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diff --git a/old/63053-0.txt b/old/63053-0.txt deleted file mode 100644 index f81bea2..0000000 --- a/old/63053-0.txt +++ /dev/null @@ -1,868 +0,0 @@ -The Project Gutenberg EBook of Lead Kindly Light, by Allan Sutherland - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: Lead Kindly Light - Its Origin and Its Romance - -Author: Allan Sutherland - -Contributor: Henry C. McCook - -Release Date: August 27, 2020 [EBook #63053] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK LEAD KINDLY LIGHT *** - - - - -Produced by Juliet Sutherland, Stephen Hutcheson, and the -Online Distributed Proofreading Team at https://www.pgdp.net - - - - - - - [Illustration: uncaptioned] - - - - - _Famous Hymns of the World Series_ - - - - - _Lead Kindly Light_ - - - _ITS ORIGIN AND ITS ROMANCE_ - - BY - ALLAN SUTHERLAND - - WITH AN INTRODUCTION - BY - THE REV. HENRY C. McCOOK - D.D., LL.D., Sc.D. - - _Illustrated_ - - [Illustration: Decorative glyph] - - NEW YORK - FREDERICK A. STOKES COMPANY - PUBLISHERS - - Copyright, 1905 - By The Butterick Publishing Co., Ltd. - Copyright, 1906 - By Frederick A. Stokes Company - - [Illustration: uncaptioned] - - - - - INTRODUCTORY - - - BY THE - REV. HENRY C. McCOOK, D.D., LL.D., Sc.D.[1] - -{F}rom the earliest eras of history, religion has been wedded to song. -In every stage of civilisation and in well-nigh every form of worship -this has been true. From the rude ululations of savage medicine-men, -with the monotonous beat of tum-tums, to the splendid Levitical choir of -the Hebrew temple that rendered the psalms to the accompaniment of -stringed and brazen instruments, the record does not vary. - -How rhythm and melody react upon the religious sentiment, and why -religious experience naturally flows in rhythmic utterance, one need not -here inquire. Such inquiries belong to the natural history of sacred -psalmody. But there are our sacred books to attest the facts. A large -part of them are poems. The poets of ancient Israel were true prophets. -The core of the Hebrew religion and worship lay within its religious -songs; and these are the portions of its ritual that have lived; and one -may safely predict that they shall run the whole cycle of being with our -race. - -As far back as the days of Moses, we read of Miriam under a prophetic -impulse breaking forth into song to commemorate the deliverance of -Israel from the Egyptians on the peninsular shore of the Red Sea. A -refrain of that hymn has come down to us: - - “Sing unto the Lord for He hath triumphed gloriously; - The horse and his rider He hath whelmed within the sea.” - -That such religious songs were not rare and that their musical utterance -was even then organized as a part of worship, appears from the fact that -Miriam’s countrywomen accompanied her with their guitars, and joined in -the chorus. - -The Songs of Deborah illumined the period of the Judges. They have been -given a place by competent critics among the noblest lyrics of -antiquity. One of these, Heinrich Ewald, speaks of them as so artistic, -with all their antique simplicity, that they show to what “refined art -poetry early aspired, and what a delicate perception of beauty breathed -already beneath its stiff and cumbrous soul.” - -The Gospel era dawned in the midst of holy songs, hymned by angels, by -holy men and women, and by the Mother of our Lord. From that day on the -Church of Jesus has been vocal with psalmody. The primitive Church had -her spiritual songs. The saintliness of the early Christian ages -survives in the Greek and Latin hymns, and the pleasant task of -translating and assembling the choicest of these has occupied many -gifted minds. - -The Protestant Reformation of the sixteenth century was borne forward on -waves of sacred song. The sweet voice of the student lad that appealed -from the snowy street to the heart of Dame Ursula Cotta, and opened her -doors to Martin Luther, was a type of the new time. The new songs of the -Reformation and the old psalms renewed in the vernacular and in popular -musical forms, prepared the way of multitudes for the revived truths of -the Gospel. - -Luther’s musical taste and talent impressed itself upon Germany, and -thence upon Europe. His free spirit found utterance outside of the -Biblical forms of praise in metrical renderings of his own and other -religious experiences. Calvin saw the value and authority of popular -praises, and encouraged and procured their use in the new organisation -of reformed worship of which he was the chief