{"collection":"scripture-revelation","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_54966/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_54966","id":"gutenberg_54966","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/54966","summary":null,"tags":["Category: Music","Category: Religion/Spirituality","Hymns, English -- History and criticism","Mennonites -- Hymns -- History and criticism"],"text":"Handbook to\n The Mennonite Hymnary\n\n\n _By_\n Lester Hostetler, B. D.\n Coeditor, _The Mennonite Hymnary_\n\n General Conference of the Mennonite Church of North America\n Board of Publications\n Newton, Kansas\n 1949\n\n Copyright, 1949, by the General Conference of Mennonites,\n Board of Publications\n Printed by the Brethren Publishing House, Elgin, Illinois\n\n\n TO\n ALL WHO LOVE THE HYMNS OF THE CHURCH\n AND\n DESIRE TO SING THEM\n WITH\n THE SPIRIT AND THE UNDERSTANDING\n THIS BOOK\n IS DEDICATED\n IN\n GRATITUDE AND LOVE\n\n\n\n\n CONTENTS\n\n\n PAGE\n PREFACE ix\n EXPLANATORY NOTES xi\n INTRODUCTION TO OUR HYMNS AND TUNES xii\n\n\n NOTES ON THE WORDS AND MUSIC OF THE HYMNS\n HYMNS\n WORSHIP\n Praise and Adoration 1-18\n Morning 19-27\n Evening 28-40\n Close of Worship 41-45\n GOD THE FATHER\n His Majesty and Power 46-47\n Maker of Heaven and Earth 48-53\n His Love and Mercy 54-64\n JESUS CHRIST OUR LORD\n His Advent 65-69\n His Birth 70-86\n His Epiphany 87-91\n His Life and Ministry 92-99\n His Triumphal Entry 100-101\n His Passion 102-112\n His Resurrection 113-116\n His Ascension 117-124\n His Coming Again 125-130\n THE HOLY SPIRIT 131-139\n THE CHRISTIAN LIFE\n The Call of Christ 140-144\n Penitence and Confession 145-147\n Faith and Vision 148-154\n Peace and Joy 155-159\n Guidance and Protection 160-169\n Love and Gratitude 170-179\n Prayer and Communion 180-189\n Loyalty and Steadfastness 190-194\n Trials and Temptation 195-198\n Aspiration and Hope 199-204\n Purity and Uprightness 205-211\n Consecration and Stewardship 212-220\n Service and Brotherhood 221-231\n Inner Life 232-239\n HYMNS OF COURAGE AND COMFORT 240-259\n THE LIFE ETERNAL 260-266\n THE KINGDOM OF GOD 267-272\n THE CHURCH\n General 273-277\n The House of God 278-282\n The Lord\u2019s Day 283-288\n The Holy Scriptures 289-292\n The Ministry 293-297\n Sacraments and Rites\n Consecration of Children 298-300\n Baptism of Believers 301-302\n The Lord\u2019s Supper 303-311\n Marriage 312\n Burial of the Dead 313-316\n The Communion of Saints 317-319\n Church Unity 320-323\n CHRISTIAN MISSIONS 324-342\n NATIONAL AND INTERNATIONAL LIFE\n The Nation 343-349\n World Friendship and Peace 350-357\n THE CHRISTIAN HOME AND FAMILY 358-363\n SPECIAL SERVICES\n Mother\u2019s Day 364\n Farewell Service 365\n Our Forefathers 366-369\n Hospital Sunday 370\n Temperance Sunday 371\n Labor Day 372-374\n THE SEASONS\n Harvest and Thanksgiving 375-378\n New Year 379-383\n Winter 384\n Spring 385\n Summer 386\n Autumn 387\n SCHOOLS AND COLLEGES 388-390\n YOUTH 391-402\n\n\n BOOK TWO\n HYMNS FOR CHILDREN\n {Praise} 403-405\n {Nature} 406-410\n {Christmas} 411-414\n {Easter} 415\n {Loyalty and Consecration} 416-421\n {Prayer} 422-435\n {Missions} 436\n\n\n BOOK THREE\n GOSPEL SONGS 437-504\n\n\n BOOK FOUR\n THE CHURCH YEAR IN CHORALES\n Call to Worship 505-508\n Praise 509-520\n Advent 522-524\n Christmastide 525-527\n (New Year) 528\n Epiphany 529-530\n Lent 531-540\n Eastertide 541-545\n Whitsuntide 546-548\n The Church and Missions 549-552\n {Morning} 553-555\n {Evening} 556-557\n General 558-574\n\n\n BOOK FIVE\n METRICAL PSALMS 575-600\n\n\n BOOK SIX\n RESPONSES, CHANTS, DOXOLOGIES, AND AMENS\n {Responses} 601-609\n {The Lord\u2019s Prayer} 610\n {Offertories} 611-612\n {Benedictions} 613-614\n {Doxologies} 615-618\n {Amens} 619-623\n\n\n PAGE\n PRINCIPAL WORKS CONSULTED 395\n\n\n INDEXES\n (1) Index of Scripture Texts 400\n (2) Topical Index of the Metrical Psalms 402\n (3) Composers and Sources of Tunes 402\n (4) Authors, Translators and Sources 407\n (5) Alphabetical Index of Tunes 412\n (6) Original First Lines of Translations 417\n (7) Index of First Lines 419\n\n\n\n\n PREFACE\n\n\nThe aim of this book is to serve as a companion to the _Mennonite\nHymnary_. It seeks to explain, as far as possible, the origin of the\nwords and music of every hymn in the _Hymnary_.