hymn, “My ain countree” +sends the worshipper away with a tender, unworldly +thought that lingers.</p> + +<p>Mrs. Demarest wrote an additional stanza in +1881 at the request of Mr. Main.</p> + +<p class="thoughtbreak">Some really good gospel hymns and tunes +among those omitted in this chapter will cry out +against the choice that passed them by. Others +are of the more ephemeral sort, the phenomena +<a id="png:517" name="png:517"></a><samp class="pgmark" + ><span class="png">517 /</span> 457</samp> +(and the demand) of a generation. Carols of pious +joy with inordinate repetition, choruses that surprise +old lyrics with modern thrills, ballads of +ringing sound and slender verse, are the spray of +tuneful emotion that sparkles on every revival high-tide, +but rarely leaves floodmarks that time will not +erase. Religious songs of the demonstrative, not +to say sensational, kind spring impromptu from +the conditions of their time—and give place to +others equally spontaneous when the next spiritual +wave sweeps by. Their value lingers in the impulse +their novelty gave to the life of sanctuary +worship, and in the Christian characters their +emotional power helped into being.</p> + +<a id="png:518" name="png:518"></a><samp class="pgmark" + ><span class="png">518 /</span> 458</samp> + + + + +<h2 class="chap">CHAPTER XIII.</h2> +<hr class="chap" /> + +<h1>HYMNS, +FESTIVAL AND OCCASIONAL.</h1> +<hr class="chap" /> + + +<h3 class="subhead">CHRISTMAS.</h3> +<hr class="chap" /> + + +<h4 class="hymn">“<span>ADESTE FIDELES.</span>”</h4> + + +<p>This hymn is of doubtful authorship, by some +assigned to as late a date as 1680, and by others to +the 13th century as one of the Latin poems of St. +Bonaventura, Bishop of Albano, who was born at +Bagnarea in Tuscany, A.D. 1221. He was a learned +man, a Franciscan friar, one of the greatest teachers +and writers of his church, and finally a cardinal. +Certainly Roman Catholic in its origin, whoever was +its author, it is a Christian hymn qualified in every +way to be sung by the universal church.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Adeste, fideles</div> +<div>Laeti triumphantes,</div> +<div>Venite, venite in Bethlehem;</div> +<div>Natum videte Regem angelorum.</div> +</div> +<a id="png:519" name="png:519"></a><samp class="pgmark" + ><span class="png">519 /</span> 459</samp> +<div class="stanza"> +<div class="refrain">Chorus.</div> +<div>Venite, adoremus,</div> +<div>Venite, adoremus!</div> +<div>Venite, adoremus Dominum.</div> +</div></div> + +<p class="runon">This has been translated by Rev. Frederick Oakeley +(1808–1880) and by Rev. Edward Caswall +(1814–1878) the version of the former being the one +in more general use. The ancient hymn is much +abridged in the hymnals, and even the translations +have been altered and modernized in the three or +four stanzas commonly sung. Caswall's version +renders the first line “Come hither, ye faithful,” +literally construing the Latin words.</p> + +<p>The following is substantially Oakeley's English +of the “Adeste, fideles.”</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> O come all ye faithful</div> +<div class="i1"> Joyful and triumphant,</div> +<div>To Bethlehem hasten now with glad accord;</div> +<div class="i1"> Come and behold Him,</div> +<div class="i1"> Born the King of Angels.</div> +</div><div class="stanza"> +<div class="refrain">Chorus.</div> +<div class="i1"> O come, let us adore Him,</div> +<div class="i1"> O come, let us adore Him,</div> +<div class="i1"> O come, let us adore Him,</div> +<div class="i2"> Christ, the Lord.</div> +</div><div class="stanza"> +<div class="i1"> Sing choirs of angels,</div> +<div class="i1"> Sing in exultation</div> +<div>Through Heaven's high arches be your praises poured;</div> +<div class="i1"> Now to our God be</div> +<div class="i1"> Glory in the highest!</div> +<div class="i2"> O come, let us adore Him!</div> +</div><div class="stanza"> +<a id="png:520" name="png:520"></a><samp class="pgmark" + ><span class="png">520 /</span> 460</samp> +<div class="i1"> Yea, Lord, we bless Thee,</div> +<div class="i1"> Born for our salvation</div> +<div>Jesus, forever be Thy name adored!</div> +<div class="i1"> Word of the Father</div> +<div class="i1"> Now in flesh appearing;</div> +<div class="i2"> O come, let us adore Him!</div> +</div></div> + +<p>The hymn with its primitive music as chanted +in the ancient churches, was known as “The Midnight +Mass,” and was the processional song of the +religious orders on their way to the sanctuaries +where they gathered in preparation for the Christmas +morning service. The modern tune—or rather +the tune in modern use—is the one everywhere +familiar as the “Portuguese Hymn.” (See +<a href="#png:245">page 205</a>.)</p> + + + +<h4 class="hymn"><span>MILTON'S HYMN TO THE NATIVITY.</span></h4> + + +<div class="hymn"> +<div class="stanza"> +<div class="i2"> It was the winter wild</div> +<div class="i2"> While the Heavenly Child</div> +<div>All meanly wrapped in the rude manger lies.</div> +<div class="i2"> Nature in awe of Him</div> +<div class="i2"> Had doffed her gaudy trim</div> +<div>With her great Master so to sympathize.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div class="i2"> No war nor battle sound</div> +<div class="i2"> Was heard the world around.</div> +<div>The idle spear and shield were high uphung.</div> +<div class="i2"> The hooked chariot stood</div> +<div class="i2"> Unstained with hostile blood,</div> +<div>The trumpets spake not to the armed throng,</div> +<div class="i2"> And Kings sat still with awful eye</div> +<div>As if they knew their Sovereign Lord was by.</div> +</div></div> + +<p>This exalted song—the work of a boy of scarcely +twenty-one—is a Greek ode in form, of two +<a id="png:521" name="png:521"></a><samp class="pgmark" + ><span class="png">521 /</span> 461</samp> +hundred and sixteen lines in twenty-seven strophes. +Some of its figures and fancies are more to the +taste of the seventeenth century than to ours, but it +is full of poetic and Christian sublimities, and its +high periods will be heard in the Christmas hymnody +of coming centuries, though it is not the fashion +to sing it now.</p> + +<p>John Milton, son and grandson of John Miltons, +was born in Breadstreet, London, Dec. 9, 1608, +fitted for the University in St. Paul's school, and +studied seven years at Cambridge. His parents +intended him for the church, but he chose literature +as a profession, travelled and made distinguished +friendships in Italy, Switzerland and France, and +when little past his majority was before the public +as a poet, author of the Ode to the Nativity, of a +Masque, and of many songs and elegies. In later +years he entered political life under the stress of his +Puritan sympathies, and served under Cromwell and +his successor as Latin Secretary of State through +the time of the Commonwealth. While in public +duty he became blind, but in his retirement composed +“Paradise Lost and Paradise Regained.” +Died in 1676.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>In the old “Carmina Sacra” a noble choral +(without name except “No war nor battle +sound”) well interprets portions of the 4th and +5th stanzas of the great hymn, but replaces the +line—</p> + +<a id="png:522" name="png:522"></a><samp class="pgmark" + ><span class="png">522 /</span> 462</samp> + +<div class="hymn"> +<div class="stanza"> +<div>“The idle spear and shield were high uphung.”</div> +</div></div> + +<p class="runon">—with the more modern and less figurative—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“No hostile chiefs to furious combat ran.”</div> +</div></div> + +<p>Three stanzas are also added, by the Rev. H.O. +Dwight, missionary to Constantinople. The substituted +line, which is also, perhaps, the composition +of Mr. Dwight, rhymes with—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“His reign of peace upon the earth began,”</div> +</div></div> + +<p class="runon">—and as it is not un-Miltonic, few singers have +ever known that it was not Milton's own.</p> + +<p>Dr. John Knowles Paine, Professor of Music at +Harvard University, and author of the Oratorio +of “St. Peter,” composed a cantata to the great +Christmas Ode of Milton, probably about 1868.</p> + +<p>Professor Paine died Apr. 25, 1906.</p> + +<p>It is worth noting that John Milton senior, the +great poet's father, was a skilled musician and a composer +of psalmody. The old tunes “York” and +“Norwich,” in Ravenscroft's collection and copied +from it in many early New England singing-books, +are supposed to be his.</p> + +<p>The Miltons were an old Oxfordshire Catholic +family, and John, the poet's father, was disinherited +for turning Protestant, but he prospered in +business, and earned the comfort of a country +gentleman. He died, very aged, in May, 1646, and +his son addressed a Latin poem (“Ad Patrem”) to +his memory.</p> + +<a id="png:523" name="png:523"></a><samp class="pgmark" + ><span class="png">523 /</span> 463</samp> + + + +<h4 class="hymn">“<span>HARK! THE HERALD ANGELS SING.</span>”</h4> + + +<p>This hymn of Charles Wesley, dating about 1730, +was evidently written with the “Adeste Fideles” in +mind, some of the stanzas, in fact, being almost +like translations of it. The form of the two first +lines was originally—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hark! how all the welkin rings,</div> +<div>“Glory to the King of Kings!”</div> +</div></div> + +<p class="runon">—but was altered thirty years later by Rev. Martin +Madan (1726–1790) to—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hark! the herald angels sing</div> +<div>Glory to the new-born King!</div> +</div></div> + +<p class="runon">Other changes by the same hand modified the three +following stanzas, and a fifth stanza was added by +John Wesley—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hail the heavenly Prince of Peace!</div> +<div>Hail the Sun of Righteousness!</div> +<div>Light and life to all He brings,</div> +<div>Ris'n with healing in His wings.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p class="runon">“Mendelssohn” is the favorite musical +interpreter of the hymn. It is a noble and spirited choral from +Felix Mendelssohn Bartholdy's cantata, “Gott ist Licht.”</p> + + + +<h4 class="hymn" +>“<span>JOY TO THE WORLD, THE LORD IS COME!</span>”</h4> + + +<p>This inspirational lyric of Dr. Watts never grows +old. It was written in 1719.</p> + +<a id="png:524" name="png:524"></a><samp class="pgmark" + ><span class="png">524 /</span> 464</samp> +<div class="hymn"> +<div class="stanza"> +<div>Joy to the world! the Saviour reigns!</div> +<div class="i1"> Let men their songs employ</div> +<div>While fields and floods, rocks, hills and plains</div> +<div class="i1"> Repeat the sounding joy.</div> +</div></div> + +<p>Dr. Edward Hodges (1796–1867) wrote an excellent +psalm-tune to it which is still in occasional +use, but the music united to the hymn in the popular +heart is “Antioch,” an adaptation from +Handel's Messiah. This companionship holds +unbroken from hymnal to hymnal and has done so +for sixty or seventy years; and, in spite of its fugue, +the tune—apparently by some magic of its own—contrives +to enlist the entire voice of a congregation, +the bass falling in on the third beat as if by intuition. +The truth is, the tune has become the habit +of the hymn, and to the thousands who have it by +heart, as they do in every village where there is a +singing school, “Antioch” is “Joy to the World,” +and “Joy to the World” is “Antioch.”</p> + + + +<h4 class="hymn" +>“<span>HARK! WHAT MEAN THOSE HOLY VOICES?</span>”</h4> + + +<p>This fine hymn, so many years appearing with +the simple sign “Cawood” or “J. Cawood” printed +under it, still holds its place by universal welcome.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hark! what mean those holy voices</div> +<div class="i1"> Sweetly sounding through the skies?</div> +<div>Lo th' angelic host rejoices;</div> +<div class="i1"> Heavenly hallelujahs rise.</div> +</div><div class="stanza"> +<div>Hear them tell the wondrous story,</div> +<div class="i1"> Hear them chant in hymns of joy,</div> +<a id="png:525" name="png:525"></a><samp class="pgmark" + ><span class="png">525 /</span> 465</samp> +<div>Glory in the highest, glory,</div> +<div class="i1"> Glory be to God on high!</div> +</div></div> + +<p>The Rev. John Cawood, a farmer's son, was born +at Matlock, Derbyshire, Eng., March 18, 1775, graduated +at Oxford, 1801, and was appointed perpetual +curate of St. Anne's in Bendly, Worcestershire. +Died Nov. 7, 1852. He is said to have written seventeen +hymns, but was too modest to publish any.</p> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>Dr. Dykes' “Oswald,” and Henry Smart's +“Bethany” are worthy expressions of the feeling +in Cawood's hymn. In America, Mason's “Amaland,” +with fugue in the second and third lines, +has long been a favorite.</p> + + + +<h4 class="hymn" +>“<span>WHILE SHEPHERDS WATCHED THEIR FLOCKS.</span>”</h4> + + +<p>This was written by Nahum Tate (1652–1715), +and after two hundred years the church remembers +and sings the song. Six generations have grown +up with their childhood memory of its pictorial +verses illustrating St. Luke's Christmas story.</p> + +<div class="hymn"> +<div class="stanza"> +<div>While shepherds watched their flocks by night,</div> +<div class="i1"> All seated on the ground,</div> +<div>The angel of the Lord came down</div> +<div class="i1"> And glory shone around.</div> +</div><div class="stanza"> +<div>“Fear not” said he, for mighty dread</div> +<div class="i1"> Had seized their troubled mind,</div> +<div>“Glad tidings of great joy I bring</div> +<div class="i1"> To you and all mankind.”</div> +</div></div> + +<a id="png:526" name="png:526"></a><samp class="pgmark" + ><span class="png">526 /</span> 466</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Modern hymnals have substituted “Christmas” +and other more or less spirited tunes for Read's +“Sherburne,” which was the first musical translation +of the hymn to American ears. But, to show +the traditional hold that the New England fugue +melody maintains on the people, many collections +print it as alternate tune. Some modifications have +been made in it, but its survival is a tribute to its +real merit.</p> + +<p>Daniel Read, the creator of “Sherburne,” +“Windham,” “Russia,” “Stafford,” +“Lisbon,” and +many other tunes characteristic of a bygone school +of psalmody, was born in Rehoboth, Mass., Nov. +2, 1757. He published <i>The American Singing +Book</i>, 1785, <i>Columbian Harmony</i>, 1793, and several +other collections. Died in New Haven, Ct., +1836.</p> + + + +<h4 class="hymn" +>“<span>IT CAME UPON THE MIDNIGHT CLEAR.</span>”</h4> + + +<p>Rev. Edmund Hamilton Sears, author of this +beautiful hymn-poem, was born at Sandisfield, +Berkshire Co., Mass., April 6, 1810, and educated +at Union College and Harvard University. He +became pastor of the Unitarian Church in Wayland, +Mass., 1838. Died in the adjoining town +of Weston, Jan. 14, 1876. The hymn first appeared +in the <i>Christian Register</i> in 1857.</p> + +<div class="hymn"> +<div class="stanza"> +<div>It came upon the midnight clear,</div> +<div class="i1"> That glorious song of old,</div> +<a id="png:527" name="png:527"></a><samp class="pgmark" + ><span class="png">527 /</span> 467</samp> +<div>From angels bending near the earth</div> +<div class="i1"> To touch their harps of gold.</div> +</div><div class="stanza"> +<div>“Peace to the earth, good will to men</div> +<div class="i1"> From Heaven's all-gracious King.”</div> +<div>The world in solemn stillness lay,</div> +<div class="i1"> To hear the angels sing.</div> +</div><div class="stanza"> +<div>Still through the cloven skies they come</div> +<div class="i1"> With peaceful wings unfurled</div> +<div>And still their heavenly music floats</div> +<div class="i1"> O'er all the weary world.</div> +</div><div class="stanza"> +<div>Above its sad and lonely plains</div> +<div class="i1"> They bend on hovering wing,</div> +<div>And ever o'er its Babel sounds</div> +<div class="i1"> The blessed angels sing.</div> +</div></div> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>No more sympathetic music has been written +to these lines than “Carol,” the tune composed by +Richard Storrs Willis, a brother of Nathaniel Parker +Willis the poet, and son of Deacon Nathaniel +Willis, the founder of the <i>Youth's Companion</i>. He +was born Feb, 10, 1819, graduated at Yale in 1841, +and followed literature as a profession. He was +also a musician and composer. For many years +he edited the <i>N.Y. Musical World</i>, and, besides +contributing frequently to current literature, published +<i>Church Chorals and Choir Studies</i>, <i>Our +Church Music</i> and several other volumes on +musical subjects. Died in Detroit, May 7, 1900.</p> + +<p>The much-loved and constantly used advent +psalm of Mr. Sears,—</p> + +<a id="png:528" name="png:528"></a><samp class="pgmark" + ><span class="png">528 /</span> 468</samp> +<div class="hymn"> +<div class="stanza"> +<div>Calm on the listening ear of night</div> +<div class="i1"> Come heaven's melodious strains</div> +<div>Where wild Judea stretches far</div> +<div class="i1"> Her silver-mantled plains,</div> +</div></div> + +<p class="runon">—was set to music by John Edgar Gould, and the +smooth choral with its sweet chords is a remarkable +example of blended voice and verse.</p> + + + +<h4 class="hymn">“<span>O LITTLE TOWN OF BETHLEHEM!</span>”</h4> + + +<p>Phillips Brooks, the eloquent bishop of Massachusetts, +loved to write simple and tender poems +for the children of his church and diocese. They +all reveal his loving heart and the beauty of his +consecrated imagination. This one, the best of his +<i>Christmas Songs</i>, was slow in coming to public +notice, but finally found its place in hymn-tune +collections.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O little town of Bethlehem,</div> +<div class="i1"> How still we see thee lie!</div> +<div>Above thy deep and dreamless sleep</div> +<div class="i1"> The silent stars go by;</div> +<div>Yet in thy dark streets shineth</div> +<div class="i1"> The everlasting light;</div> +<div>The hopes and fears of all the years</div> +<div class="i1"> Are met in thee tonight.</div> +</div><div class="stanza"> +<div>For Christ is born of Mary,</div> +<div class="i1"> And gathered all above,</div> +<div>While mortals sleep, the angels keep</div> +<div class="i1"> Their watch of wondering love.</div> +<div>O morning stars, together</div> +<div class="i1"> Proclaim the holy birth!</div> +<div>And praises sing to God the King</div> +<div class="i1"> And peace to men on earth.</div> +</div> +<a id="png:529" name="png:529"></a><samp class="pgmark" + ><span class="png">529 /</span> 469</samp> +<div class="stanza"> +<div>How silently, how silently,</div> +<div class="i1"> The wondrous gift is given!</div> +<div>So God imparts to human hearts</div> +<div class="i1"> The blessings of His heaven.</div> +<div>No ear may hear His coming,</div> +<div class="i1"> But in this world of sin,</div> +<div>Where meek souls will receive Him still</div> +<div class="i1"> The dear Christ enters in.</div> +</div></div> + +<p>Phillips Brooks, late bishop of the diocese of +Massachusetts, was born in Boston, Dec. 13, 1835; +died Jan. 23, 1893. He was graduated at Harvard +in 1855, and at the Episcopal Divinity School of +Alexandria, Va., 1859. The first ten years of his +ministry were spent in Pennsylvania, after which +he became rector of Trinity Church, Boston, and +was elected bishop in 1891. He was an inspiring +teacher and preacher, an eloquent pulpit orator, +and a man of deep and rich religious life.</p> + +<p>The hymn was written in 1868, and it was, no +doubt, the ripened thought of his never-forgotten +visit to the “little town of Bethlehem” two years before.</p> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>“Bethlehem” is the appropriate name of a tune +written by J. Barnby, and adapted to the words, +but it is the hymn's first melody (named “St. +Louis” by the compiler who first printed it in the +<i>Church Porch</i> from original leaflets) that has the +credit of carrying it to popularity.</p> + +<p>The composer was Mr. Redner, organist of the +Church of the Holy Trinity, Philadelphia, of which +<a id="png:530" name="png:530"></a><samp class="pgmark" + ><span class="png">530 /</span> 470</samp> +Rector Brooks was then in charge. Lewis Henry +Redner, born 1831, was not only near the age of his +friend and pastor but as much devoted to the interests +of the Sunday-school, for whose use the +hymn was written, and he had promised to write +a score to which it could be sung on the coming +Sabbath. Waking in the middle of the night, after +a busy Saturday that sent him to bed with his +brain “in a whirl,” he heard “an angel strain,” +and immediately rose and pricked the notes of the +melody. The tune had come to him just in time +to be sung. A much admired tune has also been +written to this hymn by Hubert P. Main.</p> + + +<hr class="chap" /> +<h3 class="subhead">PALM SUNDAY.</h3> +<hr class="chap" /> + + + +<h4 class="hymn"><span>FAURE'S “PALM BRANCHES.</span>”</h4> + + +<p class="ctrhymn"><span> +<i>Sur nos chemins les rameaux et les fleurs<br /> +Sont repandos—</i> +</span></p> + +<div class="hymn"><div class="stanza"> +<div>O'er all the way green palms and blossoms gay</div> +<div>Are strewn to-day in festive preparation,</div> +<div>Where Jesus comes to wipe our tears away.</div> +<div>E'en now the throng to welcome Him prepare;</div> +<div>Join all and sing.—</div> +</div></div> + +<p>Jean Baptiste Faure, author of the words and +music, was born at Moulins, France, Jan. 15, 1830. +As a boy he was gifted with a beautiful voice, and +crowds used to gather wherever he sang in the +<a id="png:531" name="png:531"></a><samp class="pgmark" + ><span class="png">531 /</span> 471</samp> +streets of Paris. Little is known of his parentage, +and apparently the sweet voice of the wandering +lad was his only fortune. He found wealthy friends +who sent him to the <i>Conservatoire</i>, but when his +voice matured it ceased to serve him as a singer. +He went on with his study of instrumental music, +but mourned for his lost vocal triumphs, and his +longing became a subject of prayer. He promised +God that if his power to sing were given back to +him he would use it for charity and the good of +mankind. By degrees he recovered his voice, and +became known as a great baritone. As professional +singer and composer at the Paris <i>Grand +Opera</i>, he had been employed largely in dramatic +work, but his “Ode to Charity” is one of his enduring +and celebrated pieces, and his songs written +for benevolent and religious services have found +their way into all Christian lands.</p> + +<p>His “Palm-Branches” has come to be a <i>sine +qua non</i> on its calendar Sunday wherever church +worship is planned with any regard to the Feasts +of the Christian year.</p> + + +<hr class="chap" /> +<h3 class="subhead">EASTER.</h3> +<hr class="chap" /> + + +<p>Perhaps the most notable feature in the early +hymnology of the Oriental Church was its Resurrection +songs. Being hymns of joy, they called +forth all the ceremony and spectacle of ecclesiastical +<a id="png:532" name="png:532"></a><samp class="pgmark" + ><span class="png">532 /</span> 472</samp> +pomp. Among them—and the most ancient +one of those preserved—is the hymn of John of +Damascus, quoted in the second chapter (<a href="#png:080">p. 54</a>). +This was the proclamation-song in the watch-assemblies, +when exactly on the midnight moment +at the shout of “Christos egerthe!” +(<span title="[Greek: Christos êgerthê]" +>Χριστὸς +ἠγέρθη</span>.) +“Christ is risen!” thousands of torches were lit, +bells and trumpets pealed, and (in the later centuries) +salvos of cannon shook the air.</p> + +<p>Another favorite hymn of the Eastern Church +was the “<i>Salve, Beate Mane</i>,” “Welcome, Happy +Morning,” of Fortunatus. +(Chap. 10, <a href="#png:409">p. 357</a>.) This +poem furnished cantos for Easter hymns of the +Middle Ages. Jerome of Prague sang stanzas of +it on his way to the stake.</p> + +<p>An anonymous hymn, “<i>Poneluctum, Magdelena</i>,” +in medieval Latin rhyme, is addressed to Mary +Magdelene weeping at the empty sepulchre. The +following are the 3d and 4th stanzas, with a translation +by Prof. C.S. Harrington of <ins class="transcriber" + title="Transcriber's note: original has 'Weslyan'">Wesleyan</ins> University:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Gaude, plaude, Magdalena!</div> +<div class="i1"> Tumba Christus exiit!</div> +<div>Tristis est peracta scena,</div> +<div class="i1"> Victor mortis rediit;</div> +<div>Quem deflebas morientem,</div> +<div>Nunc arride resurgentem!</div> +<div class="i2"> Alleluia!</div> +</div><div class="stanza"> +<div>Tolle vultum, Magdalena!</div> +<div class="i1"> Redivivum aspice;</div> +<div>Vide frons quam sit amœna,</div> +<div class="i1"> Quinque plagas inspice;</div> +<div>Fulgent, sic ut margaritæ,</div> +<a id="png:533" name="png:533"></a><samp class="pgmark" + ><span class="png">533 /</span> 473</samp> +<div>Ornamenta novæ vitæ.</div> +<div class="i2"> Alleluia!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Magdalena, shout for gladness!</div> +<div>Christ has left the gloomy grave;</div> +<div>Finished is the scene of sadness;</div> +<div class="i1"> Death destroyed, He comes to save;</div> +<div>Whom with grief thou sawest dying,</div> +<div>Greet with smiles, the tomb defying.</div> +<div class="i2"> Hallelujah!</div> +</div><div class="stanza"> +<div>Lift thine eyes, O Magdalena!</div> +<div class="i1"> Lo! thy Lord before thee stands;</div> +<div>See! how fair the thorn-crowned forehead;</div> +<div class="i1"> Mark His feet, His side, His hands;</div> +<div>Glow His wounds with pearly whiteness!</div> +<div>Hallowing life with heavenly brightness!</div> +<div class="i2"> Hallelujah!</div> +</div></div> + +<p>The hymnaries of the Christian Church for +seventeen hundred years are so rich in Easter +hallelujahs and hosannas that to introduce them +all would swell a chapter to the size of an encyclopedia—and +even to make a selection is a responsible +task.</p> + +<p>Simple mention must suffice of Luther's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>In the bonds of death He lay;</div> +</div></div> + +<p class="runon">—of Watts'—</p> + +<div class="hymn"> +<div class="stanza"> +<div>He dies, the Friend of sinners dies;</div> +</div></div> + +<p class="runon">—of John Wesley's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Our Lord has gone up on high;</div> +</div></div> + +<p class="runon">—of C.F. Gellert's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Christ is risen! Christ is risen!</div> +<div class="i1"> He hath burst His bonds in twain;</div> +</div></div> + +<a id="png:534" name="png:534"></a><samp class="pgmark" + ><span class="png">534 /</span> 474</samp> +<p class="runon">—omitting hundreds which have been helpful in +psalmody, and are, perhaps, still in choir or congregational use.</p> + + + +<h4 class="hymn" +>“<span>CHRIST THE LORD IS RISEN TODAY</span>”</h4> + + +<p class="runon">Begins a hymn of Charles Wesley's and is also the +first line of a hymn prepared for Sunday-school use +by Mrs. Storrs, wife of the late Dr. Richard Salter +Storrs of Brooklyn, N.Y.</p> + +<p>Wesley's hymn is sung—with or without the +hallelujah interludes—to “Telemann's Chant,” +(Zeuner), to an air of Mendelssohn, and to John +<ins class="transcriber" + title="Transcriber's note: original reads 'Strainer'">Stainer's</ins> +“Paschale Gaudium.” Like the old +New England “Easter Anthem” it appears to have +been suggested by an anonymous translation of +some more ancient (Latin) antiphony.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Jesus Christ is risen to day,</div> +<div class="i2"> Hallelujah!</div> +<div>Our triumphant holy day,</div> +<div class="i2"> Hallelujah!</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Who endured the cross and grave.</div> +<div class="i2"> Hallelujah!</div> +<div>Sinners to redeem and save,</div> +<div class="i2"> Hallelujah!</div> +</div></div> + + + +<h4 class="hymn"><span>AN ANTHEM FOR EASTER.</span></h4> + + +<p>This work of an amateur genius, with its rustic +harmonies, suited the taste of colonial times, and +no doubt the devout church-goers of that day +<a id="png:535" name="png:535"></a><samp class="pgmark" + ><span class="png">535 /</span> 475</samp> +found sincere worship and thanksgiving in its +flamboyant music. “An Anthem for Easter,” in +A major by William Billings (1785) occupied +several pages in the early collections of psalmody +and “the sounding joy” was in it. Organs were +scarce, but beyond the viols of the village choirs it +needed no instrumental accessories. The language +is borrowed from the New Testament and +<i>Young's Night Thoughts</i>.</p> + +<div class="hymn"> +<div class="stanza"> +<div>The Lord is risen indeed!</div> +<div class="i2"> Hallelujah!</div> +<div>The Lord is risen indeed!</div> +<div class="i2"> Hallelujah!</div> +</div></div> + +<p>Following this triumphant overture, a recitative +bass solo repeats I Cor. 15:20, and the chorus takes +it up with crowning hallelujahs. Different parts, +<i>per fugam</i>, inquire from clef to clef—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i1"> And did He rise?</div> +<div class="i1"> And did He rise?—</div> +<div>Hear [the answer], O ye nations!</div> +<div class="i1"> Hear it, O ye dead!</div> +</div></div> + +<p class="runon">Then duet, trio and chorus sing it, successively—</p> + +<div class="hymn"> +<div class="stanza"> +<div>He rose! He rose! He rose!</div> +<div class="i1"> He burst the bars of death,</div> +<div class="i1"> And triumphed o'er the grave!</div> +</div></div> + +<p>The succeeding thirty-four bars—duet and chorus—take +home the sacred gladness to the heart of +humanity—</p> + +<div class="hymn"> +<div class="stanza"> +<div class="i2">Then, then <em>I</em> rose,</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div> +<a id="png:536" name="png:536"></a><samp class="pgmark" + ><span class="png">536 /</span> 476</samp> +<div class="stanza"> +<div class="i2"> And seized eternal youth,</div> +<div class="i2"> Man all immortal, hail!</div> +<div>Heaven's all the glory, man's the boundless bliss.</div> +</div></div> + +<a id="png:505" name="png:505"></a><samp class="pgmark" + ><span class="png">505 /</span> opp 446</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Philip Doddridge"> + <tr valign="bottom"> + <td><a id="Illus21" name="Illus21" + ><img src="images/illus21-philipdoddridge-cameo.jpg" alt= + "Philip Doddridge" width="225" height="263" /></a></td> + <td><table summary="Caption"> + <tr><td>Philip Doddridge, D.D.</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn">“<span>YES, THE REDEEMER ROSE.</span>”</h4> + + +<p>In the six-eight syllable verse once known as +“hallelujah metre”—written by Dr. Doddridge +to be sung after a sermon on the text in 1st Corinthians +noted in the above anthem—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Yes, the Redeemer rose,</div> +<div class="i1"> The Saviour left the dead,</div> +<div>And o'er our hellish foes</div> +<div class="i1"> High raised His conquering head.</div> +<div>In wild dismay the guards around</div> +<div>Fall to the ground and sink away.</div> +</div></div> + +<p>Lewis Edson's “Lenox” (1782) is an old favorite +among its musical interpreters.</p> + + + +<h4 class="hymn">“<span>O SHORT WAS HIS SLUMBER.</span>”</h4> + + +<p>This hymn for the song-service of the Ruggles +St. Church, Boston, was written by Rev. Theron +Brown.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O short was His slumber; He woke from the dust;</div> +<div class="i1"> The Saviour death's chain could not hold;</div> +<div>And short, since He rose, is the sleep of the just;</div> +<div class="i1"> They shall wake, and His glory behold.</div> +</div><div class="stanza"> +<div class="stars i2">* * * * * *</div> +</div><div class="stanza"> +<div>Dear grave in the garden; hope smiled at its door</div> +<div class="i1"> Where love's brightest triumph was told;</div> +<div>Christ lives! and His life will His people restore!</div> +<div class="i1"> They shall wake, and His glory behold.</div> +</div></div> + +<a id="png:537" name="png:537"></a><samp class="pgmark" + ><span class="png">537 /</span> 477</samp> + +<p>The music is Bliss' tune to Spafford's “When +Peace Like a River.”</p> + +<p>Another by the same writer, sung by the same +church chorus, is—</p> + +<div class="hymn"> +<div class="stanza"> +<div>He rose! O morn of wonder!</div> +<div class="i1"> They saw His light go down</div> +<div>Whose hate had crushed Him under,</div> +<div class="i1"> A King without a crown.</div> +<div>No plume, no garland wore He,</div> +<div class="i1"> Despised death's Victor lay,</div> +<div>And wrapped in night His glory,</div> +<div class="i1"> That claimed a grander day.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>He rose! He burst immortal</div> +<div class="i1"> From death's dark realm alone,</div> +<div>And left its heavenward portal</div> +<div class="i1"> Swung wide for all his own.</div> +<div>Nor need one terror seize us</div> +<div class="i1"> To face earth's final pain,</div> +<div>For they who follow Jesus,</div> +<div class="i1"> But die to live again.</div> +</div></div> + +<p>The composer's name is lost, the tune being left +nameless when printed. The impression is that +it was a secular melody. A very suitable tune for +the hymn is Geo. J. Webb's “Millennial Dawn” +(“the Morning Light is breaking.”)</p> + +<a id="png:538" name="png:538"></a><samp class="pgmark" + ><span class="png">538 /</span> 478</samp> + + + +<hr class="chap" /> +<h3 class="subhead">THANKSGIVING.</h3> +<hr class="chap" /> + + + +<h4 class="hymn" +>“<span>DIE FELDER WIR PFLÜGEN UND STREUEN.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>We plow the fields and scatter</div> +<div class="i1"> The good seed on the land,</div> +<div>But it is fed and watered</div> +<div class="i1"> By God's Almighty hand,</div> +<div>He sends the snow in winter,</div> +<div class="i1"> The warmth to swell the grain,</div> +<div>The breezes, and the sunshine</div> +<div class="i1"> And soft, refreshing rain,</div> +<div>All, all good gifts around us</div> +<div class="i1"> Are sent from heaven above</div> +<div>Then thank the Lord, O thank the Lord</div> +<div class="i2"> For all His love!</div> +</div></div> + +<p>Matthias Claudius, who wrote the German +original of this little poem, was a native of Reinfeld, +Holstein, born 1770 and died 1815. He wrote +lyrics, humorous, pathetic and religious, some of +which are still current in Germany.</p> + +<p>The translator of the verses is Miss Jane Montgomery +Campbell, whose identity has not been +traced. Hers is evidently one of the retiring names +brought to light by one unpretending achievement. +English readers owe to her the above modest and +devout hymn, which was first published here in +Rev. C.S. Bere's <i>Garland of Songs with Tunes</i>, +1861.</p> + +<p title="illustration of Lowell Mason originally opposite">Little is known +of Arthur Cottman, composer to +Miss Campbell's words. He was born in 1842, +and died in 1879.</p> + +<a id="png:541" name="png:541"></a><samp class="pgmark" + ><span class="png">541 /</span> 479</samp> + + + +<h4 class="hymn" +>“<span>WITH SONGS AND HONORS SOUNDING LOUD.</span>”</h4> + + +<p>Stanzas of this enduring hymn of Watts' have +been as often recited as sung.</p> + +<div class="hymn"> +<div class="stanza"> +<div>He sends His showers of blessing down</div> +<div class="i1"> To cheer the plains below;</div> +<div>He makes the grass the mountains crown,</div> +<div class="i1"> And corn in valleys grow.</div> +</div></div> + + +<h4 class="tune">THE TUNE,</h4> + +<p>One of the chorals—if not the best—to claim +partnership with this sacred classic, is John Cole's +“Geneva,” distinguished among the few fugue +tunes which the singing world refuses to dismiss. +There is a growing grandeur in the opening solo +and its following duet as they climb the first tetra-chord, +when the full harmony suddenly reveals +the majesty of the music. The little parenthetic +duo at the eighth bar breaks the roll of the song +for one breath, and the concord of voices closes in +again like a diapason. One thinks of a bird-note +making a waterfall listen.</p> + + + +<h4 class="hymn">“<span>HARVEST HOME.</span>”</h4> + + +<div class="hymn"> +<div class="stanza"> +<div>Let us sing of the sheaves, when the summer is done,</div> +<div>And the garners are stored with the gifts of the sun.</div> +<div>Shouting home from the fields like the voice of the sea,</div> +<div>Let us join with the reapers in glad jubilee,—</div> +</div><div class="stanza"> +<div class="refrain">Refrain.</div> +<div class="i3"> Harvest home! (<i>double rep</i>.)</div> +<div>Let us chant His praise who has crowned our days</div> +<div class="i2"> With bounty of the harvest home.</div> +</div> +<a id="png:542" name="png:542"></a><samp class="pgmark" + ><span class="png">542 /</span> 480</samp> +<div class="stanza"> +<div>Who hath ripened the fruits into golden and red?</div> +<div>Who hath grown in the valleys our treasures of bread,</div> +<div>That the owner might heap, and the stranger might glean</div> +<div>For the days when the cold of the winter is keen?</div> +<div class="i3"> Harvest home!</div> +</div><div class="stanza"> +<div class="i5"> Let us chant, etc.</div> +</div><div class="stanza"> +<div>For the smile of the sunshine, again and again,</div> +<div>For the dew on the garden, the showers on the plain,</div> +<div>For the year, with its hope and its promise that end,</div> +<div>Crowned with plenty and peace, let thanksgiving ascend,</div> +<div class="i3"> Harvest home!</div> +</div><div class="stanza"> +<div class="i5"> Let us chant, etc.