agent. But his more -conservative spirit in such matters held to the ancient psalms; and this -influenced all Europe outside of Germany. The Church of England used the -version of Sternhold and Hopkins, and these will be found appended to -the early prayer-books. Rous’s version was substantially that best liked -and approved by the Church of Scotland. - -The historic “Huguenot Psalter” was the joint work of Clement Marot and -Theodore Beza, the former having rendered into French metre the first -fifty psalms, and the latter the remaining one hundred. These, set to -popular music, caught the ear and heart of the people of all ranks. They -ran rapidly throughout French-speaking nations, and became as well known -as the “Gospel Hymns” in the palmy days of Moody and Sankey. - -The Hebrew Psalter embodies the religious experiences of the chosen -people, whose faith, more spiritual than that of any other nation of -antiquity, was inbreathed and nurtured by the Holy Spirit. It is not to -be supposed that the one hundred and fifty psalms included within the -canonical psalter were the only ones that the poets of Israel hymned. -But these, in the process of an inspired selection and a devotional -development, were the ones that filled and satisfied the religious -consciousness of that most spiritual people, and became the vehicle of -not only a national but of an international praise. - -For the Book of Psalms is a book for all nations. The very divinity of -its origin insures its catholic humanity. It has proved its high ethnic -qualities by ages of world-wide usage. A cloud of witnessing praises, -rising from the Church of every age and name throughout centuries of -testing, testifies to its fitness. If the taste of this era—much to the -regret of some of us—has largely rejected metrical versions in the -vernacular, yet their use, after the manner of the ancients, in chants, -still holds and even widens in the Church’s service of praise. - -It is significant that the hymns which have fastened themselves upon the -hearts of the devout in any one branch of the Church are those which are -loved and used by all who honor and love the name of Christ. In all ages -the truly devout are one in spiritual sympathy, and therefore the forms -of praise which utter the devotions of one heart bear alike to God the -aspirations of another. The Calvinistic Toplady, Watts, and Bonar; the -Methodist Wesleys; the Anglican Heber, Ken, and Keble; the Romanist -Faber and Newman, and all the goodly company of the sons and daughters -of Asaph, when uttering the devotions of their souls, speak in one -tongue. - -There is something divine in the flame of sacred poesy that burns out -therefrom the dross of sect. The hymns of the most rigid denominations -are rarely sectarian. There is not a presbyter or priest in this whole -land, who, with due tact and good faith, could not conduct a mission or -service of song as chaplain of a congregation of soldiers or sailors -made up of Protestants and Roman Catholics, of all phases of -ecclesiastical opinions, without one discordant note and with perfect -approval and enjoyment of all. This the writer, as a Government chaplain -in two wars and for a quarter of a century in the National Guard, has -repeatedly done and seen done. - -Such great catholic missions as those of Moody and Sankey, Whittle and -Bliss, Torrey and Alexander, which have appealed to all classes, -conditions, and creeds, and have made their services so largely a -service of song, have been and remain impressive witnesses of the -substantial unity of the devout when they engage in the worship of -praise. - - Lead, kindly Light, amid the encircling gloom, - Lead Thou me on; - The night is dark, and I am far from home; - Lead Thou me on: - Keep Thou my feet; I do not ask to see - The distant scene,—one step enough for me. - - I was not ever thus, nor prayed that Thou - Shouldst lead me on; - I loved to choose and see my path; but now - Lead Thou me on. - I loved the garish day, and, spite of fears, - Pride ruled my will: remember not past years. - - So long Thy power hath blest me, sure it still - Will lead me on - O’er moor and fen, o’er crag and torrent, till - The night is gone; - And with the morn those angel faces smile, - Which I have loved long since, and lost awhile. - - [Illustration: uncaptioned] - - - - - LEAD, KINDLY LIGHT - - -{H}ezekiah Butterworth, an authority on hymnology, pronounces this to be -“the sweetest and most trustful of modern hymns”; while Colonel Nicholas -Smith says, “Christians of all denominations and of every grade of -culture feel its charm and find in it ‘a language for some of the -deepest yearnings of the soul.’ The hymn-books do not contain a more -exquisite lyric. As a prayer for a troubled soul for guidance, it ranks -with the most deservedly famous church songs in the English language.” - -Its distinguished author, John Henry Newman, was born February 21, 1801, -the son of a London banker, and seventy-eight years later became a -Cardinal of the Roman Catholic Church. At the early age of nineteen he -was graduated from Trinity College, Oxford, and became a tutor in Oriel -College. He was ordained in 1824, and in 1828 was made vicar of St. -Mary’s Protestant Episcopal Church, Oxford. - -He was a popular, forceful preacher, with fluent speech, perfect -diction, and a splendid fund of illustration which he always used with -telling effect. He was deeply interested in the heart-life of men, and -was ever ready to encourage them to speak to him freely of their -experiences and temptations. He exercised a strong influence over the -students who thronged his church. - -In December, 1832, because of impaired health, he went with friends to -southern Europe. The spiritual unrest, kindled by the “Oxford Movement,” -which finally led him to unite with the Roman Catholic Church, in 1845, -was already upon him; he sought eagerly and conscientiously for divine -guidance in solving the great doctrinal problems that vexed his soul. It -was during this period of inner disquietude and of anxious thought for -the future of the Established Church, of which he was still a member, -that his noble hymn, “Lead, Kindly Light,” had birth—a hymn which has -voiced the heartfelt prayers of thousands for spiritual guidance. - -In the minds of many there is intimate association of thought between -Newman’s supplication: - - “Lead, kindly Light, amid the encircling gloom, - Lead Thou me on!” - -and another intensely human heart-cry for direction and companionship in -the hour of need—Henry Francis Lyte’s - - “Abide with me, fast falls the eventide: - The darkness deepens: Lord, with me abide.” - -It is interesting to know that both of these hymns were composed on the -sacred day of rest: Newman’s, on Sunday, June 16, 1833; and Lyte’s, on -Sunday, September 5, 1847. - -Newman has left us this very entertaining description of the -circumstances under which his hymn was written: - -“I went to the various coasts of the Mediterranean; parted with my -friends at Rome; went down for the second time to Sicily, without -companion, at the end of April. I struck into the middle of the Island, -and fell ill of a fever at Leonforte. My servant thought I was dying, -and begged for my last directions. I gave them, as he wished, but I -said, ‘I shall not die.’ I repeated ‘I shall not die, for I have not -sinned against the Light; I have not sinned against the Light.’ I have -never been able quite to make out what I meant. - -“I got to Castro-Giovanni, and was laid up there for nearly three weeks. -Toward the end of May I left for Palermo, taking three days for the -journey. Before starting from my inn, on the morning of May 26 or 27, I -sat down on my bed and began to sob violently. My servant, who had acted -as my nurse, asked what ailed me. I could only answer him, ‘I have a -work to do in England.’ - - [Illustration: uncaptioned] - -“I was aching to get home; yet, for want of a vessel, I was kept at -Palermo for three weeks. I began to visit the churches, and they calmed -my impatience, though I did not attend any of the services. At last I -got off in an orange boat, bound for Marseilles. Then it was that I -wrote the lines, ‘Lead, Kindly Light.’ We were becalmed a whole week in -the Straits of Bonifacio. I was writing the whole of my passage.” -Elsewhere he informs us that the exact date on which the hymn was -written was June 16. - -It is pleasant to think that this much-loved hymn, the fervent prayer of -a doubt-tossed soul, was written in one of the majestic calms that -sometimes lull to sleep the sunny waters of the Mediterranean; and that -it caught some of its delicious fragrance from the perfume that was -wafted over the waters from the golden cargo with which the vessel was -freighted. It would require but little imagination to picture the scene: -the clumsy boat, the idly-hanging sails, the listless, swarthy crew, the -brilliant young minister emaciated by mental and physical suffering, the -solemn sea, and over all the matchless Italian sky and the tender -twilight calm. Fit hour and surroundings for such a hymn