\n\nThe great lyrics of the church, contributed by every age since the days\nof the apostles, are a precious heritage, and a source of inspiration\nand power. This work is intended to foster an understanding of and love\nfor our hymns, new and old, and to stimulate the time-honored and\nblessed practice of congregational singing in the church today.\n\nThe _Handbook_ may be found useful as an aid (1) in the private study of\nhymns or their use in family devotions; (2) in selecting suitable hymns\nfor the many and varied services of public worship; (3) in preparing\nspecial music services or hymn sings where such occasions are planned to\nimprove the singing in the church; (4) for study groups in hymnology in\nchurches and schools. The historical development of hymnology may be\nfollowed in the brief \u201cIntroduction to Our Hymns and Tunes.\u201d\n\nThe author has endeavored to make the work as comprehensive as possible\nwithout overburdening the reader with too many details. Many hymns have\ninteresting stories connected with their origin and use while others,\nequally valuable, were just written, without drama or incident, the poet\nscarcely knowing how or why, except that the Inner Voice spoke. The\napocryphal tales which have been circulated concerning some hymns have\nbeen studiously avoided. The aim has been to include only such material\nas seems to bear genuine marks of authenticity. The bibliography of\n\u201cPrincipal Works Consulted,\u201d found elsewhere in the book, indicates the\nmain sources.\n\nThe original versions of translated hymns are not always readily\navailable and for that reason they are reproduced in the _Handbook_.\nTranslated hymns are usually selections from a much larger number of\nstanzas and it is often instructive to be able to study the whole\nstructure of the original work.\n\n_Acknowledgements._ I wish to acknowledge valuable help received from\nthe following and to express hereby my gratitude to them: to Dr. Robert\nMcCutchan, author of _Our Hymnody_, who generously responded to my\nrequest for information on a dozen or more hymns on which I had no data;\nto Dr. Henry Wilder Foote, of Harvard University, author of _Three\nCenturies of American Hymnody_, for biographical material on several\nhymn writers, and the use of books from his private library; to Dr.\nReginald McAll, Executive Secretary of the Hymn Society of America for\nhelpful material; to Dr. Ruth Messenger, Archivist for the Hymn Society\nof America, who furnished nearly all the Latin originals, and the\nItalian original of Savonarola\u2019s hymn, and information concerning these\nhymns; to Dr. Armin Heussler, author of a forth-coming handbook to the\n_Evangelical hymnal_, for material on several of the chorales; to Wm.\nRunyan of the Hope Publishing Company, and to Dr. John Trowbridge of the\nBible Institute of Los Angeles, for information concerning several of\nthe gospel songs; to Dr. Cornelius Krahn who made the rich hymnic\ntreasures of the Mennonite Historical Library at Bethel College\navailable to me; to the late Rev. C. E. Krehbiel who loaned me material\nfrom his private library for this work but did not live to see its\ncompletion; to B. Bargen for help in preparing the manuscript for\npublication; to Mrs. Beatrice Buller for reading the manuscripts and\nproofs of the German chorales; to my wife, Charity Steiner Hostetler,\nwho read all the manuscripts and proofs and whose constant interest and\nassistance were indispensable; and to others, too numerous to mention,\nwho in any way facilitated the completion of the work.