</div> +</div><div class="stanza"> +<div>We shall gather a harvest of glory, we know,</div> +<div>From the furrows of life where in patience we sow.</div> +<div>Buried love in the field of the heart never dies,</div> +<div>And its seed scattered here will be sheaves in the skies,</div> +<div class="i3"> Harvest home!</div> +</div><div class="stanza"> +<div class="i5"> Let us chant, etc.</div> +</div></div> + +<p>Thanksgiving Hymn. Boston, 1890. Theron +Brown.</p> + +<p>Tune “To the Work, To the Work.” W.H. +Doane.</p> + + + +<h4 class="hymn">“<span>THE GOD OF HARVEST PRAISE.</span>”</h4> + + +<p>Written by James Montgomery in 1840, and +published in the <i>Evangelical Magazine</i> as the +Harvest Hymn for that year.</p> + +<div class="hymn"><div class="stanza"> +<div>The God of harvest praise;</div> +<div>In loud thanksgiving raise</div> +<div class="i1"> Heart, hand and voice.</div> +<div>The valleys smile and sing,</div> +<div>Forests and mountains sing,</div> +<div>The plains their tribute bring,</div> +<div class="i1"> The streams rejoice.</div> +</div><div class="stanza"> +<a id="png:543" name="png:543"></a><samp class="pgmark" + ><span class="png">543 /</span> 481</samp> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>The God of harvest praise;</div> +<div>Hearts, hands and voices raise</div> +<div class="i1"> With sweet accord;</div> +<div>From field to garner throng,</div> +<div>Bearing your sheaves along,</div> +<div>And in your harvest song</div> +<div class="i1"> Bless ye the Lord.</div> +</div></div> + +<p>Tune, “Dort”—Lowell Mason.</p> + +<a id="png:539" name="png:539"></a><samp class="pgmark" + ><span class="png">539 /</span> opp 478</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Lowell Mason"> + <tr valign="bottom"> + <td><a id="Illus22" name="Illus22" + ><img src="images/illus22-lowellmason-cameo.jpg" alt= + "Lowell Mason" width="149" height="259" /></a></td> + <td><table summary="Caption"> + <tr><td>Lowell Mason</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<hr class="chap" /> +<h3 class="subhead">MORNING.</h3> +<hr class="chap" /> + + + +<h4 class="hymn">“<span>STILL, STILL WITH THEE.</span>”</h4> + + +<p>These stanzas of Mrs. Harriet Beecher Stowe, +with their poetic beauty and grateful religious +spirit, have furnished an orison worthy of a place +in all the hymn books. In feeling and in faith the +hymn is a matin song for the world, supplying +words and thoughts to any and every heart that +worships.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Still, still with Thee, when purple morning breaketh,</div> +<div class="i1"> When the bird waketh and the shadows flee;</div> +<div>Fairer than morning, lovelier than daylight,</div> +<div class="i1"> Dawns the sweet consciousness, I am with Thee.</div> +</div><div class="stanza"> +<div>Alone with Thee, amid the mystic shadows</div> +<div class="i1"> The solemn hush of nature newly born;</div> +<div>Alone with Thee, in breathless adoration,</div> +<div class="i1"> In the calm dew and freshness of the morn.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<a id="png:544" name="png:544"></a><samp class="pgmark" + ><span class="png">544 /</span> 482</samp> +<div>When sinks the soul, subdued by toil, to slumber,</div> +<div class="i1"> Its closing eyes look up to Thee in prayer,</div> +<div>Sweet the repose beneath Thy wings o'ershadowing,</div> +<div class="i1"> But sweeter still to wake and find Thee there.</div> +</div></div> + + +<h4 class="tune">THE TUNES.</h4> + +<p>Barnby's “Windsor,” and “Stowe” by Charles +H. Morse (1893)—both written to the words.</p> + +<p>Mendelssohn's “Consolation” is a classic interpretation +of the hymn, and finely impressive +when skillfully sung, but simpler—and sweeter +to the popular ear—is Mason's “Henley,” written +to Mrs. Eslings'—</p> + +<p class="quote"> +“Come unto me when shadows darkly gather.” +</p> + + +<hr class="chap" /> +<h3 class="subhead">EVENING HYMNS.</h3> +<hr class="chap" /> + +<p>John Keble's beautiful meditation—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sun of my soul, Thou Saviour dear;</div> +</div></div> + +<p class="runon">John Leland's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The day is past and gone;</div> +</div></div> + +<p class="runon">and Phebe Brown's—</p> + +<div class="hymn"> +<div class="stanza"> +<div>I love to steal awhile away;</div> +</div></div> + +<p class="runon">—have already been noticed. Bishop Doane's +gentle and spiritual lines express nearly everything +that a worshipping soul would include in a moment +of evening thought. The first and last stanzas are +the ones most commonly sung.</p> + +<a id="png:545" name="png:545"></a><samp class="pgmark" + ><span class="png">545 /</span> 483</samp> +<div class="hymn"><div class="stanza"> +<div>Softly now the light of day</div> +<div>Fades upon my sight away:</div> +<div>Free from care, from labor free,</div> +<div>Lord I would commune with Thee.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Soon for me the light of day</div> +<div>Shall forever pass away;</div> +<div>Then, from sin and sorrow free,</div> +<div>Take me, Lord, to dwell with Thee.</div> +</div></div> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>Both Kozeluck and J.E. Gould, besides Louis +M. Gottschalk and Dr. Henry John Gauntlett, +have tried their skill in fitting music to this hymn, +but only Gottschalk and Kozeluck approach the +mood into which its quiet words charm a pious and +reflective mind. Possibly its frequent association +with “Holley,” composed by George Hews, may +influence a hearer's judgement of other melodies +but there is something in that tune that makes +it cling to the hymn as if by instinctive kinship.</p> + +<p>Others may have as much or more artistic music +but “Holley” in its soft modulations seems to +breathe the spirit of every word.</p> + +<p>It was this tune to which a stranger recently +heard a group of mill-girls singing Bishop Doane's +verses. The lady, a well-known Christian worker, +visited a certain factory, and the superintendent, +after showing her through the building, opened a +door into a long work-room, where the singing of the +<a id="png:546" name="png:546"></a><samp class="pgmark" + ><span class="png">546 /</span> 484</samp> +girls delighted and surprised her. It was sunset, +and their hymn was—</p> + +<p class="quote"> +Softly now the light of day. +</p> + +<p>Several of the girls were Sunday-school teachers, +who had encouraged others to sing at that hour, +and it had become a habit.</p> + +<p>“Has it made a difference?” the lady inquired.</p> + +<p>“There is seldom any quarrelling or coarse joking +among them now,” said the superintendent with +a smile.</p> + +<p>Dr. S.F. Smith's hymn of much the same tone +and tenor—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Softly fades the twilight ray</div> +<div>Of the holy Sabbath day,</div> +</div></div> + +<p class="runon">—is commonly sung to the tune of +“Holley.”</p> + +<p>George Hews, an American composer and piano-maker, +was born in Massachusetts 1800, and died +July 6, 1873. No intelligence of him or his work +or former locality is at hand, beyond this brief note +in Baptie, “He is believed to have followed his +trade in Boston, and written music for some of +Mason's earlier books.<ins class="transcriber" + title="Transcriber's note: punctuation inferred">”</ins></p> + + +<hr class="chap" /> +<h3 class="subhead">DEDICATION.</h3> +<hr class="chap" /> + + +<h4 class="hymn">“<span>CHRIST IS OUR CORNER-STONE.</span>”</h4> + + +<p>This reproduces in Chandler's translation a song-service +in an ancient Latin liturgy (<i>angulare fundamentum</i>).</p> + +<a id="png:547" name="png:547"></a><samp class="pgmark" + ><span class="png">547 /</span> 485</samp> +<div class="hymn"> +<div class="stanza"> +<div>Christ is our Corner-Stone;</div> +<div class="i1"> On Him alone we build,</div> +<div>With His true saints alone</div> +<div class="i1"> The courts of heaven are filled,</div> +<div class="i2"> On His great love</div> +<div class="i2"> Our hopes we place</div> +<div class="i2"> Of present grace</div> +<div class="i3"> And joys above.</div> +</div><div class="stanza"> +<div>O then with hymns of praise</div> +<div class="i1"> These hallowed courts shall ring;</div> +<div>Our voices we will raise</div> +<div class="i1"> The Three-in-One to sing.</div> +<div class="i2"> And thus proclaim</div> +<div class="i2"> In joyful song</div> +<div class="i2"> But loud and long</div> +<div class="i3"> That glorious Name.</div> +</div></div> + +<p>The Rev. John Chandler was born at Witley, +Surrey, Eng. June 16, 1806. He took his A.M. +degree at Oxford, and entered the ministry of the +Church of England, was Vicar of Witley many +years, and became well-known for his translations +of hymns of the primitive church. Died at Putney, +July 1, 1876.</p> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>Sebastian Wesley's “Harewood” is plainer and of +less compass, but Zundel's “Brooklyn” is more +than its rival, both in melody and vivacity.</p> + + + +<h4 class="hymn">“<span>OH LORD OF HOSTS WHOSE GLORY FILLS +THE BOUNDS OF THE ETERNAL HILLS.</span>”</h4> + + +<p class="runon">A hymn of Dr. John Mason Neale—</p> + +<a id="png:548" name="png:548"></a><samp class="pgmark" + ><span class="png">548 /</span> 486</samp> +<div class="hymn"> +<div class="stanza"> +<div>Endue the creatures with Thy grace</div> +<div>That shall adorn Thy dwelling-place</div> +<div>The beauty of the oak and pine,</div> +<div>The gold and silver, make them Thine.</div> +</div><div class="stanza"> +<div>The heads that guide endue with skill,</div> +<div>The hands that work preserve from ill,</div> +<div>That we who these foundations lay</div> +<div>May raise the top-stone in its day.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Welton,” by Rev. Caesar Malan—author of +“Hendon,” once familiar to American singers.</p> + +<p>Henri Abraham Cæsar Malan was born at Geneva, +Switzerland, 1787, and educated at Geneva +College. Ordained to the ministry of the State +church, (Reformed,) he was dismissed for preaching +against its formalism and spiritual apathy; but +he built a chapel of his own, and became a leader +with D'Aubigne, Monod, and others in reviving +the purity of the Evangelical faith and laboring for +the conversion of souls.</p> + +<p>Malan wrote many hymns, and published a large +collection, the “<i>Chants de Sion</i>,” for the Evangelical +Society and the French Reformed Church. +He composed the music of his own hymns. Died +at Vandosurre, 1864.</p> + + + + +<h4 class="hymn" +>“<span>DAUGHTER OF ZION, FROM THE DUST.</span>”</h4> + + +<p>Cases may occur where an <em>exhortation</em> hymn +earns a place with dedication hymns.</p> + +<a id="png:549" name="png:549"></a><samp class="pgmark" + ><span class="png">549 /</span> 487</samp> + +<p>The charred fragment of a hymn-book leaf +hangs in a frame on the auditorium wall of the +“New England Church,” Chicago. The former +edifice of that church, all the homes of its resident +members, and all their business offices except one, +were destroyed in the great fire. In the ruins of +their sanctuary the only scrap of paper found on +which there was a legible word was this bit of a +hymn-book leaf with the two first stanzas of Montgomery's +hymn,</p> + +<div class="hymn"> +<div class="stanza"> +<div>Daughter of Zion, from the dust,</div> +<div class="i1"> Exalt thy fallen head;</div> +<div>Again in thy Redeemer trust,</div> +<div class="i1"> He calls thee from the dead.</div> +</div><div class="stanza"> +<div>Awake, awake! put on thy strength,</div> +<div class="i1"> Thy beautiful array;</div> +<div>The day of freedom dawns at length,</div> +<div class="i1"> The Lord's appointed day.</div> +</div></div> + +<p class="runon">The third verse was not long in coming to every +mind—</p> + +<p class="quote"> +Rebuild thy walls! thy bounds enlarge! +</p> + +<p class="runon">—and even without that added word the impoverished +congregation evidently enough had received +a message from heaven. They took heart of grace, +overcame all difficulties, and in good time replaced +their ruined Sabbath-home with the noble house +in which they worship today.<sup>*</sup></p> + +<hr class="footnote" /> +<div class="footnote"><p>* +The story is told by Rev. William E. Barton D.D. of Oak Park, Ill.</p></div> + +<p>If the “New England Church” of Chicago did +not sing this hymn at the dedication of their new +<a id="png:550" name="png:550"></a><samp class="pgmark" + ><span class="png">550 /</span> 488</samp> +temple it was for some other reason than lack of +gratitude—not to say reverence.</p> + + +<hr class="chap" /> +<h3 class="subhead">THE SABBATH.</h3> +<hr class="chap" /> + +<p>The very essence of all song-worship pitched on +this key-note is the ringing hymn of Watts—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Sweet is the day of sacred rest,</div> +<div>No mortal cares disturb my breast, etc.</div> +</div></div> + +<p class="runon">—but it has vanished from the hymnals with its tune. +Is it because profane people or thoughtless youth +made a travesty of the two next lines—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O may my heart in tune be found</div> +<div>Like David's harp of solemn sound?</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Old “Portland” by Abraham Maxim, a fugue +tune in F major of the canon style, expressed all +the joy that a choir could put into music, though +with more sound than skill. The choral is a relic +among relics now, but it is a favorite one.</p> + +<p>“Sweet is the Light of Sabbath Eve” by Edmeston; +Stennett's “Another Six Days' Work is Done,” +sung to “Spohr,” the joint tune of Louis Spohr and +J.E. Gould; and Doddridge's “Thine Earthly Sabbath, +Lord, We Love” retain a feeble hold among +some congregations. And Hayward's “Welcome +Delightful Morn,” to the impossible tune of +<a id="png:551" name="png:551"></a><samp class="pgmark" + ><span class="png">551 /</span> 489</samp> +“Lischer,” survived unaccountably long in spite of its +handicap. But special Sabbath hymns are out of +fashion, those classed under that title taking an incidental +place under the general head of “Worship.”</p> + + + +<hr class="chap" /> +<h3 class="subhead">COMMUNION.</h3> +<hr class="chap" /> + +<h4 class="hymn" +>“<span>BREAD OF HEAVEN, ON THEE WE FEED.</span>”</h4> + + +<p>This hymn of Josiah Conder, copying the physical +metaphors of the 6th of John, is still occasionally +used at the Lord's Supper.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Vine of Heaven, Thy blood supplies</div> +<div>This blest cup of sacrifice,</div> +<div>Lord, Thy wounds our healing give,</div> +<div>To Thy Cross we look and live.</div> +</div></div> + +<p>The hymn is notable for the felicity with which +it combines imagery and reality. Figure and fact +are always in sight of each other.</p> + +<p>Josiah Conder was born in London, September +17, 1789. He edited the <i>Eclectic Review</i>, and was +the author of numerous prose works on historic +and religious subjects. Rev. Garrett Horder says +that more of his hymns are in common use now +than those of any other except Watts and Doddridge. +More <em>in proportion to the relative number</em> +may be nearer the truth. In his lifetime Conder +wrote about sixty hymns. He died Dec. 27, 1855.</p> + +<a id="png:552" name="png:552"></a><samp class="pgmark" + ><span class="png">552 /</span> 490</samp> + + +<h4 class="tune">THE TUNE.</h4> + +<p>The tune “Corsica” sometimes sung to the +words, though written by the famous Von Gluck, +shows no sign of the genius of its author. Born at +Weissenwang, near New Markt, Prussia, July 2, +1714, he spent his life in the service of operatic +art, and is called “the father of the lyric drama,” +but he paid little attention to sacred music. Queen +Marie Antoinette was for a while his pupil. Died +Nov. 25, 1787.</p> + +<p>“Wilmot,” (from Von Weber) one of Mason's +popular hymn-tune arrangements, is a melody with +which the hymn is well acquainted. It has a fireside +rhythm which old and young of the same +circles take up naturally in song.</p> + +<a id="png:557" name="png:557"></a><samp class="pgmark" + ><span class="png">557 /</span> opp 494</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Carl von Weber"> + <tr valign="bottom"> + <td><a id="Illus23" name="Illus23" + ><img src="images/illus23-carlvonweber-cameo.jpg" alt= + "Carl von Weber" width="205" height="287" /></a></td> + <td><table summary="Caption"> + <tr><td>Carl von Weber</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + + + +<h4 class="hymn" +>“<span>HERE, O MY LORD, I SEE THEE FACE TO FACE.</span>”</h4> + + +<p>Written in October, 1855, by Dr. Horatius Bonar. +James Bonar, brother of the poet-preacher, just +after the communion for that month, asked him to +furnish a hymn for the communion record. It was +the church custom to print a memorandum of each +service at the Lord's table, with an appropriate +hymn attached, and an original one would be thrice +welcome. Horatius in a day or two sent this +hymn:</p> + +<div class="hymn"> +<div class="stanza"> +<div>Here, O my Lord, I see Thee face to face,</div> +<div>Here would I touch and handle things unseen</div> +<div>Here grasp with firmer hand th' eternal grace</div> +<div>And all my weariness upon Thee lean.</div> +</div> +<a id="png:553" name="png:553"></a><samp class="pgmark" + ><span class="png">553 /</span> 491</samp> +<div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Too soon we rise; the symbols disappear;</div> +<div>The feast, though not the love, is past and gone;</div> +<div>The bread and wine remove, but Thou art here</div> +<div>Nearer than ever—still my Shield and Sun.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Morecambe” is an anonymous composition +printed with the words by the <i>Plymouth Hymnal</i> +editors. “Berlin” by Mendelssohn is better. The +metre of Bonar's hymn is unusual, and melodies to +fit it are not numerous, but for a meditative service +it is worth a tune of its own.</p> + + + +<h4 class="hymn" +>“<span>O THOU MY SOUL, FORGET NO MORE.</span>”</h4> + + +<p>The author of this hymn found in the Baptist +hymnals, and often sung at the sacramental seasons +of that denomination, was the first Hindoo convert +to Christianity.</p> + +<p>Krishna Pal, a native carpenter, in consequence +of an accident, came under the care of Mr. Thomas, +a missionary who had been a surgeon in the East +Indies and was now an associate worker with +William Carey. Mr. Thomas set the man's broken +arm, and talked of Jesus to him and the surrounding +crowd with so much tact and loving kindness +that Krishna Pal was touched. He became a pupil +of the missionaries; embraced Christ, and influenced +his wife and daughter and his brother to +accept his new faith.</p> + +<a id="png:554" name="png:554"></a><samp class="pgmark" + ><span class="png">554 /</span> 492</samp> + +<p>He alone, however, dared the bitter persecution +of his caste, and presented himself for church-membership. +He and Carey's son were baptized +in the Ganges by Dr. Carey, Dec. 28, 1800, in the +presence of the English Governor and an immense +concourse of people representing four or five different +religions.</p> + +<p>Krishna Pal wrote several hymns. The one here +noted was translated from the Bengalee by Dr. +Marshman.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O thou, my soul, forget no more</div> +<div>The Friend who all thy sorrows bore;</div> +<div>Let every idol be forgot;</div> +<div>But, O my soul, forget him not.</div> +</div><div class="stanza"> +<div>Renounce thy works and ways, with grief,</div> +<div>And fly to this divine relief;</div> +<div>Nor Him forget, who left His throne,</div> +<div>And for thy life gave up His own.</div> +</div><div class="stanza"> +<div>Eternal truth and mercy shine</div> +<div>In Him, and He Himself is thine:</div> +<div>And canst thou then, with sin beset,</div> +<div>Such charms, such matchless charms forget?</div> +</div><div class="stanza"> +<div>Oh, no; till life itself depart,</div> +<div>His name shall cheer and warm my heart;</div> +<div>And lisping this, from earth I'll rise,</div> +<div>And join the chorus of the skies.</div> +</div></div> + +<h4 class="tune">THE TUNE.</h4> + +<p>There is no scarcity of good long-metre tunes to +suit the sentiment of this hymn. More commonly +in the Baptist manuals its vocal mate is Bradbury's +<a id="png:555" name="png:555"></a><samp class="pgmark" + ><span class="png">555 /</span> 493</samp> +“Rolland” or the sweet and serious Scotch +melody of “Ward,” arranged by Mason. Best of +all is “Hursley,” the beautiful Ritter-Monk +choral set to “Sun of My Soul.”</p> + + +<hr class="chap" /> +<h3 class="subhead">NEW YEAR.</h3> +<hr class="chap" /> + + +<p>Two representative hymns of this class are John +Newton's—</p> + +<div class="hymn"><div class="stanza"> +<div>While with ceaseless course the sun,</div> +</div></div> + +<p class="runon">—and Charles Wesley's—</p> + +<div class="hymn"><div class="stanza"> +<div>Come let us anew our journey pursue;</div> +</div></div> + +<p class="runon">the one a voice at the next year's threshold, the +other a song at the open door.</p> + +<div class="hymn"><div class="stanza"> +<div>While with ceaseless course the sun</div> +<div>Hasted thro' the former year</div> +<div>Many souls their race have run</div> +<div>Nevermore to meet us here.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>As the winged arrow flies</div> +<div>Speedily the mark to find,</div> +<div>As the lightening from the skies</div> +<div>Darts and leaves no trace behind,</div> +<div>Swiftly thus our fleeting days</div> +<div>Bear we down life's rapid stream,</div> +<div>Upward, Lord, our spirits raise;</div> +<div>All below is but a dream.</div> +</div></div> + +<p>A grave occasion, whether unexpected or periodical, +will force reflection, and so will a grave +<a id="png:556" name="png:556"></a><samp class="pgmark" + ><span class="png">556 /</span> 494</samp> +truth; and when both present themselves at once, +the truth needs only commonplace statement. If +the statement is in rhyme and measure more attention +is secured. Add a <em>tune</em> to it, and the most +frivolous will take notice. Newton's hymn sung +on the last evening of the year has its opportunity—and +never fails to produce a solemn effect; but +it is to the immortal music given to it in Samuel +Webbe's “Benevento” that it owes its unique and +permanent place. Dykes' “St. Edmund” may be +sung in England, but in America it will never replace +Webbe's simple and wonderfully impressive +choral.</p> + +<p>Charles Wesley's hymn is the antipode of Newton's +in metre and movement.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Come, let us anew our journey pursue,</div> +<div class="i1"> Roll round with the year</div> +<div>And never stand still till the Master appear.</div> +<div>His adorable will let us gladly fulfil</div> +<div class="i1"> And our talents improve</div> +<div>By the patience of hope and the labor of love.</div> +</div><div class="stanza"> +<div>Our life is a dream, our time as a stream</div> +<div class="i1"> Glides swiftly away,</div> +<div>And the fugitive moment refuses to stay.</div> +<div>The arrow is flown, the moment is gone,</div> +<div class="i1"> The millennial year,</div> +<div>Rushes on to our view, and eternity's near.</div> +</div></div> + +<p title="Illustration of Carl von Weber originally opposite">One could +scarcely imagine a greater contrast +than between this hymn and Newton's. In spite +of its eccentric metre one cannot dismiss it as +rhythmical jingle, for it is really a sermon shaped +into a popular canticle, and the surmise is not a +<a id="png:559" name="png:559"></a><samp class="pgmark" + ><span class="png">559 /</span> 495</samp> +difficult one that he had in mind a secular air that +was familiar to the crowd. But the hymn is not +one of Wesley's <em>poems</em>. Compilers who object to +its lilting measure omit it from their books, but it +holds its place in public use, for it carries weighty +thoughts in swift sentences.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O that each in the Day of His coming may say,</div> +<div class="i1"> “I have fought my way through,</div> +<div>I have finished the work Thou didst give me to do.”</div> +<div>O that each from the Lord may receive the glad word,</div> +<div class="i1"> “Well and faithfully done,</div> +<div>Enter into my joy, and sit down on my throne.”</div> +</div></div> + +<p>For a hundred and fifty years this has been sung +in the Methodist watch-meetings, and it will be +long before it ceases to be sung—and reprinted in +Methodist, and some Baptist hymnals.</p> + +<p>The tune of “Lucas,” named after James Lucas, +its composer, is the favorite vehicle of song for +the “Watch-hymn.” Like the tune to “O How +Happy Are They,” it has the movement of the words +and the emphasis of their meaning.</p> + +<p>No knowledge of James Lucas is at hand except +that he lived in England, where one brief reference +gives his birth-date as 1762 and “about 1805” as +the birth-date of the tune.</p> + + + +<h4 class="hymn" +>“<span>GREAT GOD, WE SING THAT MIGHTY HAND.</span>”</h4> + + +<p>The admirable hymn of Dr. Doddridge may be +noted in this division with its equally admirable +<a id="png:560" name="png:560"></a><samp class="pgmark" + ><span class="png">560 /</span> 496</samp> +tune of “Melancthon,” one of the old Lutheran +chorals of Germany.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Great God, we sing that mighty hand</div> +<div>By which supported still we stand.</div> +<div>The opening year Thy mercy shows;</div> +<div>Thy mercy crown it till its close!</div> +</div><div class="stanza"> +<div>By day, by night, at home, abroad,</div> +<div>Still we are guarded by our God.</div> +</div></div> + +<p>As this last couplet stood—and ought now to +stand—pious parents teaching the hymn to their +children heard them repeat—</p> + +<div class="hymn"><div class="stanza"> +<div>By day, by night, at home, abroad,</div> +<div><em>We are surrounded still with God</em>.</div> +</div></div> + +<p>Many are now living whose first impressive +sense of the Divine Omnipresence came with that +line.</p> + + +<hr class="chap" /> +<h3 class="subhead">PARTING.</h3> +<hr class="chap" /> + + +<h4 class="hymn" +>“<span>GOD BE WITH YOU TILL WE MEET AGAIN.</span>”</h4> + + +<p>A lyric of benediction, born, apparently, at the +divine moment for the need of the great “Society +of Christian Endeavor,” and now adopted into the +Christian song-service of all lands. The author, +Rev. Jeremiah Eames Rankin, D.D., LL.D., was +born in Thornton, N.H., Jan. 2, 1828. He was +graduated at Middlebury College, Vt., in 1848, +and labored as a Congregational pastor more +<a id="png:561" name="png:561"></a><samp class="pgmark" + ><span class="png">561 /</span> 497</samp> +than thirty years. For thirteen years he was +President of Howard University, Washington, +D.C. Besides the “Parting Hymn” he wrote <i>The +Auld Scotch Mither</i>, <i>Ingleside Rhymes</i>, <i>Hymns +pro Patria</i>, and various practical works and religious +essays. Died 1904.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>As in a thousand other partnerships of hymnist +and musician, Dr. Rankin was fortunate in his +composer. The tune is a symphony of hearts—subdued +at first, but breaking into a chorus strong +with the uplift of hope. It is a farewell with a +spiritual thrill in it.</p> + +<p>Its author, William Gould Tomer, was born in +Finesville, Warren Co., N.J., October 5, 1832; +died in Phillipsburg, N.J., Sept. 26, 1896. He was +a soldier in the Civil War and a writer of good +ability as well as a composer. For some time he +was editor of the <i>High Bridge Gazette</i>, and music +with him was an avocation rather than a profession. +He wrote the melody to Dr. Rankin's +hymn in 1880, Prof. J.W. Bischoff supplying the +harmony, and the tune was first published in +<i>Gospel Bells</i> the same year.</p> + + +<hr class="chap" /> +<h3 class="subhead">FUNERALS.</h3> +<hr class="chap" /> + + +<p>The style of singing at funerals, as well as the +character of the hymns, has greatly changed—if, +<a id="png:562" name="png:562"></a><samp class="pgmark" + ><span class="png">562 /</span> 498</samp> +indeed, music continues to be a part of the service, +as frequently, in ordinary cases, it is not. “China” +with its comforting words—and terrifying chords—is +forever obsolete, and not only that, but Dr. +Muhlenberg's, “I Would Not Live Alway,” with its +sadly sentimental tune of “Frederick,” has passed +out of common use. Anna Steele's “So Fades the +Lovely, Blooming Flower,” on the death of a child, +is occasionally heard, and now and then Dr. S.F. +Smith's, “Sister, Thou Wast Mild and Lovely,” +(with its gentle air of “Mt. Vernon,”) on the death +of a young lady. Standard hymns like Watts', +“Unveil Thy Bosom, Faithful Tomb,” to the slow, +tender melody of the “Dead March,” (from Handel's +oratorio of “Saul”) and Montgomery's +“Servant of God, Well Done,” to “Olmutz,” or +Woodbury's “Forever with the Lord,” still retain +their prestige, the music of the former being +played on steeple-chimes on some burial occasions +in cities, during the procession—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Nor pain nor grief nor anxious fear</div> +<div class="i1"> Invade thy bounds; no mortal woes</div> +<div>Can reach the peaceful sleeper here</div> +<div class="i1"> While angels watch the soft repose.</div> +</div></div> + +<p><a id="Servant2" name="Servant2">The latter hymn</a> +(Montgomery's) is biographical—as +described on <a href="#Servant1">page 301</a>—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Servant of God, well done;</div> +<div class="i1"> Rest from thy loved employ;</div> +<div>The battle fought, the victory won,</div> +<div class="i1"> Enter thy Master's joy.</div> +</div></div> + +<a id="png:563" name="png:563"></a><samp class="pgmark" + ><span class="png">563 /</span> 499</samp> + +<p>Only five stanzas of this long poem are now in +use.</p> + +<p>The exquisite elegy of Montgomery, entitled +“The Grave,”—</p> + +<div class="hymn"> +<div class="stanza"> +<div>There is a calm for those who weep,</div> +<div class="i1"> A rest for weary mortals found</div> +<div>They softly lie and sweetly sleep</div> +<div class="i1"> Low in the ground.</div> +</div></div> + +<p class="runon">—is by no means discontinued on funeral occasions, +nor Margaret Mackay's beloved hymn,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Asleep in Jesus, blessed sleep,</div> +</div></div> + +<p class="runon">—melodized in Bradbury's “Rest.”</p> + +<p>Mrs. Margaret Mackay was born in 1801, the +daughter of Capt. Robert Mackay of Hedgefield, +Inverness, and wife of a major of the same name. +She was the author of several prose works and +<i>Lays of Leisure Hours</i>, containing seventy-two +original hymns and poems, of which “Asleep in +Jesus” is one. She died in 1887.</p> + + + + +<h4 class="hymn">“<span>MY JESUS, AS THOU WILT.</span>”</h4> + + +<h4 class="quote">(<i>Mein Jesu, wie du willst</i>.)</h4> + + +<p>This sweet hymn for mourners, known to us +here in Jane Borthwick's translation, was written +by Benjamin Schmolke (or Schmolk) late in the +17th century. He was born at Brauchitzchdorf, +in Silesia, Dec. 21, 1672, and received his education +at the Labau Gymnasium and Leipsic University. +A sermon preached while a youth, for his +<a id="png:564" name="png:564"></a><samp class="pgmark" + ><span class="png">564 /</span> 500</samp> +father, a Lutheran pastor, showed such remarkable +promise that a wealthy man paid the expenses +of his education for the ministry. He was ordained +and settled as pastor of the Free Church at +Schweidnitz, Silesia, in which charge he continued +from 1701 till his death.</p> + +<p>Schmolke was the most popular hymn-writer of +his time, author of some nine hundred church +pieces, besides many for special occasions. Withal +he was a man of exalted piety and a pastor of rare +wisdom and influence.</p> + +<p>His death, of paralysis, occurred on the anniversary +of his wedding, Feb. 12, 1737.</p> + +<div class="hymn"> +<div class="stanza"> +<div>My Jesus, as Thou wilt,</div> +<div class="i1"> Oh may Thy will be mine!</div> +<div>Into Thy hand of love</div> +<div class="i1"> I would my all resign.</div> +<div>Thro' sorrow or thro' joy</div> +<div class="i1"> Conduct me as Thine own,</div> +<div>And help me still to say,</div> +<div class="i1"> My Lord, Thy will be done.</div> +</div></div> + +<p>The last line is the refrain of the hymn of four +eight-line stanzas.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“Sussex,” by Joseph Barnby, a plain-song with +a fine harmony, is good congregational music for +the hymn.</p> + +<p>But “Jewett,” one of Carl Maria Von Weber's +exquisite flights of song, is like no other in its +intimate interpretation of the prayerful words. +<a id="png:565" name="png:565"></a><samp class="pgmark" + ><span class="png">565 /</span> 501</samp> +We hear Luther's “bird in the heart” singing +softly in every inflection of the tender melody as it +glides on. The tune, arranged by Joseph Holbrook, +is from an opera—the overture to Weber's +Der <ins class="transcriber" + title="Transcriber's note: original has 'Freischütz'">Freischutz</ins>—but one feels that the gentle +musician when he wrote it must have caught an +inspiration of divine trust and peace. The wish +among the last words he uttered when dying in +London of slow disease was, “Let me go back +to my own (home), and then God's will be done.” +That wish and the sentiment of Schmolke's hymn +belong to each other, for they end in the same +way.</p> + +<div class="hymn"> +<div class="stanza"> +<div>My Jesus, as Thou wilt:</div> +<div class="i1"> All shall be well for me;</div> +<div>Each changing future scene</div> +<div class="i1"> I gladly trust with Thee.</div> +<div>Straight to my home above</div> +<div class="i1"> I travel calmly on,</div> +<div>And sing in life or death</div> +<div class="i1"> My Lord, Thy will be done.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>I CANNOT ALWAYS TRACE THE WAY.</span>”</h4> + + +<p>In later years, when funeral music is desired, +the employment of a male quartette has become a +favorite custom. Of the selections sung in this +manner few are more suitable or more generally +welcomed than the tender and trustful hymn of +Sir John Bowring, rendered sometimes in Dr. +Dykes' “Almsgiving,” but better in the less-known +but more flexible tune composed by Howard M. +Dow—</p> +<a id="png:566" name="png:566"></a><samp class="pgmark" + ><span class="png">566 /</span> 502</samp> + +<div class="hymn"> +<div class="stanza"> +<div>I cannot always trace the way</div> +<div class="i1"> Where Thou, Almighty One, dost move,</div> +<div>But I can always, always say</div> +<div class="i1"> That God is love.</div> +</div><div class="stanza"> +<div>When fear her chilling mantle flings</div> +<div class="i1"> O'er earth, my soul to heaven above</div> +<div>As to her native home upsprings,</div> +<div class="i1"> For God is love.</div> +</div><div class="stanza"> +<div>When mystery clouds my darkened path,</div> +<div class="i1"> I'll check my dread, my doubts reprove;</div> +<div>In this my soul sweet comfort hath</div> +<div class="i1"> That God is love.</div> +</div><div class="stanza"> +<div>Yes, God is love. A thought like this</div> +<div class="i1"> Can every gloomy thought remove,</div> +<div>And turn all tears, all woes to bliss</div> +<div class="i1"> For God is love.</div> +</div></div> + +<p>The first line of the hymn was originally, “'Tis +seldom I can trace the way.”</p> + +<p>Howard M. Dow has been many years a resident +of Boston, and organist of the Grand Lodge of +Freemasons at the Tremont St. (Masonic) Temple.</p> + + +<hr class="chap" /> +<h3 class="subhead">WEDDING.</h3> +<hr class="chap" /> + +<p>Time was when hymns were sung at weddings, +though in America the practice was never universal. +Marriage, among Protestants, is not one +of the sacraments, and no masses are chanted for +it by ecclesiastical ordinance. The question of +music at private marriages depends on convenience, +<a id="png:567" name="png:567"></a><samp class="pgmark" + ><span class="png">567 /</span> 503</samp> +vocal or instrumental equipment, and the +general drift of the occasion. At public weddings +the organ's duty is the “Wedding March.”</p> + +<p>To revive a fashion of singing at home marriages +would be considered an oddity—and, where civil +marriages are legal, a superfluity—but in the +religious ceremony, just after the prayer that +follows the completion of the nuptial formula, it +will occur to some that a hymn would “tide over” +a proverbially awkward moment. Even good, +quaint old John Berridge's lines would happily +relieve the embarrassment—besides reminding the +more thoughtless that a wedding is not a mere +piece of social fun—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Since Jesus truly did appear</div> +<div class="i1"> To grace a marriage feast</div> +<div>O Lord, we ask Thy presence here</div> +<div class="i1"> To make a wedding guest.</div> +</div><div class="stanza"> +<div>Upon the bridal pair look down</div> +<div class="i1"> Who now have plighted hands;</div> +<div>Their union with Thy favor crown</div> +<div class="i1"> And bless the nuptial bands</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>In purest love these souls unite</div> +<div class="i1"> That they with Christian care</div> +<div>May make domestic burdens light</div> +<div class="i1"> By taking each a share.</div> +</div></div> + +<p>Tune, “Lanesboro,” Mason.</p> + +<p>A wedding hymn of more poetic beauty is the +one written by Miss Dorothy Bloomfield (now Mrs. +Gurney), born 1858, for her sister's marriage in +1883.