to have its -being. - -In striking contrast, the music to which the words are inseparably -wedded, was composed by Dr. John B. Dykes as he walked through the -Strand, one of the busiest thoroughfares of London. It may be that the -tumultuous street was typical of the wild unrest in Newman’s heart when -he began his hymn; if so, surely the quiet waters of the Mediterranean -on that holy Sabbath evening might well represent his spiritual calm -when it was ended—even though subsequent controversial storms were -destined to beat fiercely upon his soul. - -In this connection it may prove interesting to read the following from -the _Random Recollections_ of the Rev. George Huntington: - -“I had been paying Cardinal Newman a visit. For some reason I happened -to mention his well-known hymn, ‘Lead, Kindly Light,’ which he said he -wrote when a very young man. I ventured to say, ‘It must be a great -pleasure to you to know that you have written a hymn treasured wherever -English-speaking Christians are to be found; and where are they not to -be found?’ He was silent for some moments, and then said with emotion, -‘Yes, deeply thankful, and more than thankful!’ Then, after another -pause, ‘But, you see, it is not the hymn, but the _tune_, that has -gained the popularity! The tune is by Dykes, and Dr. Dykes was a great -master.’” - -Perhaps nothing more fully illustrates the general acceptability of this -beautiful hymn than the fact that “when the Parliament of Religion met -in Chicago during the Columbian Exposition, the representatives of -almost every creed known to man found two things on which they were -agreed: They could all join in the Lord’s Prayer, and all could sing -‘Lead, Kindly Light.’” - -When some one, a few years ago, asked William E. Gladstone to give the -names of the hymns of which he was most fond, he replied that he was not -quite sure that he had any favourites; and then, after a moment’s -thought, he said: “Lead, Kindly Light,” and “Rock of Ages.” - - [Illustration: uncaptioned] - -“I know no song, ancient or modern,” writes the Rev. L. A. Banks, D.D., -“that with such combined tenderness, pathos, and faith, tells the story -of the Christian pilgrim who walks by faith and not by sight. No doubt -it is this fidelity to heart experience, common to us all, that makes -the hymn such a universal favourite. There are dark nights, and homesick -hours, and becalmed seas for each of us, in which it is natural for man -to cry out in Newman’s words: - - “‘The night is dark, and I am far from home, - Lead Thou me on.’” - -The Rev. James B. Ely, D.D., writes as follows: “It is my desire to -relate one interesting incident in connection with ‘Lead, Kindly Light.’ -This hymn was sung in the Lemon Hill Pavilion, Fairmount Park, -Philadelphia, on a recent Sabbath morning, at a time when the very -atmosphere, the beautiful trees and the glowing sun seemed to emphasise -and make very real the sentiments expressed. A young man in the -audience, who was a Christian, but greatly burdened with many anxieties, -felt while this hymn was being sung and the music repeated by the -cornet, that God was preparing him for some special trial through which -he must pass. During the day and all through the week the melody and the -words haunted him; and there was also a growing feeling in his heart -that he ought to go to his old home and visit his mother. Finally, on -Friday noon, he determined that he would start that very evening, and -made his plans to do so. Just before leaving his place of business, a -telegram came informing him of his mother’s sudden death. While the news -was a great shock to him, yet the singing of the hymn and its constant -reiteration in his thoughts during the week had, in a measure, prepared -him for his sore bereavement. The hymn has since become one of his most -sacred possessions. I have written regarding this unusual incident -because the experience is so fresh in my mind and so real. I may add -that this hymn has again and again been sung by large audiences, and -always with telling spiritual effect.” - -Many will recall that this hymn was a special favourite of the late -President McKinley, and that it was sung far and wide in the churches on -the first anniversary of his death and burial. - -The last stanza of the hymn rings out with a grand declaration of -triumphant, child-like faith and assurance: - - “So long Thy power hath blest me, sure it still - Will lead me on - O’er moor and fen, o’er crag and torrent, till - The night is gone; - And with the morn those angel faces