\n\nThe book, written during spare moments of a busy pastorate, is sent\nforth with the prayer that, in spite of errors and imperfections, it may\ninspire all who use it to sing with greater devotion the praises of Him\nwho loved us and redeemed us.\n\n Lester Hostetler\n\n The Parsonage\n Bethel College Mennonite Church\n North Newton, Kansas\n January 20, 1949\n\n\n\n\n EXPLANATORY NOTES\n\n\nIn the interest of brevity and to avoid repetition, certain recurring\nwords are abbreviated:\n\n_Hymnary_ is used for _Mennonite Hymnary_.\n\n_c._ (_circa_) means approximate date.\n\n_Tr._ is prefixed to the names of all translators.\n\n_Anon._ (anonymous) means without any name acknowledged, as that of\nauthor or composer.\n\nThe word \u201cNumber\u201d has been omitted: thus Hymn 22 means Hymn No. 22.\n\n_Cf._ means compare. (Latin: confer).\n\nThe original texts of German hymns found throughout the _Handbook_,\nespecially in the section of Chorales, Book IV, are the versions used in\none or more of the following works: _Gesangbuch mit Noten_, (Berne,\nInd., 1890); _Gesangbuch der Mennoniten_, (Canadian, 1942); _The\nHandbook to the Lutheran Hymnal_, (Concordia Pub. House, 1942);\n_Gesangbuch zum gottesdienstlichen und h\u00e4uslichen Gebrauch in\nEvangelischen Mennoniten-Gemeinden_, (Konferenz der s\u00fcddeutschen\nMennoniten zu Ludwigshafen a. Rh. 1910); and Knapp, _Evangelischer\nLiederschatz_. Many variations occur in the texts as found in these\nversions, the explanation of which would require a much greater\nknowledge of German hymnody than the author possesses. An effort has\nbeen made to bring the spelling into conformity with the modern German\npractice of omitting the \u201ch\u201d where it was formerly used with the \u201cth\u201d;\nthe use of \u201css\u201d instead of \u201csz\u201d; and printing the initial letter of the\npronouns referring to Deity, in lower case rather than with capitals.\n\n\n\n\n AN INTRODUCTION TO OUR HYMNS AND TUNES\n\n\n With Illustrations From the _Hymnary_\n\n 1. Definition of a Hymn.\n 2. The Beginnings of Christian Song.\n 3. Hymns of the Eastern Church: Greek and Syriac.\n 4. Hymns of the Western Church: Latin.\n 5. Hymns of the Bohemian Brethren.\n 6. Hymns of the Reformation: The German Chorales.\n 7. Hymns of the Reformation: The Metrical Psalms.\n 8. Psalm Versions.\n 9. English Hymnody.\n 10. American Hymns.\n 11. The Gospel Songs.\n 12. Women Hymn Writers.\n 13. Mennonite Hymnody.\n 14. Antecedents of the _Mennonite Hymnary_.\n 15. The Translation of Hymns.\n 16. Church Unity in the Hymn Book.\n 17. Hymn Meters.\n 18. Hymn Tunes.\n 19. John Wesley\u2019s Rules for Singing.\n\n\n 1. Definition of a Hymn.\n\nSt. Augustine, 354-430, gave a definition of a hymn, which has been\nwidely accepted:\n\n A hymn is the praise of God by singing. A hymn is a song embodying the\n praise of God. If there is merely praise but not praise of God it is\n not a hymn. If there be praise, and praise of God, but not sung, it is\n not a hymn. For it to be a hymn, it is needful, therefore, for it to\n have three things\u2014praise, praise of God, and these sung.\n\nA recent definition, accepted by the Hymn Society of America, is that of\nthe late Carl F. Price:\n\n A Christian hymn is a lyric poem, reverently and devotionally\n conceived, which is designed to be sung and which expresses the\n worshiper\u2019s attitude toward God, or God\u2019s purposes, in human life.\n\nL. F. Benson, America\u2019s foremost hymnologist, defines a hymn in these\nsimple words:\n\n The Christian hymn ... is a form of words appropriate to be sung or\n chanted in public devotions.\n\nA hymn is to be sung _by a congregation_. Its message must be simple,\nnot subtle. It must read well and sing well. In modern usage, the hymn\nis not limited to the praise of God but includes other moods of worship\nsuch as resignation and consecration.