</p> + +<a id="png:568" name="png:568"></a><samp class="pgmark" + ><span class="png">568 /</span> 504</samp> + +<div class="hymn"> +<div class="stanza"> +<div>O perfect Love, all human thought transcending,</div> +<div class="i1"> Lowly we kneel in prayer before Thy throne</div> +<div>That their's may be a love which knows no ending</div> +<div class="i1"> Whom Thou forevermore dost join in one.</div> +</div><div class="stanza"> +<div>O perfect Life, be Thou their first assurance</div> +<div class="i1"> Of tender charity and steadfast faith,</div> +<div>Of patient hope and quiet, brave endurance,</div> +<div class="i1"> With childlike trust that fears nor pain nor death.</div> +</div><div class="stanza"> +<div>Grant them the joy which brightens earthly sorrow,</div> +<div class="i1"> Grant them the peace which calms all earthly strife,</div> +<div>And to their day the glorious unknown morrow</div> +<div class="i1"> That dawns upon eternal love and life.</div> +</div></div> + +<p>Tune by Joseph Barnby, “O Perfect Love.”</p> + + +<hr class="chap" /> +<h3 class="subhead">FRUITION DAY.</h3> +<hr class="chap" /> + + +<h4 class="hymn" +>“<span>LO! HE COMES WITH CLOUDS DESCENDING.</span>”</h4> + + +<p>Thomas Olivers begins one of his hymns with +this line. The hymn is a Judgment-day lyric of +rude strength and once in current use, but now +rarely printed. The “Lo He Comes,” here specially +noted, is the production of John Cennick, the +Moravian.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Lo! He comes with clouds descending</div> +<div class="i1"> Once for favored sinners slain,</div> +<div>Thousand thousand saints attending</div> +<div class="i1"> Swell the triumph of His train.</div> +<div class="i2"> Hallelujah!</div> +<div>God appears on earth to reign.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div> +<a id="png:569" name="png:569"></a><samp class="pgmark" + ><span class="png">569 /</span> 505</samp> +<div class="stanza"> +<div>Yea, amen; let all adore Thee</div> +<div class="i1"> High on Thy eternal throne.</div> +<div>Saviour, take the power and glory,</div> +<div class="i1"> Claim the kingdom for thine own;</div> +<div class="i2"> O come quickly;</div> +<div>Hallelujah! Come, Lord, come.</div> +</div></div> + + +<h4 class="tune">THE TUNES.</h4> + +<p>Various composers have written music to this +universal hymn, but none has given it a choral +that it can claim as peculiarly its own. “Brest,” +Lowell Mason's plain-song, has a limited range, +and runs low on the staff, but its solemn chords are +musical and commanding. As much can be said +of the tunes of Dr. Dykes and Samuel Webbe, +which have more variety. Those who feel that the +hymn calls for a more ornate melody will prefer +Madan's “Helmsley.”</p> + + + +<h4 class="hymn" +>“<span>LO! WHAT A GLORIOUS SIGHT APPEARS.</span>”</h4> + +<p>The great Southampton bard who wrote +“Sweet fields beyond the swelling flood” was +quick to kindle at every reminder of Fruition Day.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Lo! what a glorious sight appears</div> +<div class="i1"> To our believing eyes!</div> +<div>The earth and seas are passed away,</div> +<div class="i1"> And the old rolling skies.</div> +<div>From the third heaven, where God resides,</div> +<div class="i1"> That holy, happy place,</div> +<div>The New Jerusalem comes down,</div> +<div class="i1"> Adorned with shining grace.</div> +</div></div> + +<a id="png:570" name="png:570"></a><samp class="pgmark" + ><span class="png">570 /</span> 506</samp> +<p>This hymn of Watts' sings one of his most exalted +visions. It has been dear for two hundred years +to every Christian soul throbbing with millennial +thoughts and wishful of the day when—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The God of glory down to men</div> +<div class="i1"> Removes His best abode,</div> +</div></div> + +<p class="runon">—and when—</p> + +<div class="hymn"> +<div class="stanza"> +<div>His own kind hand shall wipe the tears</div> +<div class="i1"> From every weeping eye,</div> +<div>And pains and groans, and griefs and fears,</div> +<div class="i1"> And death itself shall die,</div> +</div></div> + +<p class="runon">—and the yearning cry of the last stanza, when the +vision fades, has been the household ?<sup>†</sup> of myriads of +burdened and sorrowing saints—</p> + +<div class="hymn"> +<div class="stanza"> +<div>How long, dear Saviour, O how long</div> +<div class="i1"> Shall this bright hour delay?</div> +<div>Fly swifter round ye wheels of Time,</div> +<div class="i1"> And bring the welcome day!</div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>† +Transcriber's note: This question mark is in the original. +It is possibly a compositor's query which the author missed +when correcting the proofs. The missing text could be +‘word’.</p></div> + +<h4 class="tune">THE TUNES.</h4> + +<p>By right of long appropriation both “Northfield” +and “New Jerusalem” own a near relationship +to these glorious verses. Ingalls, one of the +constellation of early Puritan psalmodists, to which +Billings and Swan belonged, evidently loved the +hymn, and composed his “New Jerusalem” to the +verse, “From the third heaven,” and his “Northfield” +to “How long, dear Saviour.” The former +is now sung only as a reminiscence of the music of +the past, at church festivals, charity fairs and +<a id="png:571" name="png:571"></a><samp class="pgmark" + ><span class="png">571 /</span> 507</samp> +entertainments of similar design, but the action and +hearty joy in it always evoke sympathetic +applause. “Northfield” is still in occasional +use, and it is a jewel of melody, however irretrievably +out of fashion. Its union to that immortal +stanza, if no other reason, seems likely to +insure its permanent place in the lists of sacred +song.</p> + +<p>John Cole's “Annapolis,” still found in a few +hymnals with these words, is a little too late to be +called a contemporary piece, but there are some +reminders of <ins class="transcriber" title= + "Transcriber's note: original lacks apostrophe">Ingalls'</ins> +“New Jerusalem” in its style +and vigor, and it really partakes the flavor of the +old New England church music.</p> + +<p>Jeremiah Ingalls was born in Andover, Mass., +<ins class="transcriber" + title="Transcriber's note: original reads 'March.'">March</ins> +1, 1764. A natural fondness for music increased +with his years, but opportunities to educate +it were few and far between, and he seemed like +to become no more than a fairly good bass-viol +player in the village choir. But his determination +carried him higher, and in time his self-taught +talent qualified him for a singing-school master, +and for many years he travelled through Massachusetts, +New Hampshire and Vermont, training +the raw vocal material in the country towns, and +organizing choirs.</p> + +<p>Between his thirtieth and fortieth years, he composed +a number of tunes, and, in 1804 published +a two hundred page collection of his own and +others' music, which he called the <i>Christian +Harmony</i>.</p> + +<a id="png:572" name="png:572"></a><samp class="pgmark" + ><span class="png">572 /</span> 508</samp> +<p>His home was for some time in Newberry, Vt., +but he subsequently lived at Rochester and at +Hancock in the same state.</p> + +<p>Among the traditions of him is this anecdote of +the origin of his famous tune “Northfield,” which +may indicate something of his temper and religious +habit. During his travels as a singing-school +teacher he stopped at a tavern in the town of +Northfield and ordered his dinner. It was very +slow in coming, but the inevitable “how long?” +that formulated itself in his hungry thoughts, instead +of sharpening into profane complaint, fell into +the rhythm of Watts' sacred line—and the tune +came with it. To call it “Northfield” was natural +enough; the place where its melody first beguiled +him from his bodily wants to a dream of the final +Fruition Day.</p> + +<p>Ingalls died in Hancock, Vt., April 6, 1828.</p> + +<a id="png:573" name="png:573"></a><samp class="pgmark" + ><span class="png">573 /</span> 509</samp> + + + + +<h2 class="chap">CHAPTER XIV.</h2> +<hr class="chap" /> + +<h1>HYMNS OF HOPE AND CONSOLATION.</h1> +<hr class="chap" /> + + + + +<h4 class="hymn">“<span>JERUSALEM THE GOLDEN.</span>”</h4> + + +<h4 class="quote"><i>Urbs Sion Aurea</i>.</h4> + + +<p>“The Seven Great Hymns” of the Latin Church +are:</p> + +<ul class="quote"> +<li>Laus Patriae Coelestis,—(Praise of the Heavenly Country).</li> +<li>Veni, Sancte Spiritus,—(Come, Holy Spirit)</li> +<li>Veni, Creator Spiritus,—(Come, Creator Spirit)</li> +<li>Dies Irae,—(The Day of Wrath)</li> +<li>Stabat Mater,—(The Mother Stood By)</li> +<li>Mater Speciosa,—(The Fair Mother.)</li> +<li>Vexilla Regis.—(The Banner of the King.)</li> +</ul> + +<p>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.)</p> + +<p>Bernard was of English parentage, though born +at Morlaix, a seaport town in the north of France. +<a id="png:574" name="png:574"></a><samp class="pgmark" + ><span class="png">574 /</span> 510</samp> +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.</p> + +<p>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.”</p> + +<p>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:</p> + +<div class="hymn wide"> +<div class="stanza"> +<div>Hora novissima; tempora pessima sunt; Vigilemus!</div> +<div class="i1"> Ecce minaciter imminet Arbiter, Ille Supremus!</div> +</div><div class="stanza"> +<div>'Tis the last hour; the times are at their worst;</div> +<div class="i1"> Watch; lo the Judge Supreme stands threat'ning nigh!</div> +</div></div> + +<p class="runon">Or, as Dr. Neale paraphrases and softens it,—</p> + +<div class="hymn"> +<div class="stanza"> +<div>The World is very evil,</div> +<div class="i1"> The times are waxing late,</div> +<div>Be sober and keep vigil,</div> +<div class="i1"> The Judge is at the gate,</div> +</div></div> + +<a id="png:575" name="png:575"></a><samp class="pgmark" + ><span class="png">575 /</span> 511</samp> +<p class="runon">—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—</p> + + +<div class="hymn wide"> +<div class="stanza"> +<div>Urbs Sion aurea, patria lactea, cive decora,</div> +<div>Omne cor obruis, omnibus obstruis, et cor et ora.</div> +<div>Nescio, nescio quae jubilatio lux tibi qualis,</div> +<div>Quam socialia gaudia, gloria quam specialis.</div> +</div></div> +<div class="hymn"> +<div class="stanza"> +<div>Jerusalem, the golden;</div> +<div class="i1"> With milk and honey blest;</div> +<div>Beneath thy contemplation</div> +<div class="i1"> Sink heart and voice opprest.</div> +<div>I know not, O I know not</div> +<div class="i1"> What joys await us there,</div> +<div>With radiancy of glory,</div> +<div class="i1"> With bliss beyond compare.</div> +</div><div class="stanza"> +<div> They stand, those halls of Zion,</div> +<div class="i1"> All jubilant with song,<sup>*</sup></div> +<div> And bright with many an angel;</div> +<div class="i1"> And all the martyr throng.</div> +<div> The Prince is ever in them,</div> +<div class="i1"> The daylight is serene;</div> +<div> The pastures of the blessed</div> +<div class="i1"> Are decked in glorious sheen.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<a id="png:576" name="png:576"></a><samp class="pgmark" + ><span class="png">576 /</span> 512</samp> +<div>O sweet and blessed country,</div> +<div class="i1"> The home of God's elect!</div> +<div>O sweet and blessed country,</div> +<div class="i1"> That eager hearts expect!</div> +<div>Jesu, in mercy bring us</div> +<div class="i1"> To that dear land of rest,</div> +<div>Who art, with God the Father,</div> +<div class="i1"> And Spirit, ever blest.</div> +</div></div> + +<hr class="footnote" /> +<div class="footnote"><p>* +In first editions, “<em>conjubilant</em> with song.”</p></div> + +<p>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.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>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.</p> + + + +<h4 class="hymn" +>“<span>WHY SHOULD WE START AND FEAR TO DIE?</span>”</h4> + + +<p>Probably it is an embarrassment of riches and +despair of space that have crowded this hymn— +<a id="png:577" name="png:577"></a><samp class="pgmark" + ><span class="png">577 /</span> 513</samp> +perhaps the sweetest that Watts ever wrote—out of +some of our church singing-books. It is pleasant +to find it in the new <i>Methodist Hymnal</i>, though +with an indifferent tune.</p> + +<p>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—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O if my Lord would come and meet,</div> +<div class="i1"> My soul would stretch her wings in haste.</div> +<div>Fly fearless through death's iron gate,</div> +<div class="i1"> Nor feel the terrors as she passed.</div> +<div>Jesus can make a dying bed</div> +<div class="i1"> Feel soft as downy pillows are,</div> +<div>While on His breast I lean my head</div> +<div class="i1"> And breathe my life out sweetly there.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>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.”</p> + +<p>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—</p> + +<div class="hymn"> +<div class="stanza"> +O if my Lord would come and meet, +</div></div> + +<p class="runon">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 +<a id="png:578" name="png:578"></a><samp class="pgmark" + ><span class="png">578 /</span> 514</samp> +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—</p> + +<div class="hymn"> +<div class="stanza"> +Jesus can make a dying bed, +</div></div> + +<p class="runon">—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.</p> + +<p>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.”</p> + +<p>“All Saints New” was his masterpiece.</p> + + + +<h4 class="hymn" +>“<span>WHEN I CAN READ MY TITLE CLEAR.</span>”</h4> + + +<p>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 +<a id="png:579" name="png:579"></a><samp class="pgmark" + ><span class="png">579 /</span> 515</samp> +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—</p> + +<div class="hymn"> +<div class="stanza"> +<div>When I can read my title clear</div> +<div class="i1"> To mansions in the skies</div> +<div>I'll bid farewell to every fear</div> +<div class="i1"> And wipe my weeping eyes.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>There shall I bathe my weary soul</div> +<div class="i1"> In seas of heavenly rest,</div> +<div>And not a wave of trouble roll</div> +<div class="i1"> Across my peaceful breast.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>VITAL SPARK OF HEAVENLY FLAME.</span>”</h4> + + +<p>This paraphrase, by Alexander Pope, of the +Emperor Adrian's death-bed address to his soul—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Animula, vagula, blandula,</div> +<div class="i1"> Hospes, comesque corporis,</div> +</div></div> + +<p class="runon">—transfers the poetry and constructs a hymnic +theme.</p> + +<p>An old hymn writer by the name of Flatman +wrote a Pindaric, somewhat similar to “Adrian's +Address,” as follows:</p> + +<a id="png:580" name="png:580"></a><samp class="pgmark" + ><span class="png">580 /</span> 516</samp> +<div class="hymn"> +<div class="stanza"> +<div>When on my sick-bed I languish,</div> +<div>Full of sorrow, full of anguish,</div> +<div>Fainting, gasping, trembling, crying,</div> +<div>Panting, groaning, speechless, dying;</div> +<div>Methinks I hear some gentle spirit say,</div> +<div>“Be not fearful, come away.”</div> +</div></div> + +<p>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.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Vital spark of heavenly flame,</div> +<div>Quit, oh quit this mortal frame.</div> +<div>Trembling, hoping, ling'ring, flying,</div> +<div>Oh the pain, the bliss of dying!</div> +<div>Cease, fond nature, cease thy strife,</div> +<div>And let me languish into life.</div> +</div><div class="stanza"> +<div>Hark! they whisper: angels say,</div> +<div>“Sister spirit, come away!”</div> +<div>What is this absorbs me quite,</div> +<div>Steals my senses, shuts my sight,</div> +<div>Drowns my spirit, draws my breath,</div> +<div>Tell me, my soul, can this be death?</div> +</div><div class="stanza"> +<div>The world recedes: it disappears:</div> +<div>Heaven opens on my eyes; my ears</div> +<div class="i1"> With sounds seraphic ring.</div> +<div>Lend, lend your wings! I mount! I fly!</div> +<div>O grave where is thy victory?</div> +<div class="i1"> O death, where is thy sting?</div> +</div></div> + +<h4 class="tune">THE TUNE.</h4> + +<p>The old anthem, “The Dying Christian,” or “The +Dying Christian to his Soul,” which first made this +<a id="png:581" name="png:581"></a><samp class="pgmark" + ><span class="png">581 /</span> 517</samp> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + + + +<h4 class="hymn" +>“<span>YOUR HARPS, YE TREMBLING SAINTS.</span>”</h4> + + +<p>This hymn of Toplady,—unlike “A Debtor to +Mercy Alone,” and “Inspirer and Hearer of Prayer,” +both now little used,—stirs no controversial +<a id="png:582" name="png:582"></a><samp class="pgmark" + ><span class="png">582 /</span> 518</samp> +feeling by a single line of his aggressive Calvinism. +It is simply a song of Christian gratitude and joy.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Your harps, ye trembling saints</div> +<div class="i1"> Down from the willows take;</div> +<div>Loud to the praise of Love Divine</div> +<div class="i1"> Bid every string awake.</div> +</div><div class="stanza"> +<div>Though in a foreign land,</div> +<div class="i1"> We are not far from home,</div> +<div>And nearer to our house above</div> +<div class="i1"> We every moment come.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Blest is the man, O God,</div> +<div class="i1"> That stays himself on Thee,</div> +<div>Who waits for Thy salvation, Lord,</div> +<div class="i1"> Shall Thy salvation see.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>“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.”</p> + +<p>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 <i>Musical +Casket</i> was not issued until Dec. 1858, but he +wrote the tune of “State St.” in August, 1844. It +was a contribution to Bradbury's <i>Psalmodist</i>, which +was published the same year.</p> + +<a id="png:583" name="png:583"></a><samp class="pgmark" + ><span class="png">583 /</span> 519</samp> + + + +<h4 class="hymn" +>“<span>YE GOLDEN LAMPS OF HEAVEN, FAREWELL.</span>”</h4> + + +<p>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—</p> + +<div class="hymn"> +<div class="stanza"> +<div>My soul that springs beyond thy sphere</div> +<div class="i1"> No more demands thine aid.</div> +</div></div> + +<p>But his fancy will find a function for the “golden +lamps” even in the glory that swallows up their +light—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Ye stars are but the shining dust</div> +<div class="i1"> Of my divine abode,</div> +<div>The pavement of those heavenly courts</div> +<div class="i1"> Where I shall dwell with God.</div> +</div><div class="stanza"> +<div>The Father of eternal light</div> +<div class="i1"> Shall there His beams display,</div> +<div>Nor shall one moment's darkness mix</div> +<div class="i1"> With that unvaried day.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>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.</p> + + + +<h4 class="hymn" +>“<span>TRIUMPHANT ZION, LIFT THY HEAD.</span>”</h4> + + +<p>This fine and stimulating lyric is Doddridge in +another tone. Instead of singing hope to the +<a id="png:584" name="png:584"></a><samp class="pgmark" + ><span class="png">584 /</span> 520</samp> +individual, he sounds a note of encouragement to the +church.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Put all thy beauteous garments on,</div> +<div>And let thy excellence be known;</div> +<div>Decked in the robes of righteousness,</div> +<div>The world thy glories shall confess.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>God from on high has heard thy prayer;</div> +<div>His hand thy ruins shall repair,</div> +<div>Nor will thy watchful Monarch cease</div> +<div>To guard thee in eternal peace.</div> +</div></div> + +<p>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.</p> + +<p>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.</p> + + + +<h4 class="hymn" +>“<span>SHRINKING FROM THE COLD HAND OF DEATH.</span>”</h4> + + +<p>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.” +<a id="png:585" name="png:585"></a><samp class="pgmark" + ><span class="png">585 /</span> 521</samp> +“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—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“‘Oh that, without a lingering groan,</div> +<div class="i1"> I may the welcome word receive.</div> +<div>My body with my charge lay down,</div> +<div class="i1"> And cease at once to work and live.’”</div> +</div></div> + +<p>The anticipation of death itself by both the great +evangelists ended like the ending of the hymn—</p> + +<div class="hymn"> +<div class="stanza"> +<div>No anxious doubt, no guilty gloom</div> +<div class="i1"> Shall daunt whom Jesus' presence cheers;</div> +<div>My Light, my Life, my God is come,</div> +<div class="i1"> And glory in His face appears.</div> +</div></div> + + + +<h4 class="hymn">“<span>FOREVER WITH THE LORD.</span>”</h4> + + +<p>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:</p> + +<div class="hymn"> +<div class="stanza"> +<div>There is a calm for those who weep,</div> +<div class="i1"> A rest for weary mortals found;</div> +<div>They softly lie and sweetly sleep</div> +<div class="i1"><span> Low in the ground.</span></div> +</div><div class="stanza"> +<div>The storms that wreck the winter's sky</div> +<div class="i1"> No more disturb their deep repose</div> +<div>Than summer evening's latest sigh</div> +<div class="i1"><span> That shuts the rose.</span></div> +</div></div> + +<a id="png:586" name="png:586"></a><samp class="pgmark" + ><span class="png">586 /</span> 522</samp> + +<p>But in the poem, “At Home in Heaven,” which +we are considering—with its divine text in +<span class="smc">i</span> 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.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Forever with the Lord!</div> +<div class="i1"> Amen, so let it be,</div> +<div>Life from the dead is in that word;</div> +<div class="i1"> 'Tis immortality.</div> +</div><div class="stanza"> +<div>Here in the body pent,</div> +<div class="i1"> Absent from Him I roam,</div> +<div>Yet nightly pitch my moving tent</div> +<div class="i1"> A day's march nearer home.</div> +</div><div class="stanza"> +<div>My Father's house on high!</div> +<div class="i1"> Home of my soul, how near</div> +<div>At times to faith's foreseeing eye</div> +<div class="i1"> Thy golden gates appear.</div> +</div><div class="stanza"> +<div>I hear at morn and even,</div> +<div class="i1"> At noon and midnight hour,</div> +<div>The choral harmonies of heaven</div> +<div class="i1"> Earth's Babel tongues o'erpower.</div> +</div></div> + +<p>The last line has been changed to read—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Seraphic music pour,</div> +</div></div> + +<p class="runon">—and finally the hymnals have dropped the verse +and substituted others. The new line is an +<a id="png:587" name="png:587"></a><samp class="pgmark" + ><span class="png">587 /</span> 523</samp> +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.”</p> + + + +<h4 class="tune">THE TUNES.</h4> + + +<p>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.”</p> + +<p>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 <ins class="transcriber" title= + "Transcriber's note: original reads 'March.'">March</ins> 22, 1781.</p> + +<a id="png:588" name="png:588"></a><samp class="pgmark" + ><span class="png">588 /</span> 524</samp> + + + +<h4 class="hymn">“<span>HARK! HARK, MY SOUL!</span>”</h4> + + +<p>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.</p> + +<p>The hymns and sacred poems of these sacramentarian +Christians would certify to their earnest +piety, even if their lives were unknown.</p> + +<p>Faber's hymn “Hark, Hark My Soul,” is welcomed +and loved by every Christian sect for its +religious spirit and its lyric beauty.</p> + +<div class="hymn"> +<div class="stanza"> +<div>Hark! hark, my soul! angelic songs are swelling</div> +<div class="i1"> O'er earth's green fields and ocean's wave-beat shore;</div> +<div>How sweet the truth those blessed strains are telling</div> +<div class="i1"> Of that new life where sin shall be no more.</div> +</div><div class="stanza"> +<div class="refrain">Refrain</div> +<div>Angels of Jesus, angels of light</div> +<div class="i1"> Singing to welcome the pilgrims of the night.</div> +</div> +<a id="png:589" name="png:589"></a><samp class="pgmark" + ><span class="png">589 /</span> 525</samp> +<div class="stanza"> +<div>Onward we go, for still we hear them singing</div> +<div class="i1"> “Come, weary souls, + for Jesus bids you come,”</div> +<div>And through the dark, its echoes sweetly ringing,</div> +<div class="i1"> The music of the gospel leads us home.</div> +<div class="i5"> Angels of Jesus.</div> +</div><div class="stanza"> +<div>Far, far away, like bells at evening pealing,</div> +<div class="i1"> The voice of Jesus sounds o'er land and sea,</div> +<div>And laden souls, by thousands meekly stealing,</div> +<div class="i1"> Kind Shepherd, turn their weary steps to Thee.</div> +<div class="i5"> Angels of Jesus.</div> +</div></div> + + +<h4 class="tune">THE TUNES.</h4> + +<p>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.</p> + +<p>Another much-loved hymn of Faber's is—</p> + +<div class="hymn"> +<div class="stanza"> +<div>O Paradise, O Paradise!</div> +<div class="i1"> Who doth not crave for rest?</div> +<div>Who would not see the happy land</div> +<div class="i1"> Where they that loved are blest?</div> +</div><div class="stanza"> +<div class="refrain">Refrain</div> +<div>Where loyal hearts and true</div> +<div class="i1"> Stand ever in the light,</div> +<div>All rapture through and through</div> +<div class="i1"> In God's most holy sight.</div> +</div><div class="stanza"> +<div>O Paradise, O Paradise,</div> +<div class="i1"> The world is growing old;</div> +<a id="png:590" name="png:590"></a><samp class="pgmark" + ><span class="png">590 /</span> 526</samp> +<div>Who would not be at rest and free</div> +<div class="i1"> Where love is never cold.</div> +</div><div class="stanza"> +<div class="i4"> Where loyal hearts and true.</div> +</div><div class="stanza"> +<div>O Paradise, O Paradise,</div> +<div class="i1"> I greatly long to see</div> +<div>The special place my dearest Lord,</div> +<div class="i1"> In love prepares for me.</div> +</div><div class="stanza"> +<div class="i4"> Where loyal hearts and true.</div> +</div></div> + +<p>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.</p> + +<p>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 <a href="#png:278">p. 234</a>.</p> + +<a id="png:591" name="png:591"></a><samp class="pgmark" + ><span class="png">591 /</span> opp 526</samp> +<div class="illus"> +<table cellspacing="40" summary="Portrait of Horatius Bonar"> + <tr valign="bottom"> + <td><a id="Illus24" name="Illus24" + ><img src="images/illus24-horatiusbonar-cameo.jpg" alt= + "Horatius Bonar" width="202" height="260" /></a></td> + <td><table summary="Caption"> + <tr><td>Horatius Bonar, D.D.</td></tr> + <tr><td><img src="images/hymnal.png" alt="Hymnal" + width="40" height="40" /></td></tr> + </table></td> +</tr></table></div> + +<a id="png:593" name="png:593"></a><samp class="pgmark" + ><span class="png">593 /</span> 527</samp> + + + +<h4 class="hymn" +>“<span>BEYOND THE SMILING AND THE WEEPING.</span>”</h4> + + +<p>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—</p> + +<div class="hymn"> +<div class="stanza"> +<div>Beyond the smiling and the weeping</div> +<div class="i2"> I shall be soon;</div> +<div>Beyond the waking and the sleeping,</div> +<div>Beyond the sowing and the reaping</div> +<div class="i2"> I shall be soon.</div> +</div><div class="stanza"> +<div class="refrain">Refrain</div> +<div>Love, rest and home!</div> +<div class="i1"> Sweet hope!</div> +<div>Lord, tarry not, but come.</div> +</div><div class="stanza"> +<div class="stars i1">* * * * * *</div> +</div><div class="stanza"> +<div>Beyond the parting and the meeting</div> +<div class="i2"> I shall be soon;</div> +<div>Beyond the farewell and the greeting,</div> +<div>Beyond the pulses' fever-beating</div> +<div class="i2"> I shall be soon.</div> +<div class="i4"> Love, rest and home!</div> +</div><div class="stanza"> +<div>Beyond the frost-chain and the fever</div> +<div class="i2"> I shall be soon;</div> +<div>Beyond the rock-waste and the river</div> +<div>Beyond the ever and the never</div> +<div class="i2"> I shall be soon.</div> +<div class="i4"> Love, rest and home!</div> +</div></div> + +<p>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 +<a id="png:594" name="png:594"></a><samp class="pgmark" + ><span class="png">594 /</span> 528</samp> +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.</p> + + +<h4 class="tune">THE TUNES.</h4> + +<p>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.</p> + + + +<h4 class="hymn" +>“<span>WE SHALL MEET BEYOND THE RIVER.</span>”</h4> + + +<p>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.”</p> + +<p>“There,” he adds, “in the silence of my +study, and not far from midnight, I wrote the +hymn.”</p> + +<a id="png:595" name="png:595"></a><samp class="pgmark" + ><span class="png">595 /</span> 529</samp> +<div class="hymn"> +<div class="stanza"> +<div>We shall meet beyond the river</div> +<div class="i1"> By and by, by and by;</div> +<div>And the darkness will be over</div> +<div class="i1"> By and by, by and by.</div> +</div><div class="stanza"> +<div>With the toilsome journey done,</div> +<div class="i1"> And the glorious battle won.</div> +<div>We shall shine forth as the sun</div> +<div class="i1"> By and by, by and by.</div> +</div></div> + +<p>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 <i>Centennial History of American Methodism</i> +is his work, and besides the above hymn, he has +written and published <i>The Garden of Sorrows</i>, +and <i>The Living Way</i>. He died Dec. 8, 1897.</p> + +<p>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.</p> + + + +<h4 class="hymn">“<span>ONE SWEETLY SOLEMN THOUGHT.</span>”</h4> + + +<p>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 +<a id="png:596" name="png:596"></a><samp class="pgmark" + ><span class="png">596 /</span> 530</samp> +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.”</p> + +<p>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.</p> + +<p>“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:—</p> + +<div class="hymn"><div class="stanza"> +<div>One sweetly solemn thought</div> +<div class="i1"> Comes to me o'er and o'er,</div> +<div>I am nearer home to-day,</div> +<div class="i1"> Than I ever have been before.</div> +</div><div class="stanza"> +<div>Nearer my Father's house,</div> +<div class="i1"> Where the many mansions be,</div> +<div>Nearer the great white throne,</div> +<div class="i1"> Nearer the crystal sea.</div> +</div> +<a id="png:597" name="png:597"></a><samp class="pgmark" + ><span class="png">597 /</span> 531</samp> +<div class="stanza"> +<div>Nearer the bound of life,</div> +<div class="i1"> Where we lay our burdens down,</div> +<div>Nearer leaving the cross</div> +<div class="i1"> Nearer gaining the crown.</div> +</div></div> + + + +<h4 class="tune">THE TUNE.</h4> + + +<p>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.</p> + +<p>“Harry, where did you learn that hymn?”</p> + +<p>“What hymn?”</p> + +<p>“Why the one you have been singing.”</p> + +<p>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.</p> + +<p>“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, +<a id="png:598" name="png:598"></a><samp class="pgmark" + ><span class="png">598 /</span> 532</samp> +for old America's sake, if for no other, you will +quit this infernal business.”</p> + +<p>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.</p> + + + +<h4 class="hymn">“<span>I WILL SING YOU A SONG + OF THAT BEAUTIFUL LAND.</span>”</h4> + + +<p>One day, in the year 1865, Mrs. Ellen M.H. +Gates received a letter from Philip Phillips noting +the passage in the <i>Pilgrim's Progress</i> 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 <i>Singing Pilgrim</i>. 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 +<a id="png:599" name="png:599"></a><samp class="pgmark" + ><span class="png">599 /</span> 533</samp> +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.”</p> + +<p>A writer in the <i>Golden Rule</i> (now the <i>Christian +Endeavor World</i>) calls attention to an incident on +a night railroad train narrated in the late Benjamin +F. Taylor's <i>World on Wheels</i>, 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—</p> + +<div class="hymn"> +<div class="stanza"> +<div>“I will sing you a song of that beautiful land,</div> +<div class="i1"> The far-away home of the soul,</div> +<div>Where no storms can beat on the glittering strand,</div> +<div class="i1"> While the years of eternity roll.</div> +</div> +<a id="png:600" name="png:600"></a><samp class="pgmark" + ><span class="png">600 /</span> 534</samp> +<div class="stanza"> +<div>O, that home of the soul, in my visions and dreams,</div> +<div class="i1"> Its bright jasper walls I can see;</div> +<div>Till I fancy but thinly the veil intervenes</div> +<div class="i1"> Between the fair city and me.”</div> +</div></div> + +<p class="runon">“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.”</p> + +<p>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.</p> + +<div class="hymn"> +<div class="stanza"> +<div>O how sweet it will be in that beautiful land,</div> +<div class="i1"> So free from all sorrow and pain,</div> +<div>With songs on our lips and with harps in our hands</div> +<div class="i1"> To meet one another again.</div> +</div></div> + + + +<h4 class="hymn" +>“<span>THERE'S A LAND THAT IS FAIRER THAN DAY.</span>”</h4> + + +<p>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, +<a id="png:601" name="png:601"></a><samp class="pgmark" + ><span class="png">601 /</span> 535</samp> +and condition, the feeling of the song brings unshed tears.</p> + +<p>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.</p> + +<p>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.</p> + +<p>“What's the matter now,” was the doctor's greeting +when his “patient” came with the tell-tale face.</p> + +<p>“O, nothing,” said Webster. “It'll be all right +by and by.”</p> + +<p>“Why not make a song of the sweet by and by?” +rejoined the doctor, cheerfully.</p> + +<p>“I don't know,” said Webster, after thinking a +second or two. “If you'll make the words, I'll +write the music.”</p> + +<p>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 +<a id="png:602" name="png:602"></a><samp class="pgmark" + ><span class="png">602 /</span> 536</samp> +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.</p> + +<p>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.</p> + +<p>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.”</p> + +<a id="png:603" name="png:603"></a><samp class="pgmark" + ><span class="png">603 /</span> 537</samp> + +<p>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 <i>The Signet Ring</i>, 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 <i>Signet Ring</i> 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 <em>immediate</em> popularity implied +in Doctor Bennett's account was limited to +the children of Elkhorn village.</p> + +<p>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 “<i>Signet Ring</i>” +with pianoforte accompaniment and chorus, it +appeared that year in <i>Winnowed Hymns</i> as arranged +by Hubert P. Main, and it has so been +sung ever since.</p> + +<p>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.</p> + +<p>Joseph Philbrick Webster was born in Manchester, +N.H. March 22, 1819. He was an active +<a id="png:604" name="png:604"></a><samp class="pgmark" + ><span class="png">604 /</span> 538</samp> +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 <i>Signet Ring</i> was published in 1868.</p> + +<div class="hymn"> +<div class="stanza"> +<div>There's a land that is fairer than day,</div> +<div class="i1"> And by faith I can see it afar</div> +<div>For the Father waits over the way</div> +<div class="i1"> To prepare us a dwelling-place there.</div> +</div><div class="stanza"> +<div class="refrain">Chorus</div> +<div class="i1"> In the sweet by and by</div> +<div>We shall meet on that beautiful shore.</div> +</div><div class="stanza"> +<div>We shall sing on that beautiful shore</div> +<div class="i1"> The melodious songs of the blest,</div> +<div>And our spirits shall sorrow no more,</div> +<div class="i1"> Nor sigh for the blessing of rest.</div> +<div class="i4"> In the sweet by and by, etc.</div> +</div></div> + + + +<h4 class="hymn">“<span>SUNSET AND EVENING STAR.</span>”</h4> + + +<p>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 <ins class="transcriber" + title="Transcriber's note: original has 'diciples'">disciples</ins> on the way to Emmaus.”</p> + +<p>Such a man's faith would make no room for +dying terrors.</p> + +<a id="png:605" name="png:605"></a><samp class="pgmark" + ><span class="png">605 /</span> 539</samp> +<div class="hymn"> +<div class="stanza"> +<div>Sunset and evening star,</div> +<div class="i1"> And one clear call for me,</div> +<div>And may there be no moaning of the bar</div> +<div class="i1"> When I put out to sea,</div> +</div><div class="stanza"> +<div>But such a tide as, moving, seems asleep,</div> +<div class="i1"> Too full for sound and foam,</div> +<div>When that which drew from out the boundless deep</div> +<div class="i1"> Turns again home.</div> +</div><div class="stanza"> +<div>Twilight and evening bell,</div> +<div class="i1"> And after that the dark,</div> +<div>And may there be no sadness of farewell</div> +<div class="i1"> When I embark.</div> +</div><div class="stanza"> +<div>For though from out our bourne of time and place</div> +<div class="i1"> The flood may bear me far,</div> +<div>I hope to see my Pilot face to face</div> +<div class="i1"> When I have crossed the bar.