smile, - Which I have loved long since, and lost awhile.” - -There has been some controversy as to the author’s meaning in the last -two lines. Nearly a half century after they were written some one asked -the Cardinal to give an explanation, and in a letter dated January 18, -1879, he thus wisely replied: - -“You flatter me by your question; but I think it was Keble who, when -asked it in his own case, answered that poets were not bound to be -critics, or to give a sense to what they had written; and though I am -not, like him, a poet, at least I may plead that I am not bound to -remember my own meaning, whatever it was, at the end of almost fifty -years. Anyhow, there must be a statute of limitation for writers of -verse, or it would be quite tyranny if, in an art which is the -expression, not of truth, but of imagination and sentiment, one were -obliged to be ready for examination on the transient state of mind which -came upon one when homesick, or seasick, or in any other way sensitive -or excited.” - - [Illustration: uncaptioned] - -Cardinal Newman died August 11, 1890, fifty-seven years after his hymn -had made his name immortal. - -In addition to the quotations from Hezekiah Butterworth and Colonel -Nicholas Smith, with which the study of this hymn begins, it will -doubtless prove interesting to read what other men of prominence have -said in this connection: - - “This much-loved hymn.”—Dr. Louis F. Benson, author of “Studies of - Familiar Hymns.” - - “Its sincerity of feeling and purity of expression have made it - universally acceptable.”—Samuel Willoughby Duffield, author of - “English Hymns.” - - “This is truer to the life of thoughtful men than almost any other - hymn, but it is so subjective and personal that it is more for the - closet than for the Church. It is the favourite hymn of our - students.”—The President of a prominent University. - - “It can scarcely be called either a great poem or a great hymn, and - certainly it is not a lyric. Yet it has certain striking passages, and - appeals to those who for any reason are beset by darkness.”—Rev. David - R. Breed, D.D., author of “The History and Use of Hymns and - Hymn-Tunes.” - - “The beautiful hymn, ‘Lead, Kindly Light,’ is of value to the Church - for its poetry and its pathos. For times of depression and darkness - come to nearly all of us, and this is just the cry which the heart - bowed down would use at such times of anxious and sacred - communion.”—Rev. G. L. Stevens, editor of “Hymns and Carols.” - - “The most stirring thing I know is that struggling cry of the wanderer - for light, ‘For I am far from home.’ The writer’s personality adds - pathos to his tender song. Out of this song, appropriated by a - struggling soul to himself, one is prepared for the sublime and - recovering thought in the dream of the wanderer, ‘with sun gone down,’ - and the way appearing ‘steps up to heaven.’”—Rev. William V. Milligan, - D.D., Cambridge, Ohio. - - - - - Footnotes - - -[1]President of the Presbyterian Historical Society; Chaplain of the - Forty-first Regiment, Illinois Volunteers, 1861-62; Chaplain of the - Second Regiment, Pennsylvania Volunteers, during the - Spanish-American War; Founder of the National Relief Commission, in - Spanish-American War; Author of “The Latimers: A Scotch-Irish - Historic Romance of the Western Insurrection,” “Women Friends of - Jesus,” “The Last Days of Jesus,” “The Gospel of Nature,” “Tenants - of an Old Farm,” “American Spiders and their Spinning-work,” “Old - Farm Fairies,” “The Agricultural Ant of Texas,” “The Honey and - Occident Ants,” and “Martial Graves of our Fallen Heroes in Santiago - de Cuba: A Record of the Spanish-American War.” - - - - - Transcriber’s Notes - - -—Silently corrected a few typos. - -—Retained publication information from the printed edition: this eBook - is public-domain in the country of publication. - -—In the text versions only, text in italics is delimited by - _underscores_. - - - - - - - -End of the Project Gutenberg EBook of Lead Kindly Light, by Allan Sutherland - -*** END OF THIS PROJECT GUTENBERG EBOOK LEAD KINDLY LIGHT *** - -***** This file should be named 63053-0.txt or 63053-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/0/5/63053/ - -Produced by Juliet Sutherland, Stephen Hutcheson, and the -Online Distributed Proofreading Team at https://www.pgdp.net - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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 and without paying copyright -royalties. 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