</div> +</div></div> + +<p>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 <em>he saw Him</em>.</p> + + +<h4 class="tune">THE TUNE.</h4> + +<p>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.</p> + +<a id="png:606" name="png:606"></a><samp class="pgmark" + ><span class="png">606 /</span> 540</samp> + + + +<h4 class="hymn">“<span>SAFE IN THE ARMS OF JESUS.</span>”</h4> + + +<p>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.</p> + +<p>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<sup>*</sup> in prayer meeting and Sunday-school +and murmuring it at the humble firesides like a +mother's lullaby.</p> + +<hr class="footnote" /> +<div class="footnote"><p>* +Isa. 40:11.</p></div> + +<div class="hymn"><div class="stanza"> +<div>Safe in the arms of Jesus,</div> +<div class="i1"> Safe on His gentle breast,</div> +<div>There by His love o'ershaded</div> +<div class="i1"> Sweetly my soul shall rest.</div> +<div>Hark! 'tis the voice of angels</div> +<div class="i1"> Borne in a song to me</div> +<div>Over the fields of glory,</div> +<div class="i1"> Over the jasper sea.</div> +</div> +<a id="png:607" name="png:607"> +</a><div class="stanza"> +<div class="refrain">Refrain</div> +<div>Safe in the arms of Jesus (1st four lines rep.).</div> +</div><div class="stanza"> +<div>Safe in the arms of Jesus,</div> +<div class="i1"> Safe from corroding care,</div> +<div>Safe from the world's temptations,</div> +<div class="i1"> Sin cannot harm me there.</div> +<div>Free from the blight of sorrow,</div> +<div class="i1"> Free from my doubts and fears,</div> +<div>Only a few more trials,</div> +<div class="i1"> Only a few more tears.</div> +</div><div class="stanza"> +<div class="i4"> Safe in the arms of Jesus.</div> +</div><div class="stanza"> +<div>Jesus, my heart's dear refuge</div> +<div class="i1"> Jesus has died for me;</div> +<div>Firm on the Rock of Ages</div> +<div class="i1"> Ever my trust shall be,</div> +<div>Here let me with patience,</div> +<div class="i1"> Wait till the night is o'er,</div> +<div>Wait till I see the morning</div> +<div class="i1"> Break on the Golden Shore.</div> +</div><div class="stanza"> +<div class="i4"> Safe in the arms of Jesus.</div> +</div><div class="stanza"> +<div class="right">—Composed 1868.</div> +</div></div> + + +<h4 class="tune">THE TUNE.</h4> + +<p>Those who have characterized the <i>Gospel Hymns</i> +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 <i>da +capo</i> being its only refrain. “Safe in the Arms of +Jesus” sang itself into public favor with the pulses +of hymn and tune beating together.</p> + +<a id="png:609" name="png:609"></a><samp class="pgmark" + ><span class="png">609 /</span> 543</samp> + + + + +<h2 class="chap">INDEX OF NAMES.</h2> +<hr class="chap" /> + +<div class="ctr"> +<table summary="Index of Names: A" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Abt</em>, Franz,</span> + <a href="#png:272">228</a>, + <a href="#png:416">364</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adams</em>, E.,</span> + <a href="#png:423">369</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adams</em>, John,</span> + <a href="#png:422">368</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adams</em>, John Quincy,</span> + <a href="#png:341">293</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adams</em>, Sarah F.,</span> + <a href="#png:186">152</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Addison</em>, Joseph,</span> + <a href="#png:143">113</a>, + <a href="#png:144">114</a>, + <a href="#png:405">353</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adrian</em>, (Emperor),</span> + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: origninal has 'Aibilinger'">Aiblinger</ins></em>, Johan Caspar,</span> + <a href="#png:409">357</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Aldrich</em>, Jonathan,</span> + <a href="#png:335">287</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Alexander</em>, Mrs. C.F.,</span> + <a href="#png:470">414</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Allen</em>, George N.,</span> + <a href="#png:468">412</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Allen</em>, J.O.,</span> + <a href="#png:161">129</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Almond</em>, ———,</span> + <a href="#png:416">364</a>, + <a href="#png:417">365</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: origninal has 'Altenberg'">Altenburg</ins></em>, Johan M.,</span> + <a href="#png:112">84</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ambrose</em>,</span> + <a href="#png:015">xiii</a>, + <a href="#png:021">1</a>, + <a href="#png:022">2</a>, + <a href="#png:023">3</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Anatolius</em>,</span> + <a href="#png:406">354</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Apes</em>, William,</span> + <a href="#png:311">265</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Aratus</em>,</span> + <a href="#png:281">237</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Arne</em>, Thomas A.,</span> + <a href="#png:137">107</a>, + <a href="#png:138">108</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Arnold</em>, Matthew,</span> + <a href="#png:139">109</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Arnold</em>, S.,</span> + <a href="#png:335">287</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Atchison</em>, John B.,</span> + <a href="#png:511">451</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Atkinson</em>, John,</span> + <a href="#png:594">528</a>, + <a href="#png:595">529</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Auber</em>, Harriet,</span> + <a href="#png:204">168</a>, + <a href="#png:205">169</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Augustine</em>,</span> + <a href="#png:011">ix</a>, + <a href="#png:022">2</a>, + <a href="#png:023">3</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Avison</em>, Charles,</span> + <a href="#png:377">327</a></td> +</tr> + +</table> + +<table summary="Index of Names: B" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Bach</em>, Emanuel,</span> + <a href="#png:029">9</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bach</em>, Sebastian,</span> + <a href="#png:029">9</a>, + <a href="#png:099">71</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bailey</em>, Thomas H.,</span> + <a href="#png:142">112</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Baker</em>, Sir Henry,</span> + <a href="#png:083">57</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Baldwin</em>, Thomas,</span> + <a href="#png:308">262</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Barlow</em>, Joel,</span> + <a href="#png:286">242</a>, + <a href="#png:287">243</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Barnby</em>, Joseph,</span> + <a href="#png:132">102</a>, + <a href="#png:141">111</a>, + <a href="#png:529">469</a>, + <a href="#png:564">500</a>, + <a href="#png:568">504</a>, + <a href="#png:590">526</a>, + <a href="#png:605">539</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Barnes</em>, Albert,</span> + <a href="#png:059">35</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Barthelemon</em>, F.H.,</span> + <a href="#png:242">202</a>, + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Basil the great</em>,</span> + <a href="#png:082">56</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bassini</em>, ———,</span> + <a href="#png:502">444</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beanes</em>, William,</span> + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beddome</em>, Benjamin,</span> + <a href="#png:196">160</a>, + <a href="#png:205">169</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beecher</em>, Henry Ward,</span> + <a href="#png:260">218</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beethoven</em>, Ludwig Von,</span> + <a href="#png:025">5</a>, + <a href="#png:233">193</a>, + <a href="#png:377">327</a>, + <a href="#png:390">338</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Belcher</em>, Dr.,</span> + <a href="#png:068">44</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bennett</em>, Sanford F.,</span> + <a href="#png:601">535</a>–<a href="#png:603">537</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Benson</em>, Louis F.,</span> + <a href="#png:244">204</a>, + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bentham</em>, Jeremy,</span> + <a href="#png:127">97</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Berkeley</em>, Bp. George,</span> + <a href="#png:374">324</a>–<a href="#png:376">326</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bernard of clairvaux</em>,</span> + <a href="#png:130">100</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bernard of cluny</em>,</span> + <a href="#png:463">407</a>, + <a href="#png:574">510</a>, + <a href="#png:575">511</a>, + <a href="#png:583">519</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Berridge</em>, John,</span> + <a href="#png:152">122</a>, + <a href="#png:153">123</a>, + <a href="#png:567">503</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Berthold of tours</em>,</span> + <a href="#png:081">55</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beza</em>, Theodore,</span> + <a href="#png:018">xvi</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Biglow and main</em>,</span> + <a href="#png:273">229</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Billings</em>, William,</span> + <a href="#png:038">16</a>, + <a href="#png:377">327</a>, + <a href="#png:382">332</a>, + <a href="#png:383">333</a>, + <a href="#png:535">475</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bishop</em>, Sir Henry,</span> + <a href="#png:167">135</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Blackall</em>, C.R.,</span> + <a href="#png:510">450</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bliss</em>, Mrs. J. Worthington,</span> + <a href="#png:305">259</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bliss</em>, Philip P.,</span> + <a href="#png:189">155</a>, + <a href="#png:190">156</a>, + <a href="#png:369">319</a>, + <a href="#png:426">372</a>, + <a href="#png:479">421</a>, + <a href="#png:480">422</a>, + <a href="#png:482">424</a>, + <a href="#png:489">431</a>, + <a href="#png:494">436</a>, + <a href="#png:495">437</a>, + <a href="#png:500">442</a>, + <a href="#png:502">444</a>, + <a href="#png:514">454</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bloomfield</em>, Dorothy,</span> + <a href="#png:567">503</a></td> +</tr> + +<!-- checked to here: –es don't get done in fixed version --> +<!-- PROBLEM: if an anchor is at a linebreak IE loses it :-((( --> +<tr valign="baseline"> +<td class="index"><span><em>Boardman</em>, George Dana,</span> + <a href="#png:291">247</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bohler</em>, Peter,</span> + <a href="#png:070">46</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bonaparte</em>, Napoleon,</span> + <a href="#png:127">97</a>, + <a href="#png:443">389</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bonar</em>, Horatius,</span> + <a href="#png:269">225</a>, + <a href="#png:270">226</a>, + <a href="#png:272">228</a>, + <a href="#png:359">309</a>, + <a href="#png:552">490</a>, + <a href="#png:473">415</a>, + <a href="#png:593">527</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bonar</em>, James,</span> + <a href="#png:552">490</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bonaventura</em>,</span> + <a href="#png:080">54</a>, + <a href="#png:518">458</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Borthwick</em>, Jane,</span> + <a href="#png:133">103</a>, + <a href="#png:563">499</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bortniansky</em>, Dimitri,</span> + <a href="#png:255">213</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bottome</em>, Francis,</span> + <a href="#png:491">433</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bourdaloue</em>,</span> + <a href="#png:033">13</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Bourgevis'">Bourgeois</ins></em>, Louis,</span> + <a href="#png:035">15</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bowring</em>, Sir John,</span> + <a href="#png:127">97</a>, + <a href="#png:128">98</a>, + <a href="#png:206">170</a>, + <a href="#png:565">501</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Boyd</em>, William,</span> + <a href="#png:577">513</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bradbury</em>, William B.,</span> + <a href="#png:136">106</a>, + <a href="#png:137">107</a>, + <a href="#png:257">215</a>, + <a href="#png:259">217</a>, + <a href="#png:279">235</a>, + <a href="#png:361">311</a>, + <a href="#png:362">312</a>, + <a href="#png:415">363</a>, + <a href="#png:466">410</a>, + <a href="#png:577">513</a>, + <a href="#png:594">528</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brady</em>, Nicholas,</span> + <a href="#png:032">12</a>, + <a href="#png:034">14</a>, + <a href="#png:233">193</a><samp class="pgmark" + ><span class="png">610 /</span> 544</samp> + <a id="png:610" name="png:610" title="544"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brainerd</em>, David,</span> + <a href="#png:309">263</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Breed</em>, David R.,</span> + <a href="#png:207">171</a>, + <a href="#png:214">176</a>, + <a href="#png:218">180</a>, + <a href="#png:270">226</a>, + <a href="#png:590">526</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brooks</em>, Charles T.,</span> + <a href="#png:400">348</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brooks</em>, Bp. Phillips,</span> + <a href="#png:012">x</a>, + <a href="#png:200">164</a>, + <a href="#png:205">169</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brown</em>, John,</span> + <a href="#png:394">342</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brown</em>, Phebe H.,</span> + <a href="#png:273">229</a>–<a href="#png:276">232</a>, + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brown</em>, Samuel,</span> + <a href="#png:276">232</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brown</em>, Theron,</span> + <a href="#png:226">188</a>, + <a href="#png:536">476</a>, + <a href="#png:542">480</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brown</em>, Timothy H.,</span> + <a href="#png:273">229</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bruce</em>, Michael,</span> + <a href="#png:345">297</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brundage</em>, ———,</span> + <a href="#png:514">454</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bull</em>, John,</span> + <a href="#png:390">338</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Burgmuller'">Burgmüller</ins></em>, F.,</span> + <a href="#png:483">425</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Burney</em>, Charles,</span> + <a href="#png:285">241</a>, + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Burns</em>, Robert,</span> + <a href="#png:383">333</a>, + <a href="#png:388">336</a>, + <a href="#png:421">367</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bute</em>, Walter,</span> + <a href="#png:433">379</a>, + <a href="#png:434">380</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Butterworth</em>, Hezekiah,</span> + <a href="#png:007">v</a>, + <a href="#png:008">vi</a>, + <a href="#png:224">186</a>, + <a href="#png:225">187</a>, + <a href="#png:296">252</a>, + <a href="#png:298">254</a></td> +</tr> + +</table> + +<table summary="Index of Names: C" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Caldwell</em>, William,</span> + <a href="#png:323">277</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Campbell</em>, David E.,</span> + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Campbell</em>, Jane M.,</span> + <a href="#png:538">478</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Campbell</em>, Robert,</span> + <a href="#png:087">61</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Caradoc</em>, ——,</span> + <a href="#png:435">381</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Carey</em>, Henry,</span> + <a href="#png:391">339</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Carey</em>, William,</span> + <a href="#png:208">172</a>, + <a href="#png:553">491</a>, + <a href="#png:554">492</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Caroline</em>, (Queen),</span> + <a href="#png:243">203</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cary</em>, Phebe,</span> + <a href="#png:463">407</a>, + <a href="#png:595">529</a>, + <a href="#png:596">530</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cartwright</em>, Peter,</span> + <a href="#png:317">271</a>, + <a href="#png:318">272</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Case</em>, Charles C.,</span> + <a href="#png:225">187</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Caswall</em>, Edward,</span> + <a href="#png:103">75</a>, + <a href="#png:131">101</a>, + <a href="#png:519">459</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cawood</em>, John,</span> + <a href="#png:470">414</a>, + <a href="#png:525">465</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Celano</em>, Thomas di.,</span> + <a href="#png:088">62</a>, + <a href="#png:091">63</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cennick</em>, John,</span> + <a href="#png:154">124</a>, + <a href="#png:156">126</a>, + <a href="#png:568">504</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Chalmers</em>, Thomas,</span> + <a href="#png:269">225</a>, + <a href="#png:270">226</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Chandler</em>, John,</span> + <a href="#png:547">485</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Chandler</em>, S.,</span> + <a href="#png:316">270</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Chapin</em>, Amzi,</span> + <a href="#png:321">275</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Charlemagne</em>,</span> + <a href="#png:025">5</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Charles</em>, David,</span> + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Charles</em>, Thomas,</span> + <a href="#png:457">401</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cibber</em>, Mrs.,</span> + <a href="#png:138">108</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Clark</em>, Jeremiah,</span> + <a href="#png:029">9</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Clarke</em>, Adam,</span> + <a href="#png:215">177</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Claudius</em>, Matthias,</span> + <a href="#png:538">478</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Clement of alexandria</em>,</span> + <a href="#png:342">294</a>, + <a href="#png:344">296</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Clephane</em>, Elizabeth C.,</span> + <a href="#png:481">423</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Clichtovius</em>,</span> + <a href="#png:025">5</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cole</em>, John,</span> + <a href="#png:145">115</a>, + <a href="#png:541">479</a>, + <a href="#png:571">507</a>, + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Coles</em>, George,</span> + <a href="#png:156">126</a>, + <a href="#png:159">127</a>, + <a href="#png:331">285</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Collyer</em>, William B.,</span> + <a href="#png:100">72</a>, + <a href="#png:101">73</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Columbus</em>, Christopher,</span> + <a href="#png:408">356</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Conder</em>, Josiah,</span> + <a href="#png:551">489</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Conkey</em>, Ithamar,</span> + <a href="#png:129">99</a>, + <a href="#png:293">249</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Converse</em>, Charles Crozat,</span> + <a href="#png:484">426</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Conwell</em>, Russell H.,</span> + <a href="#png:598">532</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cook</em>, Martha A.W.,</span> + <a href="#png:182">148</a>, + <a href="#png:183">149</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cook</em>, Parsons,</span> + <a href="#png:182">148</a>, + <a href="#png:183">149</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cooper</em>, George,</span> + <a href="#png:362">312</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Corelli</em>, Arcangelo,</span> + <a href="#png:063">39</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cornell</em>, J.B.,</span> + <a href="#png:496">438</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cornell</em>, John Henry,</span> + <a href="#png:126">96</a>, + <a href="#png:407">355</a>, + <a href="#png:473">415</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Corse</em>, Gen. G.M.,</span> + <a href="#png:482">424</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cousin</em>, Anne R.,</span> + <a href="#png:106">78</a>, + <a href="#png:110">82</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Covert</em>,</span> + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cowdell</em>, Samuel,</span> + <a href="#png:311">265</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cowper</em>, William,</span> + <a href="#png:012">x</a>, + <a href="#png:161">129</a>, + <a href="#png:163">131</a>, + <a href="#png:214">176</a>, + <a href="#png:232">192</a>, + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Croft</em>, William,</span> + <a href="#png:244">204</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Crosby</em>, Fanny J.,</span> + <a href="#png:190">156</a>, + <a href="#png:222">184</a>, + <a href="#png:362">312</a>, + <a href="#png:483">425</a>, + <a href="#png:496">438</a>, + <a href="#png:612">546</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cuyler</em>, Theodore L.,</span> + <a href="#png:431">377</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cyprian of carthage</em>,</span> + <a href="#png:021">1</a></td> +</tr> + +</table> + +<table summary="Index of Names: D" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Dadmun</em>, J.W.,</span> + <a href="#png:318">272</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dagget</em>, Simeon,</span> + <a href="#png:380">330</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dana</em>, Mary S.B.,</span> + <a href="#png:335">287</a>, + <a href="#png:336">288</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dartmouth</em>, Lord,</span> + <a href="#png:315">269</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Davenant</em>, Sir William,</span> + <a href="#png:356">306</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>De Groote</em>, Gerard,</span> + <a href="#png:095">67</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>De la Mothe</em>, Jeanne M.B.,</span> + <a href="#png:228">190</a>, + <a href="#png:231">191</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>De Lisle</em>, Roget,</span> + <a href="#png:379">329</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Denham</em>, David,</span> + <a href="#png:166">134</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dermid</em>, (King),</span> + <a href="#png:378">328</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dexter</em>, Henry M.,</span> + <a href="#png:342">294</a>, + <a href="#png:344">296</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ditson</em>, Oliver,</span> + <a href="#png:009">vii</a>, + <a href="#png:469">413</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dixon</em>, William,</span> + <a href="#png:060">36</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Doane</em>, Bp. George W.,</span> + <a href="#png:544">482</a>, + <a href="#png:545">483</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Doane</em>, William H.,</span> + <a href="#png:191">157</a>, + <a href="#png:483">425</a>, + <a href="#png:487">429</a>, + <a href="#png:488">430</a>, + <a href="#png:496">438</a>, + <a href="#png:510">450</a>, + <a href="#png:542">480</a>, + <a href="#png:607">541</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Doddridge</em>, Philip,</span> + <a href="#png:146">116</a>, + <a href="#png:147">117</a>, + <a href="#png:205">169</a>, + <a href="#png:466">410</a>, + <a href="#png:469">413</a>, + <a href="#png:536">476</a>, + <a href="#png:550">488</a>, + <a href="#png:559">495</a>, + <a href="#png:583">519</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dodge</em>, Ossian E.,</span> + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Douglas</em>, George,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dow</em>, Howard M.,</span> + <a href="#png:566">502</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dow</em>, Lorenzo,</span> + <a href="#png:318">272</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dow</em>, Peggy,</span> + <a href="#png:318">272</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Draper</em>, Bourne H.,</span> + <a href="#png:207">171</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dunbar</em>, E.W.,</span> + <a href="#png:336">288</a><samp class="pgmark" + ><span class="png">611 /</span> 545</samp> + <a id="png:611" name="png:611" title="545"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>D'Urhan</em>, Christian,</span> + <a href="#png:110">82</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dutton</em>, Deodatus,</span> + <a href="#png:276">232</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dwight</em>, H.O.,</span> + <a href="#png:522">462</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dwight</em>, John S.,</span> + <a href="#png:399">347</a>, + <a href="#png:400">348</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dwight</em>, Timothy,</span> + <a href="#png:051">29</a>, + <a href="#png:165">133</a>, + <a href="#png:166">134</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dykes</em>, John B.,</span> + <a href="#png:077">51</a>, + <a href="#png:083">57</a>, + <a href="#png:093">65</a>, + <a href="#png:134">104</a>, + <a href="#png:186">152</a>, + <a href="#png:268">224</a>, + <a href="#png:272">228</a>, + <a href="#png:415">363</a>, + <a href="#png:424">370</a>, + <a href="#png:426">372</a>, + <a href="#png:525">465</a>, + <a href="#png:589">525</a></td> +</tr> + +</table> + +<table summary="Index of Names: E" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Edmeston</em>, James,</span> + <a href="#png:347">299</a>, + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Edson</em>, Lewis,</span> + <a href="#png:449">395</a>, + <a href="#png:536">476</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Edwards</em>, Jonathan,</span> + <a href="#png:309">263</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Elias</em>, John,</span> + <a href="#png:444">390</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Elizabeth</em>, (Queen),</span> + <a href="#png:039">17</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Elliott</em>, Charlotte,</span> + <a href="#png:256">214</a>, + <a href="#png:257">215</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Elliot</em>, Ebenezer,</span> + <a href="#png:221">183</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ellsworth</em>, J.S.,</span> + <a href="#png:495">437</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Emerson</em>, Ralph Waldo,</span> + <a href="#png:391">339</a>, + <a href="#png:392">340</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ephrem</em>, Syrus,</span> + <a href="#png:082">56</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Erbury</em>, ——,</span> + <a href="#png:435">381</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Esling</em>, Catherine,</span> + <a href="#png:250">208</a>, + <a href="#png:251">209</a>, + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Evans</em>, Evelyn,</span> + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Evans</em>, Heber,</span> + <a href="#png:455">399</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Evans</em>, John Miller,</span> + <a href="#png:423">369</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Evans</em>, Thomas,</span> + <a href="#png:457">401</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ewing</em>, Alexander,</span> + <a href="#png:576">512</a></td> +</tr> + +</table> + +<table summary="Index of Names: F" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Faber</em>, Frederick W.,</span> + <a href="#png:277">233</a>, + <a href="#png:278">234</a>, + <a href="#png:350">302</a>, + <a href="#png:588">524</a></td> +</tr> + + +<tr valign="baseline"> +<td class="index"><span><em>Faure</em>, Jean Baptiste,</span> + <a href="#png:530">470</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fawcett</em>, John,</span> + <a href="#png:164">132</a>, + <a href="#png:165">133</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Findlater</em>, Mrs.,</span> + <a href="#png:133">103</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fischer</em>, William Gustavus,</span> + <a href="#png:487">429</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Flatman</em>, ——,</span> + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fortunatus</em>, Venantius,</span> + <a href="#png:409">357</a>, + <a href="#png:532">472</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Foster</em>, Paul,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Franc</em>, Guillaume,</span> + <a href="#png:234">194</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Francis</em>, Benjamin,</span> + <a href="#png:164">132</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Frankenberry</em>, A.D.,</span> + <a href="#png:482">424</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Frederick</em>, (King),</span> + <a href="#png:122">94</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Freeman</em>, John E.,</span> + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Frothingham</em>, N.L.,</span> + <a href="#png:011">ix</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fulbert</em>, Bp.,</span> + <a href="#png:085">59</a>–<a href="#png:087">61</a></td> +</tr> + +</table> + +<table summary="Index of Names: G" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Gardiner</em>, William,</span> + <a href="#png:074">48</a>, + <a href="#png:162">130</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gates</em>, Bernard,</span> + <a href="#png:126">96</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gates</em>, Ellen M.H.,</span> + <a href="#png:009">vii</a>, + <a href="#png:302">256</a>, + <a href="#png:304">258</a>, + <a href="#png:488">430</a>, + <a href="#png:509">449</a>, + <a href="#png:598">532</a>, + <a href="#png:600">534</a></td> +</tr> + + +<tr valign="baseline"> +<td class="index"><span><em>Gauntlett</em>, Henry I.,</span> + <a href="#png:074">48</a>, + <a href="#png:545">483</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gellert</em>, C.F.,</span> + <a href="#png:533">473</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>George i</em>, (King),</span> + <a href="#png:031">11</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gerhardt</em>, Paul,</span> + <a href="#png:112">84</a>, + <a href="#png:113">85</a>, + <a href="#png:115">87</a>, + <a href="#png:116">88</a>, + <a href="#png:121">93</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Giardini</em>, Felice,</span> + <a href="#png:271">227</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gilmore</em>, Joseph Henry,</span> + <a href="#png:279">235</a>, + <a href="#png:280">236</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gladstone</em>, William E.,</span> + <a href="#png:171">139</a>, + <a href="#png:172">140</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Glaser</em>, Carl,</span> + <a href="#png:074">48</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Glenelg</em>, Lord,</span> + <a href="#png:044">22</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Goode</em>, William,</span> + <a href="#png:034">14</a>, + <a href="#png:055">31</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gordon</em>, A.J.,</span> + <a href="#png:198">162</a>, + <a href="#png:200">164</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gordon</em>, Mrs. A.J.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gottschalk</em>, Louis,</span> + <a href="#png:545">483</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gough</em>, John B.,</span> + <a href="#png:257">215</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gould</em>, Eliza,</span> + <a href="#png:185">151</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gould</em>, John Edgar,</span> + <a href="#png:428">374</a>, + <a href="#png:528">468</a>, + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gould</em>, Sabine Baring,</span> + <a href="#png:223">185</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Grannis</em>, Sidney M.,</span> + <a href="#png:305">259</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Grape</em>, John T.,</span> + <a href="#png:487">429</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Grant</em>, Sir Robert,</span> + <a href="#png:043">21</a>, + <a href="#png:044">22</a>, + <a href="#png:254">212</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gregory nazianzen</em>,</span> + <a href="#png:082">56</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gregory the great</em>, (Pope),</span> + <a href="#png:015">xiii</a>, + <a href="#png:016">xiv</a>, + <a href="#png:028">8</a>, + <a href="#png:030">10</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Grenade</em>, John,</span> + <a href="#png:346">298</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Griffiths</em>, Ann,</span> + <a href="#png:450">396</a>–<a href="#png:453">399</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Griffiths</em>, Edward,</span> + <a href="#png:440">386</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Griggs</em>, ——,</span> + <a href="#png:132">102</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Groote</em>, Gerald de,</span> + <a href="#png:095">67</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Guido</em>, Arentino,</span> + <a href="#png:016">xiv</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Guild</em>, Curtis,</span> + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gurney</em>, Mrs.,</span> + <a href="#png:567">503</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gustavus adolphus</em>, (King),</span> + <a href="#png:110">82</a>–<a href="#png:112">84</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Guyon</em>, Madame,</span> + <a href="#png:228">190</a>, + <a href="#png:232">192</a></td> +</tr> + +</table> + +<table summary="Index of Names: H" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Hague</em>, John R.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hall</em>, Amasiah,</span> + <a href="#png:577">513</a>, + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hall</em>, Elvina M.,</span> + <a href="#png:484">426</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hammond</em>, William,</span> + <a href="#png:051">29</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Handel</em>, George Frederick,</span> + <a href="#png:031">11</a>, + <a href="#png:055">31</a>, + <a href="#png:166">134</a>, + <a href="#png:202">166</a>, + <a href="#png:470">414</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hankey</em>, Kate,</span> + <a href="#png:485">427</a>, + <a href="#png:487">429</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hanna</em>, Ione T.,</span> + <a href="#png:516">456</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harrington</em>, C.S.,</span> + <a href="#png:183">149</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harrington</em>, Karl,</span> + <a href="#png:594">528</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harris</em>, Howell,</span> + <a href="#png:435">381</a>, + <a href="#png:441">387</a>, + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harris</em>, Thomas,</span> + <a href="#png:418">366</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harrison</em>, Ralph,</span> + <a href="#png:074">48</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hart</em>, Joseph,</span> + <a href="#png:149">119</a>, + <a href="#png:151">121</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harewood</em>, Edward,</span> + <a href="#png:581">517</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hastings</em>, H.L.,</span> + <a href="#png:244">204</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hastings</em>, Thomas,</span> + <a href="#png:047">25</a>, + <a href="#png:085">59</a>, + <a href="#png:174">142</a>, + <a href="#png:196">160</a>, + <a href="#png:204">168</a>, + <a href="#png:210">174</a>, + <a href="#png:261">219</a>–<a href="#png:263">221</a>, + <a href="#png:267">223</a><samp class="pgmark" + ><span class="png">612 /</span> 546</samp> + <a id="png:612" name="png:612" title="546"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hatfield</em>, C.F.,</span> + <a href="#png:034">14</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hatton</em>, John,</span> + <a href="#png:061">37</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hatton</em>, John Liphot,</span> + <a href="#png:061">37</a></td> +</tr> +<tr valign="baseline"> +<td class="index"><span><em>Havergal</em>, Frances Ridley,</span> + <a href="#png:188">154</a>, + <a href="#png:189">155</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Havergal</em>, William Henry,</span> + <a href="#png:271">227</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hawkes</em>, Annie S.,</span> + <a href="#png:187">153</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hawkes</em>, Robert,</span> + <a href="#png:034">14</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Haydn</em>, Joseph,</span> + <a href="#png:056">32</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hayward</em>, Thomas,</span> + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hearn</em>, Marianne Farningham,</span> + <a href="#png:499">441</a>, + <a href="#png:500">442</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Heath</em>, George,</span> + <a href="#png:177">143</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Heath</em>, Lyman,</span> + <a href="#png:291">247</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Heber</em>, Bp. Reginald,</span> + <a href="#png:024">4</a>, + <a href="#png:076">50</a>, + <a href="#png:077">51</a>, + <a href="#png:216">178</a>, + <a href="#png:217">179</a>, + <a href="#png:368">318</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hedge</em>, Frederick H.,</span> + <a href="#png:099">71</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hemans</em>, Felicia,</span> + <a href="#png:236">196</a>, + <a href="#png:411">359</a>, + <a href="#png:373">323</a>, + <a href="#png:374">324</a>, + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Henry vii</em>, (King),</span> + <a href="#png:040">18</a></td> + +</tr> +<tr valign="baseline"> +<td class="index"><span><em>Hews</em>, George,</span> + <a href="#png:463">407</a>, + <a href="#png:545">483</a>, + <a href="#png:546">484</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hicks</em>, John J,</span> + <a href="#png:318">272</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hilary</em>, Bp.,</span> + <a href="#png:015">xiii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hiller</em>, Ferdinand,</span> + <a href="#png:093">65</a>, + <a href="#png:094">66</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hinsdale</em>, George,</span> + <a href="#png:273">229</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hodges</em>, Edward,</span> + <a href="#png:254">212</a>, + <a href="#png:524">464</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holbrook</em>, Joseph P.,</span> + <a href="#png:412">360</a>, + <a href="#png:416">364</a>, + <a href="#png:565">501</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holden</em>, Oliver,</span> + <a href="#png:049">27</a>, + <a href="#png:050">28</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holmes</em>, O.W.,</span> + <a href="#png:078">52</a>, + <a href="#png:293">249</a>, + <a href="#png:396">344</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holroyd</em>, Israel,</span> + <a href="#png:465">409</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holzman</em>, ——,</span> + <a href="#png:379">329</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hopkins</em>, Edward,</span> + <a href="#png:052">30</a>, + <a href="#png:142">112</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hopkins</em>, John,</span> + <a href="#png:037">15</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hopkinson</em>, Joseph,</span> + <a href="#png:381">331</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hopper</em>, Edward,</span> + <a href="#png:427">373</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Horder</em>, <ins class="transcriber" + title="Transcriber's note: original has 'Garret'">Garrett</ins>,</span> + <a href="#png:551">489</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Howard</em>, John,</span> + <a href="#png:046">24</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Howe</em>, Julia Ward,</span> + <a href="#png:392">340</a>, + <a href="#png:395">343</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hucbald</em>,</span> + <a href="#png:015">xiii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Huffer</em>, Francis,</span> + <a href="#png:125">95</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hughes and son</em>,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hughes</em>, Mrs.,</span> + <a href="#png:411">359</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Humphreys</em>, Cecil Frances,</span> + <a href="#png:470">414</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hunter</em>, William,</span> + <a href="#png:318">272</a>, + <a href="#png:336">288</a>, + <a href="#png:337">289</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Huntingdon</em>, (Lady) Selina,</span> + <a href="#png:047">25</a>, + <a href="#png:116">88</a>, + <a href="#png:117">89</a>, + <a href="#png:149">119</a>, + <a href="#png:160">128</a>, + <a href="#png:241">201</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Huntington</em>, DeWitt C.,</span> + <a href="#png:494">436</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Husband</em>, John Jenkins,</span> + <a href="#png:474">416</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hyatt</em>, John,</span> + <a href="#png:258">216</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hyde</em>, Charles,</span> + <a href="#png:274">230</a></td> +</tr> + +</table> + +<table summary="Index of Names: I" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Ingalls</em>, Jeremiah,</span> + <a href="#png:151">121</a>, + <a href="#png:320">274</a>, + <a href="#png:324">278</a>, + <a href="#png:571">507</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Irving</em>, Washington,</span> + <a href="#png:372">322</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Isaac</em>, Heinrich,</span> + <a href="#png:119">91</a>, + <a href="#png:142">112</a></td> +</tr> + +</table> + +<table summary="Index of Names: J" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Jackson</em>, Andrew,</span> + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jackson</em>, Deborah,</span> + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jerome of prague</em>,</span> + <a href="#png:532">472</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>John of damascus</em>,</span> + <a href="#png:079">53</a>, + <a href="#png:080">54</a>, + <a href="#png:083">57</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Johnson</em>, Albert,</span> + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Johnson</em>, Mrs. James G.,</span> + <a href="#png:512">452</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jones</em>, H.R.,</span> + <a href="#png:446">392</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jones</em>, John,</span> + <a href="#png:447">393</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jones</em>, Nancy,</span> + <a href="#png:443">389</a>, + <a href="#png:444">390</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jones</em>, Thomas,</span> + <a href="#png:457">401</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Judah</em>, Daniel Ben,</span> + <a href="#png:042">20</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Judson</em>, Sarah B.,</span> + <a href="#png:290">246</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Julian</em>, John,</span> + <a href="#png:244">204</a></td> +</tr> + +</table> + +<table summary="Index of Names: K" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Keble</em>, John,</span> + <a href="#png:195">159</a>, + <a href="#png:296">252</a>, + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Keene</em>, Robert,</span> + <a href="#png:244">204</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Keller</em>, Matthias,</span> + <a href="#png:395">343</a>, + <a href="#png:397">345</a>, + <a href="#png:399">347</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transciber" + title="Transcriber's note: original has 'Kelley'">Kelly</ins></em>, Thomas,</span> + <a href="#png:209">173</a>, + <a href="#png:210">174</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Kempis</em>, Thomas à,</span> + <a href="#png:095">67</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ken</em>, Bp.,</span> + <a href="#png:033">13</a>, + <a href="#png:034">14</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Key</em>, Francis Scott,</span> + <a href="#png:075">49</a>, + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Key</em>, John R.,</span> + <a href="#png:075">49</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>King</em>, Jacob,</span> + <a href="#png:099">71</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>King robert ii</em>,</span> + <a href="#png:031">11</a>, + <a href="#png:083">57</a>, + <a href="#png:084">58</a>, + <a href="#png:086">60</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Kingsley</em>, George,</span> + <a href="#png:058">34</a>, + <a href="#png:132">102</a>, + <a href="#png:192">158</a>, + <a href="#png:327">281</a>, + <a href="#png:368">318</a>, + <a href="#png:583">519</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Kipling</em>, Rudyard,</span> + <a href="#png:401">349</a>–<a href="#png:403">351</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Kozeluck</em>, ——,</span> + <a href="#png:545">483</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Krishna pal</em>,</span> + <a href="#png:553">491</a></td> +</tr> + + +</table> + +<table summary="Index of Names: L" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Lamb</em>, Frank M.,</span> + <a href="#png:297">253</a>, + <a href="#png:298">254</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lattimore</em>, W.O.,</span> + <a href="#png:492">434</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lee</em>, Mary Augusta,</span> + <a href="#png:515">455</a>, + <a href="#png:516">456</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lee</em>, Gen. Robert E.,</span> + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Leland</em>, John,</span> + <a href="#png:268">224</a>, + <a href="#png:322">276</a>, + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lincoln</em>, Abraham,</span> + <a href="#png:283">239</a>, + <a href="#png:302">256</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lindsay</em>, Miss,</span> + <a href="#png:305">259</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Logan</em>, John,</span> + <a href="#png:325">279</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Longfellow</em>, Henry W.,</span> + <a href="#png:292">248</a>, + <a href="#png:293">249</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Longfellow</em>, Samuel,</span> + <a href="#png:011">ix</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lorimer</em>, George,</span> + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Louis</em>, (King),</span> + <a href="#png:025">5</a>, + <a href="#png:231">191</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lowry</em>, J.C.,</span> + <a href="#png:148">118</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lowry</em>, Robert,</span> + <a href="#png:063">39</a>, + <a href="#png:182">148</a>, + <a href="#png:187">153</a>, + <a href="#png:462">406</a>, + <a href="#png:477">419</a>, + <a href="#png:504">446</a>, + <a href="#png:508">448</a><samp class="pgmark" + ><span class="png">613 /</span> 547</samp> + <a id="png:613" name="png:613" title="547"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Loyola</em>, Ignatius,</span> + <a href="#png:102">74</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lucas</em>, James,</span> + <a href="#png:559">495</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ludwig</em>, Duke,</span> + <a href="#png:151">121</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Luke</em>, Jemima T.,</span> + <a href="#png:355">305</a>, + <a href="#png:356">306</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lulli</em>, ——,</span> + <a href="#png:390">338</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lummis</em>, Franklin H.,</span> + <a href="#png:394">342</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Luther</em>, Martin,</span> + <a href="#png:018">xvi</a>, + <a href="#png:028">8</a>, + <a href="#png:097">69</a>–<a href="#png:099">71</a>, + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lyon</em>, Meyer,</span> + <a href="#png:042">20</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lyte</em>, Henry Francis,</span> + <a href="#png:259">217</a>, + <a href="#png:263">221</a></td> +</tr> + +</table> + +<table summary="Index of Names: M" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Macgill</em>, Hamilton M.,</span> + <a href="#png:344">296</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mackay</em>, Charles,</span> + <a href="#png:167">135</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mackay</em>, Margaret,</span> + <a href="#png:563">499</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mackay</em>, William Paton,</span> + <a href="#png:474">416</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Madan</em>, Martin,</span> + <a href="#png:051">29</a>, + <a href="#png:052">30</a>, + <a href="#png:065">41</a>, + <a href="#png:523">463</a>, + <a href="#png:569">505</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Maffit</em>, John,</span> + <a href="#png:320">274</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Main</em>, Hubert P.,</span> + <a href="#png:008">vi</a>, + <a href="#png:009">vii</a>, + <a href="#png:145">115</a>, + <a href="#png:166">134</a>, + <a href="#png:272">228</a>, + <a href="#png:284">240</a>, + <a href="#png:347">299</a>, + <a href="#png:357">307</a>, + <a href="#png:423">369</a>, + <a href="#png:473">415</a>, + <a href="#png:488">430</a>, + <a href="#png:530">470</a>, + <a href="#png:603">537</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Malan</em>, Caesar,</span> + <a href="#png:018">xvi</a>, + <a href="#png:256">214</a>, + <a href="#png:438">384</a>, + <a href="#png:494">436</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Marco</em>, (?), Portugalis,</span> + <a href="#png:245">205</a>, + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Marot</em>, Clement,</span> + <a href="#png:018">xvi</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Marsh</em>, ——,</span> + <a href="#png:415">363</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Marvin</em>, Bp.,</span> + <a href="#png:185">151</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mary</em>, (Queen),</span> + <a href="#png:032">12</a>, + <a href="#png:040">18</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mary</em>, (Princess),</span> + <a href="#png:032">12</a>, + <a href="#png:040">18</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mary</em>, (Virgin),</span> + <a href="#png:408">356</a>, + <a href="#png:410">358</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mary Stuart</em>, (Queen),</span> + <a href="#png:105">77</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mason</em>, Francis,</span> + <a href="#png:213">175</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mason</em>, Lowell,</span> + <a href="#png:060">36</a>, + <a href="#png:119">91</a>, + <a href="#png:121">93</a>, + <a href="#png:135">105</a>, + <a href="#png:136">106</a>, + <a href="#png:141">111</a>, + <a href="#png:148">118</a>, + <a href="#png:163">131</a>, + <a href="#png:165">133</a>, + <a href="#png:180">146</a>, + <a href="#png:206">170</a>, + <a href="#png:209">173</a>, + <a href="#png:217">179</a>, + <a href="#png:236">196</a>, + <a href="#png:350">302</a>, + <a href="#png:389">337</a>, + <a href="#png:391">339</a>, + <a href="#png:400">348</a>, + <a href="#png:415">363</a>, + <a href="#png:543"><ins class="transcriber" + title="Transcriber's note: was printed 581, but more likely 481.">481</ins></a>, + <a href="#png:590">526</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Masters</em>, Mary,</span> + <a href="#png:353">303</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Maurice</em>, ——,</span> + <a href="#png:435">381</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Maxim</em>, Abraham,</span> + <a href="#png:328">282</a>, + <a href="#png:329">283</a>, + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mayo</em>, Mrs. Herbert,</span> + <a href="#png:360">310</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mazzinghi</em>, Joseph,</span> + <a href="#png:242">202</a>, + <a href="#png:243">203</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>McGranahan</em>, James,</span> + <a href="#png:358">308</a>, + <a href="#png:502">444</a>, + <a href="#png:512">452</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>McKeever</em>, F.G.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>McKinley</em>, William,</span> + <a href="#png:185">151</a>, + <a href="#png:295">251</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>McMullen</em>, Mr. and Mrs.,</span> + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Meek</em>, William T.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Medley</em>, Samuel,</span> + <a href="#png:168">136</a>, + <a href="#png:322">276</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Melancthon</em>, Philip,</span> + <a href="#png:097">69</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mendelssohn</em>, Felix,</span> + <a href="#png:523">463</a>, + <a href="#png:544">482</a>, + <a href="#png:553">491</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Merriam</em>, Edmund F.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Merrill</em>, Abraham, D.,</span> + <a href="#png:315">269</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Midlane</em>, Albert,</span> + <a href="#png:503">445</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Miller</em>, James,</span> + <a href="#png:421">367</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Milman</em>, Henry Hart,</span> + <a href="#png:324">278</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mills</em>, Elizabeth,</span> + <a href="#png:357">307</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Milton</em>, John,</span> + <a href="#png:521">461</a>, + <a href="#png:522">462</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mohammed</em>,</span> + <a href="#png:025">5</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Monk</em>, William H.,</span> + <a href="#png:196">160</a>, + <a href="#png:261">219</a>, + <a href="#png:289">245</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Montgomery</em>, James,</span> + <a href="#png:043">21</a>, + <a href="#png:178">144</a>, + <a href="#png:179">145</a>, + <a href="#png:214">176</a>, + <a href="#png:215">177</a>, + <a href="#png:331">285</a>, + <a href="#png:405">353</a>, + <a href="#png:542">480</a>, + <a href="#png:549">487</a>, + <a href="#png:563">499</a>, + <a href="#png:585">521</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Moody</em>, Dwight L.,</span> + <a href="#png:358">308</a>, + <a href="#png:360">310</a>, + <a href="#png:479">421</a>, + <a href="#png:484">426</a>, + <a href="#png:489">431</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Moore</em>, (More), Joshua,</span> + <a href="#png:313">267</a>, + <a href="#png:315">269</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Moore</em>, Thomas,</span> + <a href="#png:142">112</a>, + <a href="#png:261">219</a>, + <a href="#png:287">243</a>, + <a href="#png:375">325</a>–<a href="#png:378">328</a>, + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morgan</em>, David,</span> + <a href="#png:446">392</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mornington</em>, Garret, Colley Wellesley, + Earl of</span> + <a href="#png:587">523</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morris</em>, Robert,</span> + <a href="#png:306">260</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morse</em>, Charles H.,</span> + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mote</em>, Edward,</span> + <a href="#png:258">216</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mozart</em>, Johan Wolfgang,</span> + <a href="#png:264">222</a>, + <a href="#png:288">244</a>, + <a href="#png:377">327</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Muhlenberg</em>, Henry M.</span> + <a href="#png:192">158</a>, + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Muhlenberg</em>, W.A.,</span> + <a href="#png:191">157</a>, + <a href="#png:192">158</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Murillo</em>, Bartolomeo,</span> + <a href="#png:198">162</a></td> +</tr> + + +</table> + +<table summary="Index of Names: N" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Nageli'">Nägeli</ins></em>, Johan G.,</span> + <a href="#png:197">161</a>, + <a href="#png:198">162</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Napoleon</em>,</span> + <a href="#png:127">97</a>, + <a href="#png:443">389</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nares</em>, James,</span> + <a href="#png:125">95</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Neale</em>, John M.,</span> + <a href="#png:026">6</a>, + <a href="#png:027">7</a>, + <a href="#png:081">55</a>, + <a href="#png:083">57</a>, + <a href="#png:406">354</a>, + <a href="#png:576">512</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nero</em>, (Emperor),</span> + <a href="#png:372">322</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Newell</em>, Harriet,</span> + <a href="#png:213">175</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Newman</em>, John Henry,</span> + <a href="#png:267">223</a>, + <a href="#png:268">224</a>, + <a href="#png:588">524</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Newton</em>, John,</span> + <a href="#png:162">130</a>, + <a href="#png:243">203</a>, + <a href="#png:244">204</a>, + <a href="#png:332">286</a>, + <a href="#png:440">386</a>, + <a href="#png:459">403</a>, + <a href="#png:555">493</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nicholson</em>, Ludovic,</span> + <a href="#png:241">201</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Novello</em>, Vincent,</span> + <a href="#png:101">73</a>, + <a href="#png:102">74</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nutter</em>, Dr.,</span> + <a href="#png:218">180</a></td> +</tr> + +</table> + +<table summary="Index of Names: O" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Oakeley</em>, Frederick,</span> + <a href="#png:519">459</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Oakely'">Oakeley</ins></em>, Sir Herbert S.,</span> + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Oakey</em>, Emily,</span> + <a href="#png:492">434</a>, + <a href="#png:493">435</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Occum</em>, Samson,</span> + <a href="#png:313">267</a>–<a href="#png:315">269</a>, + <a href="#png:325">279</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O'Kane</em>, Tullius C.,</span> + <a href="#png:495">437</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Oldcastle</em>, John,</span> + <a href="#png:433">379</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Oliver</em>, Henry K.,</span> + <a href="#png:134">104</a>, + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Olivers</em>, Thomas,</span> + <a href="#png:041">19</a>, + <a href="#png:042">20</a>, + <a href="#png:044">22</a>, + <a href="#png:568">504</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Osborne</em>, John,</span> + <a href="#png:180">146</a></td> +</tr> + +</table> + +<table summary="Index of Names: P" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Paine</em>, John K.,</span> + <a href="#png:522">462</a><samp class="pgmark" + ><span class="png">614 /</span> 548</samp> + <a id="png:614" name="png:614" title="548"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Paine</em>, Robert T.,</span> + <a href="#png:387">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Palestrina</em>,</span> + <a href="#png:016">xiv</a>–<a href="#png:018">xvi</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Palmer</em>, Horatio R.,</span> + <a href="#png:307">261</a>, + <a href="#png:361">311</a>, + <a href="#png:475">417</a>, + <a href="#png:510">450</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Palmer</em>, Ray,</span> + <a href="#png:085">59</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Parker</em>, Theodore,</span> + <a href="#png:011">ix</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Parry</em>, Joseph,</span> + <a href="#png:449">395</a>, + <a href="#png:452">398</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Patrick</em>, St.,</span> + <a href="#png:378">328</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Payne</em>, John Howard,</span> + <a href="#png:167">135</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Peloubet</em>, F.N.,</span> + <a href="#png:226">188</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Penry</em>, ——,</span> + <a href="#png:435">381</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Perronet</em>, Edward,</span> + <a href="#png:047">25</a>, + <a href="#png:049">27</a>, + <a href="#png:055">31</a>, + <a href="#png:085">59</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Phelps</em>, A.S.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Phelps</em>, S.D.,</span> + <a href="#png:181">147</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Phelps</em>, W.L.,</span> + <a href="#png:009">vii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Philip</em>, “King”,</span> + <a href="#png:311">265</a></td> +</tr> + + +<tr valign="baseline"> +<td class="index"><span><em>Phillips</em>, Philip,</span> + <a href="#png:183">149</a>, + <a href="#png:184">150</a>, + <a href="#png:283">239</a>, + <a href="#png:302">256</a>, + <a href="#png:313">267</a>, + <a href="#png:359">309</a>, + <a href="#png:383">333</a>, + <a href="#png:479">421</a>, + <a href="#png:597">531</a>, + <a href="#png:598">532</a>, + <a href="#png:600">534</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Phipps</em>, George,</span> + <a href="#png:226">188</a>, + <a href="#png:227">189</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pierpont</em>, John,</span> + <a href="#png:387">335</a>, + <a href="#png:388">336</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pinsuti</em>,</span> + <a href="#png:473">415</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pleyel</em>, Ignace,</span> + <a href="#png:156">126</a>, + <a href="#png:250">208</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pliny</em>,</span> + <a href="#png:341">293</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pope</em>, Alexander,</span> + <a href="#png:282">238</a>, + <a href="#png:376">326</a>, + <a href="#png:579">515</a>, + <a href="#png:580">516</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Powell</em>, John,</span> + <a href="#png:435">381</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Presbry</em>, Otis F.,</span> + <a href="#png:511">451</a>, + <a href="#png:512">452</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Price</em>, Dr.,</span> + <a href="#png:065">41</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Price</em>, E.M.,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pritchard</em>, Rhys M.,</span> + <a href="#png:433">379</a>, + <a href="#png:450">396</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Proch</em>, Heinrich,</span> + <a href="#png:409">357</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Purcell</em>, Henry,</span> + <a href="#png:390">338</a></td> +</tr> + +</table> + +<table summary="Index of Names: R" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Raleigh</em>, Sir Walter,</span> + <a href="#png:104">76</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rankin</em>, James,</span> + <a href="#png:414">362</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rankin</em>, Jeremiah E.,</span> + <a href="#png:560">496</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ravenscroft</em>, Thomas,</span> + <a href="#png:390">338</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Read</em>, Daniel,</span> + <a href="#png:463">407</a>, + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Reading</em>, John,</span> + <a href="#png:245">205</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Redhead</em>, Richard,</span> + <a href="#png:076">50</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Redner</em>, Louis H.,</span> + <a href="#png:529">469</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rees</em>, William,</span> + <a href="#png:458">402</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Reinagle</em>, Alexander R.,</span> + <a href="#png:115">87</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rexford</em>, Eben E.,</span> + <a href="#png:497">439</a>, + <a href="#png:498">440</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rhye</em>, Morgan,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Richardson</em>, John,</span> + <a href="#png:104">76</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ridley</em>, Bp.,</span> + <a href="#png:024">4</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Riley</em>, Mary Louise,</span> + <a href="#png:367">317</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rimbault</em>, Edward F.,</span> + <a href="#png:328">282</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ringwaldt</em>, Bartholomew,</span> + <a href="#png:099">71</a>, + <a href="#png:101">73</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rippon</em>, John,</span> + <a href="#png:049">27</a>, + <a href="#png:244">204</a>, + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ritter</em>, Peter,</span> + <a href="#png:196">160</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Robert ii</em>, (King),</span> + <a href="#png:083">57</a>, + <a href="#png:084">58</a>, + <a href="#png:086">60</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Roberts</em>, Evan,</span> + <a href="#png:431">377</a>, + <a href="#png:447">393</a>, + <a href="#png:448">394</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Roberts</em>, W.M.,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Robinson</em>, Charles,</span> + <a href="#png:207">171</a>, + <a href="#png:217">179</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Robinson</em>, Robert,</span> + <a href="#png:329">283</a>, + <a href="#png:330">284</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Romaine</em>, William,</span> + <a href="#png:055">31</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Roosevelt</em>, Theodore,</span> + <a href="#png:185">151</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Root</em>, George F.,</span> + <a href="#png:189">155</a>, + <a href="#png:190">156</a>, + <a href="#png:298">254</a>, + <a href="#png:365">315</a>, + <a href="#png:367">317</a>, + <a href="#png:497">439</a>, + <a href="#png:502">444</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rousseau</em>, J.J.,</span> + <a href="#png:142">112</a>, + <a href="#png:143">113</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rowe</em>, Elizabeth,</span> + <a href="#png:069">45</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rowlands</em>, Daniel,</span> + <a href="#png:435">381</a>, + <a href="#png:441">387</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rutherford</em>, Samuel,</span> + <a href="#png:106">78</a>, + <a href="#png:107">79</a>, + <a href="#png:109">81</a></td> +</tr> + +</table> + +<table summary="Index of Names: S" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Salmon</em>, Thomas,</span> + <a href="#png:490">432</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sanderson</em>, Mrs.,</span> + <a href="#png:387">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sankey</em>, Ira D.,</span> + <a href="#png:222">184</a>, + <a href="#png:304">258</a>, + <a href="#png:358">308</a>–<a href="#png:361">311</a>, + <a href="#png:428">374</a>, + <a href="#png:429">375</a>, + <a href="#png:475">417</a>, + <a href="#png:479">421</a>–<a href="#png:481">423</a>, + <a href="#png:492">434</a>, + <a href="#png:496">438</a>, + <a href="#png:507">447</a>, + <a href="#png:603">537</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Schmolke</em>, Benjamin,</span> + <a href="#png:563">499</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Schumann</em>, Robert,</span> + <a href="#png:115">87</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scott</em>, Thomas,</span> + <a href="#png:270">226</a>, + <a href="#png:467">411</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scott</em>, Sir Walter,</span> + <a href="#png:284">240</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scriven</em>, Joseph,</span> + <a href="#png:483">425</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Seagrave</em>, Robert,</span> + <a href="#png:122">94</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sears</em>, Edmund H.,</span> + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Seneca</em>,</span> + <a href="#png:370">320</a>, + <a href="#png:372">322</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Servoss</em>, Mary Elizabeth,</span> + <a href="#png:500">442</a>, + <a href="#png:501">443</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Seward</em>, William H.,</span> + <a href="#png:303">257</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Shepherd</em>, Thomas,</span> + <a href="#png:467">411</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sheridan</em>, Mrs. Richard Brinsley,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Shipley</em>, Dean,</span> + <a href="#png:216">178</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Shirley</em>, Sir Walter,</span> + <a href="#png:159">127</a>, + <a href="#png:160">128</a>, + <a href="#png:242">202</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Simao</em>, Portugalis,</span> + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Simpson</em>, Robert,</span> + <a href="#png:346">298</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Singer</em>, Elizabeth,</span> + <a href="#png:069">45</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smart</em>, Henry,</span> + <a href="#png:024">4</a>, + <a href="#png:025">5</a>, + <a href="#png:030">10</a>, + <a href="#png:169">137</a>, + <a href="#png:525">465</a>, + <a href="#png:589">525</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smith</em>, Mrs. Albert,</span> + <a href="#png:367">317</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smith</em>, Alexander,</span> + <a href="#png:422">368</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smith</em>, Goldwin,</span> + <a href="#png:012">x</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smith</em>, Isaac,</span> + <a href="#png:374">324</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smith</em>, John Stafford,</span> + <a href="#png:387">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Smith</em>, Samuel Francis,</span> + <a href="#png:218">180</a>–<a href="#png:220">182</a>, + <a href="#png:389">337</a>, + <a href="#png:391">339</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Spafford</em>, Horatio G.,</span> + <a href="#png:498">440</a>, + <a href="#png:499">441</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Spohr</em>, L.,</span> + <a href="#png:156">126</a>, + <a href="#png:249">207</a>, + <a href="#png:271">227</a>, + <a href="#png:272">228</a>, + <a href="#png:288">244</a>, + <a href="#png:550">488</a><samp class="pgmark" + ><span class="png">615 /</span> 549</samp> + <a id="png:615" name="png:615" title="549"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stainer</em>, John,</span> + <a href="#png:093">65</a>, + <a href="#png:094">66</a>, + <a href="#png:404">352</a>, + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stanley</em>, (Dean), Arthur P.,</span> + <a href="#png:093">65</a>, + <a href="#png:094">66</a>, + <a href="#png:182">148</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stead</em>, William,</span> + <a href="#png:184">150</a>, + <a href="#png:185">151</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stebbins</em>, George C.,</span> + <a href="#png:298">254</a>, + <a href="#png:358">308</a>, + <a href="#png:429">375</a>, + <a href="#png:473">415</a>, + <a href="#png:594">528</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Steele</em>, Anna,</span> + <a href="#png:237">197</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Steffe</em>, John W.,</span> + <a href="#png:394">342</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Fulbert</em>,</span> + <a href="#png:085">59</a>–<a href="#png:087">61</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Stennet'">Stennett</ins></em>, Joseph,</span> + <a href="#png:045">23</a>, + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Stennet'">Stennett</ins></em>, Samuel,</span> + <a href="#png:045">23</a>, + <a href="#png:046">24</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stephens</em>, ——,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stephen</em>, (St.), the Sabaite,</span> + <a href="#png:083">57</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sternhold</em>, Thomas,</span> + <a href="#png:037">15</a>, + <a href="#png:038">16</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stevenson</em>, ——,</span> + <a href="#png:367">317</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stokes</em>, Walter,</span> + <a href="#png:112">84</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stores</em>, Richard S,</span> + <a href="#png:059">35</a>, + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Storrs</em>, Mrs. R.S.,</span> + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stowe</em>, Harriet Beecher,</span> + <a href="#png:543">481</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stowell</em>, Hugh,</span> + <a href="#png:264">222</a>, + <a href="#png:267">223</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stuart</em>, Charles M.,</span> + <a href="#png:058">34</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sumner</em>, Janaziah,</span> + <a href="#png:380">330</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Swain</em>, Joseph,</span> + <a href="#png:050">28</a>, + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Swan</em>, Jabez,</span> + <a href="#png:332">286</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Swan</em>, Timothy,</span> + <a href="#png:234">194</a>, + <a href="#png:235">195</a>, + <a href="#png:377">327</a>, + <a href="#png:570">506</a></td> +</tr> + +</table> + +<table summary="Index of Names: T" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Tadolini</em>, Giovanni,</span> + <a href="#png:409">357</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tait</em>, Abp.,</span> + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tallis</em>, Thomas,</span> + <a href="#png:017">xv</a>, + <a href="#png:039">17</a>, + <a href="#png:040">18</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tansur</em>, William,</span> + <a href="#png:328">282</a>, + <a href="#png:329">283</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tarbutton</em>, W.A.,</span> + <a href="#png:594">528</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tate</em>, Nahum,</span> + <a href="#png:032">12</a>, + <a href="#png:034">14</a>, + <a href="#png:233">193</a>, + <a href="#png:329">283</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Taylor</em>, Benjamin F.,</span> + <a href="#png:599">533</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Taylor</em>, James,</span> + <a href="#png:087">61</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Taylor</em>, Thomas R.,</span> + <a href="#png:348">300</a>, + <a href="#png:349">301</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Taylor</em>, V.C.,</span> + <a href="#png:078">52</a>, + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tennyson</em>, Alfred,</span> + <a href="#png:305">259</a>, + <a href="#png:604">538</a>–<a href="#png:606">540</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tersteegen</em>, Gerhard,</span> + <a href="#png:132">102</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Teschner</em>, Melchior,</span> + <a href="#png:028">8</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Theodulph</em>, Bp.,</span> + <a href="#png:025">5</a>, + <a href="#png:026">6</a>, + <a href="#png:027">7</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thomas à Kempis</em>,</span> + <a href="#png:095">67</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thomas di Celano</em>,</span> + <a href="#png:088">62</a>, + <a href="#png:091">63</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thring</em>, Godfrey,</span> + <a href="#png:425">371</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thrupp</em>, Dorothy A.,</span> + <a href="#png:360">310</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tomer</em>, William G.,</span> + <a href="#png:561">497</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Toplady</em>, A.M.,</span> + <a href="#png:169">137</a>, + <a href="#png:170">138</a>, + <a href="#png:581">517</a>, + <a href="#png:040">18</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tourjee</em>, Eben,</span> + <a href="#png:183">149</a>, + <a href="#png:184">150</a>, + <a href="#png:279">235</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tourjee</em>, Lizzie S.,</span> + <a href="#png:279">235</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tours</em>, Berthold,</span> + <a href="#png:473">415</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Trajan</em>, (Emperor),</span> + <a href="#png:341">293</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tyler</em>, Mrs. Fanny,</span> + <a href="#png:050">28</a></td> +</tr> + +</table> + +<table summary="Index of Names: U" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Ufford</em>, E.S.,</span> + <a href="#png:428">374</a>, + <a href="#png:430">376</a>, + <a href="#png:431">377</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Upham</em>, Thomas,</span> + <a href="#png:232">192</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Urhan</em>, Christian,</span> + <a href="#png:110">82</a></td> +</tr> + +</table> + +<table summary="Index of Names: V" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Vail</em>, Silas J.,</span> + <a href="#png:028">8</a>, + <a href="#png:278">234</a>, + <a href="#png:279">235</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Van Alstyne</em>, Mrs.,</span> + <a href="#png:190">156</a>, + <a href="#png:222">184</a>, + <a href="#png:362">312</a>, + <a href="#png:483">425</a>, + <a href="#png:496">438</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Vernon</em>, (Admiral),</span> + <a href="#png:391">339</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Victoria</em>, (Queen),</span> + <a href="#png:171">139</a>, + <a href="#png:292">248</a>, + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Vokes</em>, Mrs.,</span> + <a href="#png:207">171</a>, + <a href="#png:209">173</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Voltaire</em>,</span> + <a href="#png:067">43</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Von Gluck</em>,</span> + <a href="#png:552">490</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Von Weber</em>, C.M.,</span> + <a href="#png:151">121</a>, + <a href="#png:390">338</a>, + <a href="#png:552">490</a>, + <a href="#png:564">500</a></td> +</tr> + +</table> + +<table summary="Index of Names: W" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Wade</em>, ——,</span> + <a href="#png:132">102</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Walford</em>, William W.,</span> + <a href="#png:490">432</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Walther</em>, Johan,</span> + <a href="#png:018">xvi</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Warner</em>, Anna,</span> + <a href="#png:476">418</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Washburn</em>, Henry S.,</span> + <a href="#png:289">245</a>, + <a href="#png:291">247</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Waters</em>, Horace,</span> + <a href="#png:353">303</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Watkins'">Watkin</ins></em>, Jack E.,</span> + <a href="#png:444">390</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Watson</em>, Bp.,</span> + <a href="#png:185">151</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Watson</em>, Richard,</span> + <a href="#png:150">120</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Watts</em>, Isaac,</span> + <a href="#png:034">14</a>, + <a href="#png:051">29</a>, + <a href="#png:057">33</a>, + <a href="#png:059">35</a>, + <a href="#png:061">37</a>, + <a href="#png:064">40</a>, + <a href="#png:065">41</a>–<a href="#png:069">45</a>, + <a href="#png:073">47</a>, + <a href="#png:086">60</a>, + <a href="#png:135">105</a>, + <a href="#png:137">107</a>–<a href="#png:139">109</a>, + <a href="#png:165">133</a>, + <a href="#png:166">134</a>, + <a href="#png:201">165</a>, + <a href="#png:202">166</a>, + <a href="#png:203">167</a>, + <a href="#png:287">243</a>, + <a href="#png:450">396</a>, + <a href="#png:459">403</a>, + <a href="#png:523">463</a>, + <a href="#png:570">506</a>, + <a href="#png:577">513</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wayland</em>, Francis,</span> + <a href="#png:066">42</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Webb</em>, George J.,</span> + <a href="#png:220">182</a>, + <a href="#png:502">444</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Webbe</em>, Samuel,</span> + <a href="#png:146">116</a>, + <a href="#png:569">505</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Webster</em>, Joseph P.,</span> + <a href="#png:601">535</a>–<a href="#png:603">537</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wells</em>, G.C.,</span> + <a href="#png:141">111</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wentworth</em>, (Gov.),</span> + <a href="#png:315">269</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wesley</em>, Charles,</span> + <a href="#png:034">14</a>, + <a href="#png:048">26</a>, + <a href="#png:069">45</a>, + <a href="#png:073">47</a>, + <a href="#png:122">94</a>, + <a href="#png:141">111</a>, + <a href="#png:148">118</a>, + <a href="#png:244">204</a>, + <a href="#png:320">274</a>, + <a href="#png:411">359</a>–<a href="#png:413">361</a>, + <a href="#png:442">388</a>, + <a href="#png:450">396</a>, + <a href="#png:459">403</a>, + <a href="#png:478">420</a>, + <a href="#png:523">463</a>, + <a href="#png:534">474</a>, + <a href="#png:555">493</a>, + <a href="#png:584">520</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wesley</em>, John,</span> + <a href="#png:034">14</a>, + <a href="#png:251">209</a>, + <a href="#png:253">211</a>, + <a href="#png:319">273</a>, + <a href="#png:584">520</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wesley</em>, Samuel,</span> + <a href="#png:069">45</a>, + <a href="#png:216">178</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wesley</em>, Samuel Sebastian,</span> + <a href="#png:069">45</a>, + <a href="#png:215">177</a>, + <a href="#png:216">178</a>, + <a href="#png:354">304</a>, + <a href="#png:547">485</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wheelock</em>, Eleazer,</span> + <a href="#png:313">267</a>, + <a href="#png:315">269</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>White</em>, Henry Kirke,</span> + <a href="#png:345">297</a>, + <a href="#png:416">364</a>–<a href="#png:418">366</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Whitefield</em>, George,</span> + <a href="#png:041">19</a>, + <a href="#png:055">31</a>, + <a href="#png:116">88</a>, + <a href="#png:154">124</a>, + <a href="#png:164">132</a>, + <a href="#png:241">201</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Whiting</em>, William,</span> + <a href="#png:423">369</a>, + <a href="#png:424">370</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Whittier</em>, John G.,</span> + <a href="#png:294">250</a>, + <a href="#png:295">251</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Whittle</em>, D.W.,</span> + <a href="#png:502">444</a><samp class="pgmark" + ><span class="png">616 /</span> 550</samp> + <a id="png:616" name="png:616" title="550"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>William</em>, (King),</span> + <a href="#png:032">12</a>, + <a href="#png:033">13</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Williams</em>, Aaron,</span> + <a href="#png:162">130</a>, + <a href="#png:166">134</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Williams</em>, David,</span> + <a href="#png:461">405</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Williams</em>, Helen M.,</span> + <a href="#png:155">125</a>, + <a href="#png:156">126</a>, + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Williams</em>, Peter,</span> + <a href="#png:239">199</a>, + <a href="#png:241">201</a>, + <a href="#png:441">387</a>, + <a href="#png:443">389</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Williams</em>, Thomas,</span> + <a href="#png:447">393</a>, + <a href="#png:457">401</a>, + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Williams</em>, William,</span> + <a href="#png:202">166</a>–<a href="#png:204">168</a>, + <a href="#png:239">199</a>, + <a href="#png:435">381</a>–<a href="#png:440">386</a>, + <a href="#png:442">388</a>, + <a href="#png:450">396</a>, + <a href="#png:455">399</a>, + <a href="#png:461">405</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Willis</em>, Richard Storrs,</span> + <a href="#png:473">415</a>, + <a href="#png:527">467</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Willis</em>, Nathaniel,</span> + <a href="#png:527">467</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Willis</em>, N.P.,</span> + <a href="#png:527">467</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wilson</em>, Hugh,</span> + <a href="#png:405">353</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Winks</em>, W.E.,</span> + <a href="#png:462">406</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Winkworth</em>, Catherine,</span> + <a href="#png:112">84</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Woodbridge</em>, William C.,</span> + <a href="#png:390">338</a>, + <a href="#png:391">339</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Woodbury</em>, Isaac B.,</span> + <a href="#png:141">111</a>, + <a href="#png:221">183</a>, + <a href="#png:288">244</a>, + <a href="#png:369">319</a>, + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Woodman</em>, J.C.,</span> + <a href="#png:466">410</a>, + <a href="#png:473">415</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wood</em>, Sir Evelyn,</span> + <a href="#png:422">368</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wroth</em>, William,</span> + <a href="#png:433">379</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wyeth</em>, John,</span> + <a href="#png:329">283</a>, + <a href="#png:330">284</a></td> +</tr> + +</table> + +<table summary="Index of Names: X" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Xavier</em>, Francis,</span> + <a href="#png:102">74</a></td> +</tr> + +</table> + +<table summary="Index of Names: Y" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Young</em>, Andrew,</span> + <a href="#png:354">304</a></td> +</tr> + +</table> + +<table summary="Index of Names: Z" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Zerrahn</em>, Carl,</span> + <a href="#png:502">444</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Zeuner</em>, Heinrich,</span> + <a href="#png:208">172</a>, + <a href="#png:285">241</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Zinzendorf</em>, (Count),</span> + <a href="#png:119">91</a>, + <a href="#png:120">92</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Zundel</em>, John,</span> + <a href="#png:415">363</a>, + <a href="#png:547">485</a></td> +</tr> + +</table><samp class="pgmark" + ><span class="png">617 /</span> 551</samp> +</div> +<a id="png:617" name="png:617" title="551"></a> + + +<h2 class="chap">INDEX OF TUNES.</h2> +<hr class="chap" /> +<!-- The original for this index and the following one + has the names of the tunes and the hymns in all lowercase + smallcaps, but there is a bug in IE6 which gets the baseline + alignment wrong if there is only a single word. Hence we + capitalize the first word, and proper names, as a workaround --> + +<div class="ctr"> +<table summary="Index of Tunes: A" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Abends</em>,</span> + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: original has 'Aberystwith'">Aberystwyth</ins></em>,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Abide with me</em>,</span> + <a href="#png:261">219</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Aelred</em>,</span> + <a href="#png:426">372</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ain</em>,</span> + <a href="#png:062">38</a>, + <a href="#png:063">39</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Almost persuaded</em>,</span> + <a href="#png:514">454</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Alsace</em>,</span> + <a href="#png:233">193</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>All saints, new</em>,</span> + <a href="#png:577">513</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Amaland</em>,</span> + <a href="#png:525">465</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>America</em>,</span> + <a href="#png:388">336</a>–<a href="#png:391">339</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ames</em>,</span> + <a href="#png:058">34</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Amsterdam</em>,</span> + <a href="#png:125">95</a>, + <a href="#png:126">96</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Anacreon in heaven</em>,</span> + <a href="#png:384">334</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Annapolis</em>,</span> + <a href="#png:571">507</a>, + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Anthem for easter</em>,</span> + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Antioch</em>,</span> + <a href="#png:202">166</a>, + <a href="#png:524">464</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Antiphonals</em>,</span> + <a href="#png:015">xiii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Anvern</em>,</span> + <a href="#png:584">520</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Arabia</em>,</span> + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ariel</em>,</span> + <a href="#png:169">137</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Arlington</em>,</span> + <a href="#png:137">107</a>, + <a href="#png:148">118</a>, + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Athens</em>,</span> + <a href="#png:271">227</a>, + <a href="#png:357">307</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Audientes</em>,</span> + <a href="#png:353">303</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Auld lang syne</em>,</span> + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Aurelia</em>,</span> + <a href="#png:215">177</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Autumn</em>, (Sardius),</span> + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Azmon</em>,</span> + <a href="#png:073">47</a>, + <a href="#png:074">48</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: B" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Babel</em>,</span> + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Balerma</em>,</span> + <a href="#png:345">297</a>, + <a href="#png:346">298</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Battle hymn etc.</em>,</span> + <a href="#png:393">341</a>–<a href="#png:395">343</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Belmont</em>,</span> + <a href="#png:146">116</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Benevento</em>,</span> + <a href="#png:556">494</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Berlin</em>,</span> + <a href="#png:553">491</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bethany</em>,</span> + <a href="#png:187">153</a>, + <a href="#png:525">465</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beyond the smiling and the weeping</em>,</span> + <a href="#png:594">528</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Birmingham</em>,</span> + <a href="#png:164">132</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bonny doon</em>,</span> + <a href="#png:421">367</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bosworth</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bower of prayer, the</em>,</span> + <a href="#png:181">147</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bowring</em>,</span> + <a href="#png:206">170</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Boylston</em>,</span> + <a href="#png:165">133</a>, + <a href="#png:205">169</a>, + <a href="#png:587">523</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Braden</em>,</span> + <a href="#png:322">276</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brattle street</em>,</span> + <a href="#png:156">126</a>, + <a href="#png:249">207</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brest</em>,</span> + <a href="#png:569">505</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bright Canaan</em>,</span> + <a href="#png:319">273</a>, + <a href="#png:320">274</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brighton</em>,</span> + <a href="#png:289">245</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Broken pinion, the</em>,</span> + <a href="#png:298">254</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brooklyn</em>,</span> + <a href="#png:547">485</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brown</em>,</span> + <a href="#png:276">232</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bruce's address</em>,</span> + <a href="#png:387">335</a>, + <a href="#png:388">336</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brymgfryd</em>,</span> + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Buckfield</em>,</span> + <a href="#png:329">283</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Burial of Mrs. Judson</em>,</span> + <a href="#png:291">247</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: C" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Calm on the listening ear, (epiphany)</em>,</span> + <a href="#png:528">468</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Canaan</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Canons</em>,</span> + <a href="#png:031">11</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Capel y ddol</em>,</span> + <a href="#png:461">405</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Carol</em>,</span> + <a href="#png:527">467</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Catharine</em>,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Chester</em>,</span> + <a href="#png:381">331</a>, + <a href="#png:382">332</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>China</em>,</span> + <a href="#png:234">194</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Christmas</em>,</span> + <a href="#png:470">414</a>, + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Clwyd</em>,</span> + <a href="#png:447">393</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Colebrook</em>,</span> + <a href="#png:169">137</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Columbia</em>,</span> + <a href="#png:382">332</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come</em>,</span> + <a href="#png:513">453</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, my brethren</em>,</span> + <a href="#png:326">280</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, ye disconsolate</em>,</span> + <a href="#png:263">221</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, ye faithful</em>,</span> + <a href="#png:081">55</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Consolation</em>,</span> + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Convention hymn</em>,</span> + <a href="#png:225">187</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Coronation</em>,</span> + <a href="#png:049">27</a>, + <a href="#png:085">59</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Corsica</em>,</span> + <a href="#png:552">490</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Counterpoint</em>,</span> + <a href="#png:017">xv</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Creation</em>,</span> + <a href="#png:064">40</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Crimea</em>,</span> + <a href="#png:418">366</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Crossing the bar</em>,</span> + <a href="#png:605">539</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Crucifixion</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cwyfan</em>,</span> + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Cwynfan prydian</em>,</span> + <a href="#png:458">402</a></td> +</tr> + +</table> +<a id="png:618" name="png:618"></a><samp class="pgmark" + ><span class="png">618 /</span> 552</samp> + +<table summary="Index of Tunes: D" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Darby</em>,</span> + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dead march in “Saul”</em>,</span> + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dedham</em>,</span> + <a href="#png:074">48</a>, + <a href="#png:162">130</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Denmark</em>,</span> + <a href="#png:065">41</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dennis</em>,</span> + <a href="#png:165">133</a>, + <a href="#png:197">161</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Devonshire</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Devotion</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dies irae</em>,</span> + <a href="#png:093">65</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dort</em>,</span> + <a href="#png:225">187</a>, + <a href="#png:400">348</a>, + <a href="#png:543">481</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dunbar</em>,</span> + <a href="#png:597">531</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dundee</em>,</span> + <a href="#png:234">194</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Duke street</em>,</span> + <a href="#png:061">37</a>, + <a href="#png:202">166</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: E" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Easter anthem</em>,</span> + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ebenezer</em>,</span> + <a href="#png:462">406</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Eden of love</em>,</span> + <a href="#png:318">272</a>, + <a href="#png:319">273</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Edina</em>,</span> + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Edom</em>,</span> + <a href="#png:457">401</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ein feste Burg</em>,</span> + <a href="#png:099">71</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Eirinwg</em>,</span> + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ellacombe</em>,</span> + <a href="#png:215">177</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Elliott</em>,</span> + <a href="#png:257">215</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Elvy</em>,</span> + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Emmons</em>,</span> + <a href="#png:155">125</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Epiphany (calm on the listening)</em>,</span> + <a href="#png:528">468</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ernan</em>,</span> + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Eternity</em>,</span> + <a href="#png:509">449</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Eucharist</em>,</span> + <a href="#png:141">111</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Evan</em>,</span> + <a href="#png:271">227</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Evening song to the virgin</em>,</span> + <a href="#png:411">359</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Excelsius</em>,</span> + <a href="#png:126">96</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: F" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Fair Harvard</em>,</span> + <a href="#png:357">307</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Falmouth</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Federal street</em>,</span> + <a href="#png:134">104</a>, + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fitzwilliam</em>,</span> + <a href="#png:024">4</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Forever with the Lord</em>,</span> + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Frederick</em>,</span> + <a href="#png:192">158</a>, + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>From Greenland's icy</em>,</span> + <a href="#png:217">179</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: G" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Ganges</em>,</span> + <a href="#png:149">119</a>, + <a href="#png:315">269</a>, + <a href="#png:316">270</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Garden hymn, the</em>,</span> + <a href="#png:323">277</a>, + <a href="#png:324">278</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Geneva</em>,</span> + <a href="#png:145">115</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Golden hill</em>,</span> + <a href="#png:138">108</a>, + <a href="#png:320">274</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God be with you</em>,</span> + <a href="#png:561">497</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Good morning in glory</em>,</span> + <a href="#png:200">164</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gott ist licht</em>,</span> + <a href="#png:523">463</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Greenville</em>,</span> + <a href="#png:142">112</a>, + <a href="#png:151">121</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Griggs</em>,</span> + <a href="#png:132">102</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: H" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Habakkuk</em>,</span> + <a href="#png:254">212</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hail Columbia</em>,</span> + <a href="#png:381">331</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hallelujah! 'tis done!</em>,</span> + <a href="#png:480">422</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hallowell</em>,</span> + <a href="#png:329">283</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hamburg</em>,</span> + <a href="#png:141">111</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hanover</em>,</span> + <a href="#png:244">204</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Happy day</em>,</span> + <a href="#png:328">282</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Happy land</em>,</span> + <a href="#png:354">304</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harewood</em>,</span> + <a href="#png:547">485</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harmony</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harmony grove</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Harvest home</em>,</span> + <a href="#png:541">479</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Haydn</em>,</span> + <a href="#png:055">31</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Heber</em>,</span> + <a href="#png:132">102</a>, + <a href="#png:368">318</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>He leadeth me</em>,</span> + <a href="#png:280">236</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Helmsley</em>,</span> + <a href="#png:569">505</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hendon</em>,</span> + <a href="#png:548">486</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>He will hide me</em>,</span> + <a href="#png:502">444</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hold the fort</em>,</span> + <a href="#png:482">424</a>, + <a href="#png:490">432</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holley</em>,</span> + <a href="#png:463">407</a>, + <a href="#png:545">483</a>, + <a href="#png:546">484</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holy cross</em>,</span> + <a href="#png:132">102</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holy, holy, holy</em>,</span> + <a href="#png:077">51</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holy trinity</em>,</span> + <a href="#png:132">102</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Home of the soul, the</em>,</span> + <a href="#png:598">532</a>, + <a href="#png:599">533</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Home, sweet home</em>,</span> + <a href="#png:167">135</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Horbury</em>,</span> + <a href="#png:186">152</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hosanna</em>,</span> + <a href="#png:576">512</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hudson</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hursley</em>,</span> + <a href="#png:196">160</a>, + <a href="#png:555">493</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hyfrydol</em>,</span> + <a href="#png:429">375</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: I" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>I'm glad I'm in this army</em>,</span> + <a href="#png:347">299</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Immanuel's banner</em>,</span> + <a href="#png:226">188</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Independence</em>,</span> + <a href="#png:382">332</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Innsbruck</em>,</span> + <a href="#png:119">91</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>It is well</em>,</span> + <a href="#png:498">440</a></td> +</tr> + +<tr> +<td class="index" style="text-align: center"> +(See <a href="#png:622">Index of Hymns</a>)</td> +</tr> + +</table> + +<table summary="Index of Tunes: J" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Jazer</em>,</span> + <a href="#png:148">118</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jewett</em>,</span> + <a href="#png:564">500</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Joyfully, joyfully</em>,</span> + <a href="#png:337">289</a>, + <a href="#png:338">290</a></td> +</tr> + +<tr> +<td class="index" style="text-align: center"> +(See <a href="#png:622">Index of Hymns</a>)</td> +</tr> + +</table> + +<table summary="Index of Tunes: K" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Keble</em>,</span> + <a href="#png:078">52</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Keller's American hymn</em>,</span> + <a href="#png:491">433</a>–<a href="#png:503">445</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Kent</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Kentucky</em>,</span> + <a href="#png:320">274</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: L" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Laban</em>,</span> + <a href="#png:177">143</a><samp class="pgmark" + ><span class="png">619 /</span> 553</samp> + <a id="png:619" name="png:619" title="553"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lament over Boston</em>,</span> + <a href="#png:382">332</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Land ahead</em>,</span> + <a href="#png:423">369</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lanesboro</em>,</span> + <a href="#png:060">36</a>, + <a href="#png:567">503</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>La spezia</em>,</span> + <a href="#png:087">61</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lenox</em>,</span> + <a href="#png:449">395</a>, + <a href="#png:536">476</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Leoni</em>,</span> + <a href="#png:042">20</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Let the lower lights</em>,</span> + <a href="#png:492">434</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lisbon</em>,</span> + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lischer</em>,</span> + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Llanietyn</em>,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Louvan</em>,</span> + <a href="#png:078">52</a>, + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Loving-kindness</em>,</span> + <a href="#png:323">277</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lowell</em>,</span> + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lucas</em>,</span> + <a href="#png:556">494</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Luther's hymn</em>,</span> + <a href="#png:101">73</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lux benigna</em>,</span> + <a href="#png:268">224</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: M" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Magdalen</em>,</span> + <a href="#png:403">351</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Magnificat</em>,</span> + <a href="#png:013">xi</a>, + <a href="#png:014">xii</a>, + <a href="#png:030">10</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Maitland</em>,</span> + <a href="#png:468">412</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Majesty</em>,</span> + <a href="#png:038">16</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Malvern</em>,</span> + <a href="#png:121">93</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Manoah</em>,</span> + <a href="#png:146">116</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Marseillaise</em>,</span> + <a href="#png:210">174</a>, + <a href="#png:379">329</a>, + <a href="#png:404">352</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Massachusetts</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Matthias</em>,</span> + <a href="#png:289">245</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mear</em>,</span> + <a href="#png:162">130</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Melancthon</em>,</span> + <a href="#png:560">496</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Melita</em>,</span> + <a href="#png:424">370</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Milton</em>,</span> + <a href="#png:287">243</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mendelssohn</em>,</span> + <a href="#png:523">463</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Meribah</em>,</span> + <a href="#png:118">90</a>, + <a href="#png:119">91</a>, + <a href="#png:149">119</a>, + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Merton</em>,</span> + <a href="#png:135">105</a>, + <a href="#png:583">519</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Messiah</em>,</span> + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Midnight mass</em>,</span> + <a href="#png:520">460</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Migdol</em>,</span> + <a href="#png:209">173</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Millennial dawn</em>,</span> + <a href="#png:215">177</a>, + <a href="#png:220">182</a>, + <a href="#png:537">477</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Missionary chant</em>,</span> + <a href="#png:208">172</a>, + <a href="#png:339">291</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Monson</em>,</span> + <a href="#png:276">232</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Montgomery</em>,</span> + <a href="#png:059">35</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morecambe</em>,</span> + <a href="#png:553">491</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morlaix</em>,</span> + <a href="#png:426">372</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morning</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Morning glory</em>,</span> + <a href="#png:568">504</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mornington</em>,</span> + <a href="#png:587">523</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mozart</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mt. Auburn</em>,</span> + <a href="#png:583">519</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mt. Vernon</em>,</span> + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My ain countree</em>,</span> + <a href="#png:516">456</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My brother, I wish you well</em>,</span> + <a href="#png:119">91</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My jesus, I love thee</em>,</span> + <a href="#png:198">162</a>, + <a href="#png:199">163</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: N" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Nancy jig</em>,</span> + <a href="#png:439">385</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Naomi</em>,</span> + <a href="#png:238">198</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Neale</em>,</span> + <a href="#png:407">355</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nearer home</em>,</span> + <a href="#png:463">407</a>, + <a href="#png:597">531</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nesta</em>,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nettleton</em>,</span> + <a href="#png:142">112</a>, + <a href="#png:329">283</a>, + <a href="#png:330">284</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>New Durham</em>,</span> + <a href="#png:329">283</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>New Jerusalem</em>,</span> + <a href="#png:570">506</a>, + <a href="#png:571">507</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nicæa</em>,</span> + <a href="#png:077">51</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Northfield</em>,</span> + <a href="#png:570">506</a>–<a href="#png:572">508</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Norwich</em>,</span> + <a href="#png:249">207</a>, + <a href="#png:522">462</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Not half has ever been told</em>,</span> + <a href="#png:511">451</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Nottingham</em>,</span> + <a href="#png:038">16</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>No war nor battle sound</em>,</span> + <a href="#png:521">461</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: O" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Oak</em>,</span> + <a href="#png:350">302</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ode on science</em>,</span> + <a href="#png:380">330</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O do not be discouraged</em>,</span> + <a href="#png:347">299</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Old hundred</em>,</span> + <a href="#png:018">xvi</a>, + <a href="#png:037">15</a>, + <a href="#png:065">41</a>, + <a href="#png:202">166</a>, + <a href="#png:391">339</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Olmutz</em>,</span> + <a href="#png:582">518</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Old ship of Zion</em>,</span> + <a href="#png:338">290</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>One more day's work, etc.</em>,</span> + <a href="#png:476">418</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Only remembered</em>,</span> + <a href="#png:359">309</a></td> +</tr> + + +<tr valign="baseline"> +<td class="index"><span><em>Onward, christian soldiers</em>,</span> + <a href="#png:082">56</a>, + <a href="#png:224">186</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O, perfect love</em>,</span> + <a href="#png:568">504</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ortonville</em>,</span> + <a href="#png:047">25</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Over there</em>,</span> + <a href="#png:494">436</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: P" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Palestine</em>,</span> + <a href="#png:242">202</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Palm branches</em>,</span> + <a href="#png:530">470</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Paradise</em>,</span> + <a href="#png:590">526</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Part-song</em>,</span> + <a href="#png:017">xv</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Paschale gaudium</em>,</span> + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pentecost</em>,</span> + <a href="#png:577">513</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Peterborough</em>,</span> + <a href="#png:074">48</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pilgrim</em>,</span> + <a href="#png:047">25</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pisgah</em>,</span> + <a href="#png:148">118</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Plain-song</em>,</span> + <a href="#png:014">xii</a>, + <a href="#png:030">10</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pleyel's hymn</em>,</span> + <a href="#png:326">280</a>, + <a href="#png:467">411</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Polyphonic</em>,</span> + <a href="#png:017">xv</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Portland</em>,</span> + <a href="#png:329">283</a>, + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Portuguese hymn</em>,</span> + <a href="#png:245">205</a>, + <a href="#png:246">206</a>, + <a href="#png:520">460</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Precious jewels</em>,</span> + <a href="#png:365">315</a>, + <a href="#png:366">316</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>President's march</em>,</span> + <a href="#png:381">331</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: R" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em><ins class="transcriber" + title="Transcriber's note: Original has 'Rand'">Ranz</ins> de Vaches</em>,</span> + <a href="#png:404">352</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rathbun</em>,</span> + <a href="#png:129">99</a>, + <a href="#png:293">249</a><samp class="pgmark" + ><span class="png">620 /</span> 554</samp> + <a id="png:620" name="png:620" title="554"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ravendale</em>,</span> + <a href="#png:112">84</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Raynham</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Refuge</em>,</span> + <a href="#png:415">363</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rejoice and be glad</em>,</span> + <a href="#png:473">415</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rescue the perishing</em>,</span> + <a href="#png:483">425</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rest</em>,</span> + <a href="#png:563">499</a>, + <a href="#png:577">513</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Restoration</em>,</span> + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Retreat</em>,</span> + <a href="#png:267">223</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Retrospect</em>,</span> + <a href="#png:382">332</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Revive thy work</em>,</span> + <a href="#png:503">445</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rhine</em>,</span> + <a href="#png:155">125</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rivaulx</em>,</span> + <a href="#png:134">104</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rolland</em>,</span> + <a href="#png:136">106</a>, + <a href="#png:555">493</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rockingham</em>,</span> + <a href="#png:163">131</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rotterdam</em>,</span> + <a href="#png:081">55</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Russia</em>,</span> + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rutherford</em>,</span> + <a href="#png:110">82</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: S" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Safe in the arms of Jesus</em>,</span> + <a href="#png:607">541</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Salem</em>,</span> + <a href="#png:153">123</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Salisbury plain</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Samson</em>,</span> + <a href="#png:202">166</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sardius, (autumn)</em>,</span> + <a href="#png:241">201</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Savannah</em>,</span> + <a href="#png:282">238</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Saviour, like a shepherd</em>,</span> + <a href="#png:360">310</a>, + <a href="#png:361">311</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Saviour, pilot me</em>,</span> + <a href="#png:428">374</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scale, the</em>,</span> + <a href="#png:015">xiii</a>, + <a href="#png:016">xiv</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scatter seeds of kindness</em>,</span> + <a href="#png:368">318</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Schumann</em>,</span> + <a href="#png:115">87</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scots wha hae</em>,</span> + <a href="#png:388">336</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sequences</em>, (footnote),</span> + <a href="#png:028">8</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Shawmut</em>,</span> + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sherburne</em>,</span> + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sicily</em>,</span> + <a href="#png:161">129</a>, + <a href="#png:329">283</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Siloam</em>,</span> + <a href="#png:288">244</a>, + <a href="#png:368">318</a>, + <a href="#png:369">319</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Silver street</em>,</span> + <a href="#png:374">324</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Simpson</em>,</span> + <a href="#png:156">126</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Something for Jesus</em>,</span> + <a href="#png:182">148</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Songs of the beautiful</em>,</span> + <a href="#png:545">483</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sonnet</em>,</span> + <a href="#png:335">287</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sound the loud timbrel</em>,</span> + <a href="#png:377">327</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Speed away</em>,</span> + <a href="#png:222">184</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Spohr</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stafford</em>,</span> + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Star-spangled banner, the</em>,</span> + <a href="#png:075">49</a>, + <a href="#png:383">333</a>–<a href="#png:385">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>State street</em>,</span> + <a href="#png:466">410</a>, + <a href="#png:579">515</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Ambrose</em>,</span> + <a href="#png:344">296</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Anselm</em>, (we plow the fields),</span> + <a href="#png:538">478</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Athanasius</em>,</span> + <a href="#png:085">59</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Bernard</em>,</span> + <a href="#png:103">75</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Botolph</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Chad</em>,</span> + <a href="#png:076">50</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Edmund</em>,</span> + <a href="#png:186">152</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Garmon</em>,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. <ins class="transcriber" + title="Transcriber's note: original has 'Kevier'">Kevin</ins></em>,</span> + <a href="#png:357">307</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Louis</em>,</span> + <a href="#png:529">469</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Magnus</em>,</span> + <a href="#png:038">16</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Petersburg</em>,</span> + <a href="#png:255">213</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Philip</em>,</span> + <a href="#png:052">30</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>St. Thomas</em>,</span> + <a href="#png:062">38</a>, + <a href="#png:166">134</a>, + <a href="#png:587">523</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stephens</em>,</span> + <a href="#png:328">282</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stowe</em>,</span> + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sussex</em>,</span> + <a href="#png:564">500</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet by and by</em>,</span> + <a href="#png:600">534</a>–<a href="#png:603">537</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet Galilee</em>,</span> + <a href="#png:307">261</a>, + <a href="#png:369">319</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet hour of prayer</em>,</span> + <a href="#png:490">432</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Switzer's song of home</em>,</span> + <a href="#png:404">352</a></td> +</tr> + + + +</table> + +<table summary="Index of Tunes: T" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Tallis' evening hymn</em>,</span> + <a href="#png:018">xvi</a>, + <a href="#png:038">16</a>, + <a href="#png:039">17</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Te Deum</em>,</span> + <a href="#png:021">1</a>–<a href="#png:024">4</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Telemann's chant</em>,</span> + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thacher</em>,</span> + <a href="#png:139">109</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The bower of prayer</em>,</span> + <a href="#png:181">147</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The broken pinion</em>,</span> + <a href="#png:298">254</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The chariot</em>,</span> + <a href="#png:325">279</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The dying christian</em>,</span> + <a href="#png:580">516</a>, + <a href="#png:581">517</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The eden of love</em>,</span> + <a href="#png:318">272</a>, + <a href="#png:319">273</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The garden hymn</em>,</span> + <a href="#png:323">277</a>, + <a href="#png:324">278</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The harp that once</em>,</span> + <a href="#png:378">328</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The hebrew children</em>,</span> + <a href="#png:317">271</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The home of the soul</em>,</span> + <a href="#png:598">532</a>, + <a href="#png:599">533</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The land of the blest</em>,</span> + <a href="#png:358">308</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The morning light is breaking</em>,</span> + <a href="#png:215">177</a>, + <a href="#png:220">182</a>, + <a href="#png:537">477</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The ninety and nine</em>,</span> + <a href="#png:480">422</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The old, old story</em>,</span> + <a href="#png:487">429</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The prodigal child</em>,</span> + <a href="#png:488">430</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The solid rock</em>,</span> + <a href="#png:367">317</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The star-spangled banner</em>,</span> + <a href="#png:383">333</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There is a green hill</em>,</span> + <a href="#png:470">414</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Throw out the life-line</em>,</span> + <a href="#png:428">374</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thydian</em>,</span> + <a href="#png:442">388</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>To the work</em>,</span> + <a href="#png:496">438</a>, + <a href="#png:542">480</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Toplady</em>,</span> + <a href="#png:085">59</a>, + <a href="#png:174">142</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Trencynon</em>,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Triumph by and by</em>,</span> + <a href="#png:510">450</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Truro</em>,</span> + <a href="#png:285">241</a>, + <a href="#png:463">407</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Turner</em>,</span> + <a href="#png:328">282</a></td> +</tr> + +</table> + +<a id="png:621" name="png:621"></a><samp class="pgmark" + ><span class="png">621 /</span> 555</samp> +<table summary="Index of Tunes: U" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Uxbridge</em>,</span> + <a href="#png:121">93</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: V" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Vox angelica</em>,</span> + <a href="#png:589">525</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Vox dilecti</em>,</span> + <a href="#png:282">238</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Vox Jesu</em>,</span> + <a href="#png:271">227</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: W" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Waiting and watching</em>,</span> + <a href="#png:501">443</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Walnut grove</em>,</span> + <a href="#png:135">105</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ward</em>,</span> + <a href="#png:236">196</a>, + <a href="#png:555">493</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ware</em>,</span> + <a href="#png:058">34</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Watchman</em>,</span> + <a href="#png:206">170</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Webb</em>,</span> + <a href="#png:215">177</a>, + <a href="#png:220">182</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Weimar</em>,</span> + <a href="#png:029">9</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wells</em>,</span> + <a href="#png:465">409</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wellesley</em>,</span> + <a href="#png:279">235</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Welton</em>,</span> + <a href="#png:548">486</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We shall meet</em>,</span> + <a href="#png:595">529</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>What a friend we have</em>,</span> + <a href="#png:483">425</a></td> +</tr> + + +<tr valign="baseline"> +<td class="index"><span><em>What shall the harvest be</em>,</span> + <a href="#png:493">435</a>, + <a href="#png:494">436</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When Jesus comes</em>,</span> + <a href="#png:495">437</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When peace like a</em>,</span> + <a href="#png:537">477</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When shall we all meet</em>,</span> + <a href="#png:312">266</a></td> +</tr> + + +<tr valign="baseline"> +<td class="index"><span><em>When the swallows homeward fly</em>,</span> + <a href="#png:416">364</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Where are the reapers</em>,</span> + <a href="#png:487">429</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Where is my wandering boy</em>,</span> + <a href="#png:504">446</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>While the days are going</em>,</span> + <a href="#png:362">312</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Whitman</em>,</span> + <a href="#png:180">146</a>, + <a href="#png:416">364</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wilmot</em>,</span> + <a href="#png:151">121</a>, + <a href="#png:552">490</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Windham</em>,</span> + <a href="#png:463">407</a>, + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Windsor</em>,</span> + <a href="#png:544">482</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Woodstock</em>,</span> + <a href="#png:276">232</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Woodworth</em>,</span> + <a href="#png:257">215</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: Y" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Y delyn aur</em>,</span> + <a href="#png:461">405</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>York</em>,</span> + <a href="#png:522">462</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Your mission</em>,</span> + <a href="#png:305">259</a></td> +</tr> + +</table> + +<table summary="Index of Tunes: Z" class="index"> + +<tr valign="baseline"> +<td class="index"><span><em>Zephyr</em>,</span> + <a href="#png:577">513</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Zion</em>, (T. Hastings),</span> + <a href="#png:204">168</a>, + <a href="#png:210">174</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Zion</em>, (A. Hall),</span> + <a href="#png:578">514</a></td> +</tr> + +</table> +</div> + + + + + +<h2 class="chap">INDEX OF HYMNS.<a id="png:622" name="png:622"></a><samp class="pgmark" + ><span class="png">622 /</span> 556</samp></h2> +<hr class="chap" /> + +<div class="ctr"> +<table summary="Index of Hymns: A" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>A charge to keep I have</em>,</span> + <a href="#png:320">274</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Abide with me, fast falls</em>,</span> + <a href="#png:259">217</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adams and liberty</em>,</span> + <a href="#png:387">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Adeste, fideles</em>,</span> + <a href="#png:518">458</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Alas, what hourly dangers rise</em>,</span> + <a href="#png:238">198</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>All glory, laud and honor</em>,</span> + <a href="#png:025">5</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>All hail the power of Jesus' name</em>,</span> + <a href="#png:047">25</a>–<a href="#png:049">27</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>All praise to thee, eternal Lord</em>,</span> + <a href="#png:028">8</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Almost persuaded</em>,</span> + <a href="#png:514">454</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Along the banks where Babel's current</em>,</span> + <a href="#png:286">242</a>, + <a href="#png:287">243</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>A mighty fortress is our God</em>,</span> + <a href="#png:097">69</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>And is this life prolonged to you</em>,</span> + <a href="#png:067">43</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>And will the judge descend</em>,</span> + <a href="#png:466">410</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Angel of peace, thou has waited</em>,</span> + <a href="#png:396">344</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Angels roll the rock away</em>,</span> + <a href="#png:467">411</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Another six days' work is done</em>,</span> + <a href="#png:045">23</a>, + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>A poor wayfaring man of grief</em>,</span> + <a href="#png:331">285</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Arise, my soul, arise</em>,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Art thou weary, art thou languid</em>,</span> + <a href="#png:083">57</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>As down in the sunless retreats</em>,</span> + <a href="#png:287">243</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Asleep in Jesus, blessed sleep</em>,</span> + <a href="#png:563">499</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>At anchor laid remote from home</em>,</span> + <a href="#png:170">138</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ave, maris stella</em>,</span> + <a href="#png:408">356</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ave, sanctissima</em>,</span> + <a href="#png:409">357</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Awake and sing the song</em>,</span> + <a href="#png:051">29</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Awake my soul, stretch every nerve</em>,</span> + <a href="#png:469">413</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Awake, my soul, to joyful lays</em>,</span> + <a href="#png:322">276</a>, + <a href="#png:323">277</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Awaked by Sinai's awful sound</em>,</span> + <a href="#png:313">267</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: B" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Battle hymn of the republic</em>,</span> + <a href="#png:392">340</a>, + <a href="#png:395">343</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Before Jehovah's awful throne</em>,</span> + <a href="#png:064">40</a>, + <a href="#png:065">41</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Begone unbelief, my saviour is near</em>,</span> + <a href="#png:243">203</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Behold the glories of the lamb</em>,</span> + <a href="#png:066">42</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Behold, the stone is rolled away</em>,</span> + <a href="#png:511">451</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Be thou exalted, O my God</em>,</span> + <a href="#png:064">40</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Be thou, O God, exalted high</em>,</span> + <a href="#png:141">111</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Beyond the smiling and the weeping</em>,</span> + <a href="#png:593">527</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Blest be the tie that binds</em>,</span> + <a href="#png:164">132</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Blow ye the trumpet, blow</em>,</span> + <a href="#png:449">395</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Bread of heaven, on thee we feed</em>,</span> + <a href="#png:551">489</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brethren, while we sojourn here</em>,</span> + <a href="#png:326">280</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Brightly beams the father's mercy</em>,</span> + <a href="#png:489">431</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Build thee more stately mansions</em>,</span> + <a href="#png:293">249</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>By cool Siloam's shady rill</em>,</span> + <a href="#png:368">318</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>By the rude bridge + that arched the flood</em>,</span> + <a href="#png:391">339</a></td> +</tr> + +</table> +<a id="png:623" name="png:623"></a><samp class="pgmark" + ><span class="png">623 /</span> 557</samp> + +<table summary="Index of Hymns: C" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Calvary's blood the weak exalteth</em>,</span> + <a href="#png:439">385</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Child of sin and sorrow</em>,</span> + <a href="#png:267">223</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Christians, if your hearts are warm</em>,</span> + <a href="#png:320">274</a>, + <a href="#png:321">275</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Christ is our corner stone</em>,</span> + <a href="#png:547">485</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Christ is risen! Christ is risen!</em></span> + <a href="#png:533">473</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Christ the Lord is risen today</em>,</span> + <a href="#png:534">474</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come hither, all ye weary souls</em>,</span> + <a href="#png:465">409</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come hither, ye faithful</em>,</span> + <a href="#png:519">459</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, Holy Ghost, in love</em>,</span> + <a href="#png:085">59</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, Holy Spirit, heavenly dove</em>,</span> + <a href="#png:328">282</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come home, come home</em>,</span> + <a href="#png:488">430</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, let us anew</em>,</span> + <a href="#png:556">494</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, my brethren, let us try</em>,</span> + <a href="#png:325">279</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, sinner, come</em>,</span> + <a href="#png:475">417</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, thou fount of every blessing</em>,</span> + <a href="#png:329">283</a>, + <a href="#png:330">284</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, thou Holy Spirit, come</em>,</span> + <a href="#png:084">58</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come to Jesus just now</em>,</span> + <a href="#png:339">291</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come unto me when shadows</em>,</span> + <a href="#png:250">208</a>, + <a href="#png:251">209</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, we that love the Lord</em>,</span> + <a href="#png:061">37</a>, + <a href="#png:062">38</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, ye disconsolate</em>,</span> + <a href="#png:261">219</a>, + <a href="#png:262">220</a>, + <a href="#png:376">326</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, ye faithful, raise the strain</em>,</span> + <a href="#png:080">54</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Come, ye sinners, poor and needy</em>,</span> + <a href="#png:149">119</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Commit thou all thy griefs</em>,</span> + <a href="#png:112">84</a>–<a href="#png:113">85</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Crown his head with endless blessing</em>,</span> + <a href="#png:052">30</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: D" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Daughter of Zion, from the dust</em>,</span> + <a href="#png:548">486</a>, + <a href="#png:551">489</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Day of wrath: that day of burning</em>,</span> + <a href="#png:088">62</a>–<a href="#png:092">64</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dear Jesus, ever at my side</em>,</span> + <a href="#png:350">302</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dear refuge of my weary soul</em>,</span> + <a href="#png:236">196</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Did Christ o'er sinners weep</em>,</span> + <a href="#png:196">160</a>, + <a href="#png:197">161</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Die Felder wir <ins class="transcriber" + title="Transcriber's note: original has 'pflugen'">pflügen</ins></em>,</span> + <a href="#png:538">478</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Dies irae, dies illa</em>,</span> + <a href="#png:088">62</a>–<a href="#png:092">64</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: E" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Early, my God, without delay</em>,</span> + <a href="#png:059">35</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Early to bear the yoke excels</em>,</span> + <a href="#png:457">401</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ein feste Burg ist unser Gott</em>,</span> + <a href="#png:097">69</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Eternal father, strong to save</em>,</span> + <a href="#png:423">369</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: F" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Fading away like the stars</em>,</span> + <a href="#png:359">309</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Father, whatever of earthly bliss</em>,</span> + <a href="#png:236">196</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fear not, O little flock, the foe</em>,</span> + <a href="#png:110">82</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fierce raged the tempest</em>,</span> + <a href="#png:426">372</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fierce was the wild billow</em>,</span> + <a href="#png:406">354</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Forever with the Lord</em>,</span> + <a href="#png:585">521</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>From every stormy wind</em>,</span> + <a href="#png:264">222</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>From Greenland's icy mountains</em>,</span> + <a href="#png:216">178</a>, + <a href="#png:217">179</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>From whence doth this union arise</em>,</span> + <a href="#png:309">263</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Fully persuaded</em>,</span> + <a href="#png:511">451</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: G" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Gaude, plaude, magdalena</em>,</span> + <a href="#png:532">472</a><samp class="pgmark" + ><span class="png">624 /</span> 558</samp> + <a id="png:624" name="png:624" title="558"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Give me my scallop-shell of quiet</em>,</span> + <a href="#png:104">76</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Give to the winds thy fears</em>,</span> + <a href="#png:116">88</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Gloria</em>,</span> + <a href="#png:014">xii</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Glory to thee, my God, this night</em>,</span> + <a href="#png:018">xvi</a>, + <a href="#png:038">16</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God be with you till we meet</em>,</span> + <a href="#png:560">496</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God bless our native land</em>,</span> + <a href="#png:399">347</a>, + <a href="#png:400">348</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God calling yet?</em></span> + <a href="#png:132">102</a>, + <a href="#png:133">103</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God is the refuge of his saints</em>,</span> + <a href="#png:236">196</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God of our fathers, known of old</em>,</span> + <a href="#png:401">349</a>, + <a href="#png:402">350</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>God's furnace doth in Zion stand</em>,</span> + <a href="#png:117">89</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Great author of salvation</em>,</span> + <a href="#png:452">398</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Great God, we sing that mighty hand</em>,</span> + <a href="#png:560">496</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Great God, what do I see and hear!</em></span> + <a href="#png:099">71</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Guide me, O thou great Jehovah</em>,</span> + <a href="#png:238">198</a>, + <a href="#png:455">399</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: H" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Hail Columbia, happy land</em>,</span> + <a href="#png:381">331</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hail to the Lord's anointed</em>,</span> + <a href="#png:213">175</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hallelujah! 'tis done!</em></span> + <a href="#png:480">422</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hark! hark, my soul!</em></span> + <a href="#png:588">524</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hark! the herald angels sing</em>,</span> + <a href="#png:523">463</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hark! what mean those holy voices</em>,</span> + <a href="#png:524">464</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hasten, Lord, the glorious time</em>,</span> + <a href="#png:204">168</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hasten, sinner, to be wise</em>,</span> + <a href="#png:466">410</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>He dies! the friend of sinners</em>,</span> + <a href="#png:533">473</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>He leadeth me</em>,</span> + <a href="#png:279">235</a>, + <a href="#png:280">236</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Here at thy table, Lord, we meet</em>,</span> + <a href="#png:046">24</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Here behold the tent of meeting</em>,</span> + <a href="#png:450">396</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Here, O my God, i see thee</em>,</span> + <a href="#png:552">490</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>He rose! O morn of wonder!</em></span> + <a href="#png:537">477</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>High the angel choirs are raising</em>,</span> + <a href="#png:096">68</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Holy, holy, holy, Lord God</em>,</span> + <a href="#png:076">50</a>, + <a href="#png:077">51</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ho, my comrades, see the signal</em>,</span> + <a href="#png:482">424</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Hora novissima</em>,</span> + <a href="#png:574">510</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How firm a foundation</em>,</span> + <a href="#png:244">204</a>, + <a href="#png:246">206</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How happy is the child who hears</em>,</span> + <a href="#png:345">297</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How happy is the pilgrim's lot</em>,</span> + <a href="#png:249">207</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How sweetly flowed the gospel sound</em>,</span> + <a href="#png:128">98</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How sweet, how heavenly is the sight</em>,</span> + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How sweet the covenant to remember</em>,</span> + <a href="#png:450">396</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How, unapproached! shall mind of man</em>,</span> + <a href="#png:082">56</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How vain are all things here below</em>,</span> + <a href="#png:069">45</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>How vast a treasure we possess</em>,</span> + <a href="#png:067">43</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: I" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>I am far frae my hame</em>,</span> + <a href="#png:503">445</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I am so glad that our father</em>,</span> + <a href="#png:369">319</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I cannot always trace the way</em>,</span> + <a href="#png:566">502</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>If I were a voice</em>,</span> + <a href="#png:219">181</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>If thou wouldst end the world</em>,</span> + <a href="#png:443">389</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>If you cannot on the ocean</em>,</span> + <a href="#png:302">256</a>–<a href="#png:304">258</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I gave my life for thee</em>,</span> + <a href="#png:188">154</a><samp class="pgmark" + ><span class="png">625 /</span> 559</samp> + <a id="png:625" name="png:625" title="559"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I have a father</em>,</span> + <a href="#png:355">305</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I have read of a beautiful city</em>,</span> + <a href="#png:511">451</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I hear the saviour say</em>,</span> + <a href="#png:484">426</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I heard the voice of Jesus say</em>,</span> + <a href="#png:269">225</a>–<a href="#png:271">227</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I'll cast my heavy burden down</em>,</span> + <a href="#png:438">384</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I love thy kingdom, Lord</em>,</span> + <a href="#png:165">133</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I love to steal awhile away</em>,</span> + <a href="#png:273">229</a>, + <a href="#png:275">231</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I love to tell the story</em>,</span> + <a href="#png:487">429</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I'm a pilgrim</em>,</span> + <a href="#png:324">278</a>, + <a href="#png:336">288</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I'm but a stranger here</em>,</span> + <a href="#png:348">300</a>, + <a href="#png:349">301</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I'm going home</em>,</span> + <a href="#png:339">291</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I'm not ashamed</em>,</span> + <a href="#png:137">107</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In de dark wood</em>,</span> + <a href="#png:310">264</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In eden, O the memory!</em></span> + <a href="#png:437">383</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I need thee every hour</em>,</span> + <a href="#png:187">153</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In some way or other</em>,</span> + <a href="#png:182">148</a>, + <a href="#png:183">149</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In the bonds of death he lay</em>,</span> + <a href="#png:533">473</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In the cross of Christ I glory</em>,</span> + <a href="#png:127">97</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In the deep and mighty waters</em>,</span> + <a href="#png:462">406</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>In the waves and mighty waters</em>,</span> + <a href="#png:461">405</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I open my eyes to this vision</em>,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Is this the kind return?</em></span> + <a href="#png:138">108</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>It came upon the midnight clear</em>,</span> + <a href="#png:526">466</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I think when I read that sweet</em>,</span> + <a href="#png:355">305</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>It may not be our lot to yield</em>,</span> + <a href="#png:294">250</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>It was the winter wild</em>,</span> + <a href="#png:520">460</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I walked in the woodland meadows</em>,</span> + <a href="#png:295">251</a>, + <a href="#png:296">252</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>I will sing you a song of that</em>,</span> + <a href="#png:598">532</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: J" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Jerusalem the golden</em>,</span> + <a href="#png:573">509</a>, + <a href="#png:575">511</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesu, dulcis memoria</em>,</span> + <a href="#png:130">100</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus' blood can raise the feeble</em>,</span> + <a href="#png:439">385</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, I love thy charming name</em>,</span> + <a href="#png:146">116</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, I my cross have taken</em>,</span> + <a href="#png:263">221</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, keep me near the cross</em>,</span> + <a href="#png:190">156</a>, + <a href="#png:191">157</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, lover of my soul</em>,</span> + <a href="#png:411">359</a>, + <a href="#png:416">364</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus my all to heaven is gone</em>,</span> + <a href="#png:156">126</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, saviour, pilot me</em>,</span> + <a href="#png:427">373</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus shall reign where'er the sun</em>,</span> + <a href="#png:201">165</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, the very thought of thee</em>,</span> + <a href="#png:130">100</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus the water of life will give</em>,</span> + <a href="#png:362">312</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Jesus, thy blood and righteousness</em>,</span> + <a href="#png:119">91</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>John Wesley's hymn</em>,</span> + <a href="#png:251">209</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Joyfully, joyfully onward</em>,</span> + <a href="#png:336">288</a>–<a href="#png:338">290</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Joy to the world! the Lord is come</em>,</span> + <a href="#png:202">166</a>, + <a href="#png:523">463</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: K" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Keep me very near to Jesus</em>,</span> + <a href="#png:456">400</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Keller's American hymn</em>,</span> + <a href="#png:395">343</a>, + <a href="#png:397">345</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: L" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Land ahead! the fruits are waving</em>,</span> + <a href="#png:421">367</a><samp class="pgmark" + ><span class="png">626 /</span> 560</samp> + <a id="png:626" name="png:626" title="560"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lead, kindly light</em>,</span> + <a href="#png:267">223</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Let party names no more</em>,</span> + <a href="#png:205">169</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Let tyrants shake their iron rod</em>,</span> + <a href="#png:381">331</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Let us gather up the sunbeams</em>,</span> + <a href="#png:367">317</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Let us sing of the sheaves</em>,</span> + <a href="#png:541">479</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Life is the time to serve the Lord</em>,</span> + <a href="#png:465">409</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Little travellers Zionward</em>,</span> + <a href="#png:347">299</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lo! a saviour for the fallen</em>,</span> + <a href="#png:460">404</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lo! he comes, with clouds descending</em>,</span> + <a href="#png:568">504</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lo! on a narrow neck of land</em>,</span> + <a href="#png:148">118</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lo! what a glorious sight appears</em>,</span> + <a href="#png:569">505</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lord, how mysterious are thy ways</em>,</span> + <a href="#png:238">198</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lord of all being, throned afar</em>,</span> + <a href="#png:078">52</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Lord, with glowing heart I'd praise</em>,</span> + <a href="#png:075">49</a>, + <a href="#png:076">50</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Love divine, all loves excelling</em>,</span> + <a href="#png:073">47</a>, + <a href="#png:141">111</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Love unfathomed as the ocean</em>,</span> + <a href="#png:457">401</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: M" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Magdalena, shout for gladness</em>,</span> + <a href="#png:533">473</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Magnificat anima mea</em>,</span> + <a href="#png:014">xii</a>, + <a href="#png:030">10</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Majestic sweetness sits enthroned</em>,</span> + <a href="#png:045">23</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Marseillaise hymn</em>,</span> + <a href="#png:210">174</a>, + <a href="#png:379">329</a>, + <a href="#png:404">352</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mein Jesu, wie du willst</em>,</span> + <a href="#png:563">499</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mid scenes of confusion</em>,</span> + <a href="#png:166">134</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mine eyes have seen the glory of the</em>,</span> + <a href="#png:393">341</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Mournfully, tenderly bear on the dead</em>,</span> + <a href="#png:289">245</a>, + <a href="#png:290">246</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Must Jesus bear the cross alone</em>,</span> + <a href="#png:467">411</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My brother, I wish you well</em>,</span> + <a href="#png:338">290</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My country 'tis of thee</em>,</span> + <a href="#png:388">336</a>–<a href="#png:390">338</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My God, how endless is thy love</em>,</span> + <a href="#png:135">105</a>, + <a href="#png:136">106</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My God, I love thee, not because</em>,</span> + <a href="#png:103">75</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My God, is any hour so sweet</em>,</span> + <a href="#png:256">214</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My God, my father, while I stray</em>,</span> + <a href="#png:256">214</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My God, my portion and my love</em>,</span> + <a href="#png:436">382</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My gracious redeemer, I love</em>,</span> + <a href="#png:164">132</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My hope is built on nothing less</em>,</span> + <a href="#png:258">216</a>, + <a href="#png:259">217</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My Jesus, as thou wilt</em>,</span> + <a href="#png:563">499</a>, + <a href="#png:564">500</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My Jesus, I love thee</em>,</span> + <a href="#png:198">162</a>, + <a href="#png:199">163</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My lord and my God, I have trusted</em>,</span> + <a href="#png:105">77</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My Lord, how full of sweet content</em>,</span> + <a href="#png:228">190</a>, + <a href="#png:232">192</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My saviour keeps me company</em>,</span> + <a href="#png:227">189</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>My soul, behold the fitness</em>,</span> + <a href="#png:451">397</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: N" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Nearer, my God, to thee</em>,</span> + <a href="#png:184">150</a>–<a href="#png:186">152</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>No change of time shall ever shock</em>,</span> + <a href="#png:233">193</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Not all the blood of beasts</em>,</span> + <a href="#png:068">44</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Now to the Lord a noble song</em>,</span> + <a href="#png:057">33</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: O" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>O bliss of the purified</em>,</span> + <a href="#png:491">433</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O Canaan, bright Canaan</em>,</span> + <a href="#png:319">273</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O church, arise and sing</em>,</span> + <a href="#png:224">186</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O come, all ye faithful</em>,</span> + <a href="#png:519">459</a><samp class="pgmark" + ><span class="png">627 /</span> 561</samp> + <a id="png:627" name="png:627" title="561"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O could I speak the matchless worth</em>,</span> + <a href="#png:168">136</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O crown of rejoicing</em>,</span> + <a href="#png:511">451</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ode on science</em>,</span> + <a href="#png:380">330</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O Deus, ego amo te</em>,</span> + <a href="#png:102">74</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O do not be discouraged</em>,</span> + <a href="#png:346">298</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O'er all the way green palms</em>,</span> + <a href="#png:530">470</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O'er the gloomy hills of darkness</em>,</span> + <a href="#png:202">166</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O for a closer walk with God</em>,</span> + <a href="#png:161">129</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O for a thousand tongues to sing</em>,</span> + <a href="#png:069">45</a>, + <a href="#png:070">46</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Oft in danger, oft in woe</em>,</span> + <a href="#png:418">366</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O Galilee sweet Galilee</em>,</span> + <a href="#png:306">260</a>, + <a href="#png:369">319</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O had I the wings of a dove</em>,</span> + <a href="#png:456">400</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O happy day that fixed my choice</em>,</span> + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O happy saints that dwell in light</em>,</span> + <a href="#png:152">122</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O help us, Lord; each hour of need</em>,</span> + <a href="#png:324">278</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O how happy are they</em>,</span> + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O how i love Jesus</em>,</span> + <a href="#png:339">291</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O little town of Bethlehem</em>,</span> + <a href="#png:528">468</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O Lord of hosts, whose glory fills</em>,</span> + <a href="#png:547">485</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>One more day's work for Jesus</em>,</span> + <a href="#png:476">418</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>One sweetly solemn thought</em>,</span> + <a href="#png:595">529</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>On Jordan's stormy banks</em>,</span> + <a href="#png:046">24</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Only remembered</em>,</span> + <a href="#png:358">308</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>On the mountain top appearing</em>,</span> + <a href="#png:209">173</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Onward, christian soldiers</em>,</span> + <a href="#png:223">185</a>, + <a href="#png:224">186</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Onward ride in triumph, Jesus</em>,</span> + <a href="#png:436">382</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O paradise! O paradise!</em>,</span> + <a href="#png:589">525</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O perfect love</em>,</span> + <a href="#png:568">504</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O sacred head, now wounded</em>,</span> + <a href="#png:114">86</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O sing to me of heaven</em>,</span> + <a href="#png:336">288</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O the clanging bells of time</em>,</span> + <a href="#png:509">449</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O the lamb, the loving lamb</em>,</span> + <a href="#png:317">271</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O think of the home over there</em>,</span> + <a href="#png:523">463</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O thou in whose presence my soul</em>,</span> + <a href="#png:327">281</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O thou, my soul, forget no more</em>,</span> + <a href="#png:554">492</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O thou who didst prepare</em>,</span> + <a href="#png:413">361</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O thou who dry'st the mourner's tear</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O thou whose tender mercy hears</em>,</span> + <a href="#png:238">198</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O turn ye, O turn ye, for why</em>,</span> + <a href="#png:339">291</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Our Lord has gone up on high</em>,</span> + <a href="#png:533">473</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O when shall I see Jesus</em>,</span> + <a href="#png:322">276</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O where shall rest be found</em>,</span> + <a href="#png:179">145</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O why should the spirit of mortal</em>,</span> + <a href="#png:282">238</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>O worship the king all glorious above</em>,</span> + <a href="#png:044">22</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: P" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Parted many a toil-spent year</em>,</span> + <a href="#png:313">267</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Patiently enduring</em>,</span> + <a href="#png:501">443</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Peace, troubled soul, whose plaintive</em>,</span> + <a href="#png:242">202</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>People of the living God</em>,</span> + <a href="#png:178">144</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pilgrims we are to Zion bound</em>,</span> + <a href="#png:327">281</a><samp class="pgmark" + ><span class="png">628 /</span> 562</samp> + <a id="png:628" name="png:628" title="562"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Portals of light</em>,</span> + <a href="#png:501">443</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Praise God from whom all blessings</em>,</span> + <a href="#png:033">13</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Pull for the shore</em>,</span> + <a href="#png:426">372</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: R" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Rejoice and be glad</em>,</span> + <a href="#png:473">415</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rescue the perishing</em>,</span> + <a href="#png:483">425</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Revive thy work, O Lord</em>,</span> + <a href="#png:503">445</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rise, crowned with light</em>,</span> + <a href="#png:282">238</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rise, my soul, and stretch thy wings</em>,</span> + <a href="#png:122">94</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Rock of ages, cleft for me</em>,</span> + <a href="#png:169">137</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: S" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Safe in the arms of Jesus</em>,</span> + <a href="#png:606">540</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sanctify, O Lord, my spirit</em>,</span> + <a href="#png:461">405</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Saviour, like a shepherd lead us</em>,</span> + <a href="#png:360">310</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Saviour, thy dying love</em>,</span> + <a href="#png:181">147</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scatter seeds of kindness</em>,</span> + <a href="#png:367">317</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Scots wha hae wi wallace bled</em>,</span> + <a href="#png:387">335</a>, + <a href="#png:404">352</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>See gentle patience smile on pain</em>,</span> + <a href="#png:134">104</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Send thy Spirit, I beseech thee</em>,</span> + <a href="#png:462">406</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Servant of God, well done</em>,</span> + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Shepherd of tender youth</em>,</span> + <a href="#png:341">293</a>–<a href="#png:344">296</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Show pity, Lord, O Lord forgive</em>,</span> + <a href="#png:068">44</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Shrinking from the cold hand of death</em>,</span> + <a href="#png:584">520</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Since Jesus truly did appear</em>,</span> + <a href="#png:567">503</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sister, thou wast mild and lovely</em>,</span> + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>So fades the lovely, blooming flower</em>,</span> + <a href="#png:134">104</a>, + <a href="#png:238">198</a>, + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Softly fades the twilight ray</em>,</span> + <a href="#png:546">484</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Softly now the light of day</em>,</span> + <a href="#png:545">483</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Soon may the last glad song arise</em>,</span> + <a href="#png:209">173</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sound the loud timbrel</em>,</span> + <a href="#png:376">326</a>, + <a href="#png:377">327</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Speak, O speak, thou gentle Jesus</em>,</span> + <a href="#png:440">386</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Speed away, speed away</em>,</span> + <a href="#png:222">184</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Spirit of grace and love divine</em>,</span> + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Stand! the ground's your own</em>,</span> + <a href="#png:387">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Star-spangled banner</em>,</span> + <a href="#png:075">49</a>, + <a href="#png:383">333</a>–<a href="#png:385">335</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Still, still with thee</em>,</span> + <a href="#png:543">481</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sun of my soul, my saviour dear</em>,</span> + <a href="#png:195">159</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sunset and evening star</em>,</span> + <a href="#png:601">535</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sur nos chemins les rameaux</em>,</span> + <a href="#png:530">470</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet hour of prayer</em>,</span> + <a href="#png:490">432</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet is the day of sacred rest</em>,</span> + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet is the light of sabbath eve</em>,</span> + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet is work, my God, my king</em>,</span> + <a href="#png:061">37</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet is the work, O Lord</em>,</span> + <a href="#png:204">168</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Sweet the moments, rich in blessing</em>,</span> + <a href="#png:159">127</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: T" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Take me as I am, O saviour</em>,</span> + <a href="#png:438">384</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Te Deum laudamus</em>,</span> + <a href="#png:021">1</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tell me not in mournful numbers</em>,</span> + <a href="#png:292">248</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Tell me the old, old story</em>,</span> + <a href="#png:485">427</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The banner of Immanuel</em>,</span> + <a href="#png:226">188</a>, + <a href="#png:227">189</a><samp class="pgmark" + ><span class="png">629 /</span> 563</samp> + <a id="png:629" name="png:629" title="563"></a> +</td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The bird let loose in eastern skies</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The breaking waves dashed high</em>,</span> + <a href="#png:373">323</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The chariot! the chariot!</em></span> + <a href="#png:324">278</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The day is past and gone</em>,</span> + <a href="#png:321">275</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The day of <ins class="transcriber" + title="Transcriber's note: original has 'ressurrection'">resurrection</ins></em>,</span> + <a href="#png:080">54</a>, + <a href="#png:081">55</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The Eden of love</em>,</span> + <a href="#png:318">272</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The glory is coming, God said it</em>,</span> + <a href="#png:456">400</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The God of Abraham praise</em>,</span> + <a href="#png:040">18</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The God of harvest praise</em>,</span> + <a href="#png:543">481</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The harp that once thro Tara's hall</em>,</span> + <a href="#png:376">326</a>, + <a href="#png:378">328</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The heights of fair Salem ascended</em>,</span> + <a href="#png:459">403</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The Lord descended from above</em>,</span> + <a href="#png:037">15</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The Lord into his garden comes</em>,</span> + <a href="#png:323">277</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The Lord is risen indeed</em>,</span> + <a href="#png:535">475</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The Lord our God + is clothed with might</em>,</span> + <a href="#png:418">366</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The morning light is breaking</em>,</span> + <a href="#png:217">179</a>, + <a href="#png:218">180</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The ocean hath no danger</em>,</span> + <a href="#png:425">371</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The prize is set before us</em>,</span> + <a href="#png:509">449</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The sands of time are sinking</em>,</span> + <a href="#png:106">78</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The turf shall be my fragrant shrine</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>The world is very evil</em>,</span> + <a href="#png:574">510</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There are lonely hearts to cherish</em>,</span> + <a href="#png:362">312</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There is a calm for those who weep</em>,</span> + <a href="#png:563">499</a>, + <a href="#png:585">521</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There is a green hill far away</em>,</span> + <a href="#png:470">414</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There is a happy land</em>,</span> + <a href="#png:354">304</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There's a land that is + fairer than day</em>,</span> + <a href="#png:598">532</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There's a wideness in God's mercy</em>,</span> + <a href="#png:277">233</a>, + <a href="#png:278">234</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>There were ninety and nine</em>,</span> + <a href="#png:480">422</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>They that dwell upon the deep</em>,</span> + <a href="#png:405">353</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thine earthly sabbaths, Lord, we love</em>,</span> + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thou art, O God, the life and light</em>,</span> + <a href="#png:288">244</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thou dear redeemer, dying lamb</em>,</span> + <a href="#png:154">124</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Thou lovely source of true delight</em>,</span> + <a href="#png:238">198</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Throw out the life-line</em>,</span> + <a href="#png:428">374</a>–<a href="#png:431">377</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>'Tis finished! so the saviour cried</em>,</span> + <a href="#png:046">24</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>'Tis religion that can give</em>,</span> + <a href="#png:353">303</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>To Christ the Lord let every tongue</em>,</span> + <a href="#png:047">25</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>To God the father, God the son</em>,</span> + <a href="#png:034">14</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>To leave my dear friends, + and from neighbors</em>,</span> + <a href="#png:180">146</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>To the work, to the work!</em></span> + <a href="#png:496">438</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Too late! too late!</em></span> + <a href="#png:305">259</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Triumphant Zion, lift thy head</em>,</span> + <a href="#png:574">510</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: U" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Ultima thule</em>,</span> + <a href="#png:370">320</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Under the palms</em>,</span> + <a href="#png:298">254</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Unnumbered are the marvels</em>,</span> + <a href="#png:458">402</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Unto thy presence coming</em>,</span> + <a href="#png:446">392</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Unveil thy bosom faithful tomb</em>,</span> + <a href="#png:068">44</a>, + <a href="#png:562">498</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Up and away like the dew</em>,</span> + <a href="#png:358">308</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Urbs Sion aurea</em>,</span> + <a href="#png:573">509</a>, + <a href="#png:575">511</a></td> +</tr> + +</table> + +<a id="png:630" name="png:630"></a><samp class="pgmark" + ><span class="png">630 /</span>564</samp> + +<table summary="Index of Hymns: V" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Veni, Sancte Spiritus</em>,</span> + <a href="#png:083">57</a>, + <a href="#png:084">58</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Verzage nicht, du hauflein klein</em>,</span> + <a href="#png:110">82</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Vital spark of heavenly flame</em>,</span> + <a href="#png:579">515</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: W" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Watchman, tell us of the night</em>,</span> + <a href="#png:206">170</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We are on our journey home</em>,</span> + <a href="#png:475">417</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Welcome, delightful morn</em>,</span> + <a href="#png:550">488</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We plow the fields and scatter</em>,</span> + <a href="#png:538">478</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We praise thee, O God, for the son</em>,</span> + <a href="#png:474">416</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We sat down and wept by the waters</em>,</span> + <a href="#png:285">241</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We shall meet beyond the river</em>,</span> + <a href="#png:594">528</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>We speak of the land of the blest</em>,</span> + <a href="#png:357">307</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Westward the course of empire</em>,</span> + <a href="#png:374">324</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>What a friend we have in Jesus</em>,</span> + <a href="#png:483">425</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>What shall a dying sinner do</em>,</span> + <a href="#png:067">43</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>What shall the harvest be</em>,</span> + <a href="#png:492">434</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>What various hindrances we meet</em>,</span> + <a href="#png:163">131</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When all thy mercies, O my God</em>,</span> + <a href="#png:143">113</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When for eternal worlds I steer</em>,</span> + <a href="#png:332">286</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When he cometh, when he cometh</em>,</span> + <a href="#png:364">314</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When I can read my title clear</em>,</span> + <a href="#png:067">43</a>, + <a href="#png:578">514</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When gathering clouds around I view</em>,</span> + <a href="#png:254">212</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When Israel of the Lord beloved</em>,</span> + <a href="#png:284">240</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When I survey the wondrous cross</em>,</span> + <a href="#png:066">42</a>, + <a href="#png:139">109</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When languor and disease invade</em>,</span> + <a href="#png:169">137</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When marshalled on the nightly plain</em>,</span> + <a href="#png:416">364</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When my final farewell to the world</em>,</span> + <a href="#png:499">441</a>, + <a href="#png:500">442</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When our heads are bowed with woe</em>,</span> + <a href="#png:324">278</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When peace like a river</em>,</span> + <a href="#png:498">440</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When shall we all meet again</em>,</span> + <a href="#png:311">265</a>, + <a href="#png:312">266</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>When two or three with sweet accord</em>,</span> + <a href="#png:046">24</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Where is my wandering boy to-night?</em></span> + <a href="#png:504">446</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Where now are the hebrew children?</em>,</span> + <a href="#png:316">270</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>While Jesus whispers to you</em>,</span> + <a href="#png:476">418</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>While shepherds watched their flocks</em>,</span> + <a href="#png:525">465</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>While thee I seek, protecting power</em>,</span> + <a href="#png:155">125</a>, + <a href="#png:249">207</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>While with ceaseless course the sun</em>,</span> + <a href="#png:555">493</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Why should we start and fear to die</em>,</span> + <a href="#png:576">512</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Wide, ye heavenly gates unfold</em>,</span> + <a href="#png:204">168</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>With joy we hail the sacred day</em>,</span> + <a href="#png:204">168</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>With songs and honors sounding loud</em>,</span> + <a href="#png:541">479</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>With tearful eyes I look around</em>,</span> + <a href="#png:256">214</a></td> +</tr> + +</table> + +<table summary="Index of Hymns: Y" class="hymnindex"> + +<tr valign="baseline"> +<td class="index"><span><em>Ye choirs of new Jerusalem</em>,</span> + <a href="#png:085">59</a>, + <a href="#png:086">60</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ye christian heralds, go proclaim</em>,</span> + <a href="#png:207">171</a>, + <a href="#png:208">172</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ye christian heroes, wake to glory</em>,</span> + <a href="#png:210">174</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ye golden lamps of heaven, farewell</em>,</span> + <a href="#png:583">519</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Ye servants of God, + your master proclaim</em>,</span> + <a href="#png:244">204</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Yes, my native land, I love thee</em>,</span> + <a href="#png:218">180</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Yes, the redeemer rose</em>,</span> + <a href="#png:536">476</a></td> +</tr> + +<tr valign="baseline"> +<td class="index"><span><em>Your harps; ye trembling saints</em>,</span> + <a href="#png:581">517</a></td> +</tr> + +</table> +</div> + +</div> +<hr class="pg" noshade="noshade" /> + + + + + + + +<p>***END OF THE PROJECT GUTENBERG EBOOK THE STORY OF THE HYMNS AND TUNES***</p> +<p>******* This file should be named 18444-h.txt or 18444-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/1/8/4/4/18444">http://www.gutenberg.org/1/8/4/4/18444</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission 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