\n\n\n 2. The Beginnings of Christian Song.\n\nHymn singing has always been associated with Christian worship. Jesus\nand the Twelve sang a hymn, presumably a portion of the _Hallel_ (Ps.\n115-118), after the Supper was ended. Paul and Silas sang hymns, \u201csongs\nof the night,\u201d during the midnight hours of their imprisonment in\nPhilippi. The great Apostle recognized the value of song when he\nexhorted the churches thus:\n\n Be filled with the Spirit; speaking to yourselves in psalms and hymns\n and spiritual songs, singing and making melody in your heart to the\n Lord. Eph. 5:18, 19.\n\n Let the word of Christ dwell in you richly in all wisdom; teaching and\n admonishing one another in psalms and hymns and spiritual songs,\n singing with grace in your hearts to the Lord. Col. 3:16.\n\n I will sing with the spirit, and I will sing with the understanding\n also. I Cor. 14:15.\n\nThe Jewish converts who at first composed the church had a rich heritage\nof song in the Book of Psalms. This was their hymnbook, used in the\nTemple worship and in the home and probably also in the synagogue\nservices. The use of the Psalms, carried over from the Jewish service,\nforms to this day an important element in Christian worship.\n\nBesides the Psalms, the early church sang the nativity lyrics that adorn\nthe first two chapters of the Gospel of Luke. It also made extensive use\nof _Hallelujah_ as a part of the people\u2019s praise, adding, in the course\nof time, the _Gloria Patri_, the _Sanctus_, the _Te Deum_, and other\ncanticles.\n\nThe nativity hymns in Luke, five in all, are extensively used in Roman\nCatholic and Anglican services.\n\n _Ave Maria_ (Hail Mary). 1:28-29, 42-45. The salutation of Gabriel and\n of Elizabeth.\n\n _Magnificat._ \u201cMy soul doth magnify the Lord....\u201d 1:46-55. Hymn of the\n Virgin Mary.\n\n _Benedictus._ \u201cBlessed be the Lord God of Israel....\u201d 1:68-79. Song of\n Zacharias.\n\n _Nunc Dimittis._ \u201cLord, now lettest Thou thy servant depart in peace.\u201d\n 2:29-32. Song of Simeon.\n\n _Gloria in excelsis._ \u201cGlory to God in the highest....\u201d 2:14. Song of\n the Angels. Used as a part of the Roman mass and often found in\n Protestant hymns, e.g., \u201cAngels we have heard on high\u201d 82.\n\n\n Beginnings of Christian Song in the Hymnary\n\n _Psalms._ Book Five. 575-600.\n _Gloria Patri_ 606-7.\n _Ter Sanctus_ (_Trisagion_) \u201cHoly, holy, holy\u201d 601-2.\n _Te Deum._ \u201cHoly God we praise Thy name\u201d 519. A metrical translation\n of an ancient version.\n\n\n 3. Hymns of the Eastern Church: Greek and Syriac.\n\nThe ancient Eastern Church developed a rich hymnody, rising steadily in\nthe fourth century until it reached its culmination in the eighth and\nninth centuries. Since it employed the Greek and Syriac languages, its\nhymnic treasures remained almost completely hidden and unknown to the\nEnglish speaking churches for many centuries. It is only in recent\nyears, through the efforts of scholars like John Mason Neale and Edward\nCaswall that some of the Eastern hymns have been translated and made\navailable for modern use. Eastern hymns are characterized by an\nobjective, dignified, contemplation of God. Except when confessing sin\nand unworthiness, they contain nothing of the subjective feelings of the\nworshipper such as is found in many modern hymns. Though there is very\nlittle in the _Hymnary_ from the Eastern Church, our collection is\nenriched by the inclusion of a small number of hymns from this source.\n\n\n Greek Hymns in the Hymnary\n\n Clement of Alexandria, 170-220, \u201cShepherd of tender youth\u201d (398)\n Candle Lighting Hymn, \u201cO gladsome light\u201d (34)\n Synesius, c. 375-430, \u201cLord Jesus, think on me\u201d (196)\n St. Germanus, 634-734, \u201cA great and mighty wonder\u201d (526)\n St. John of Damascus, 8th century, \u201cThe day of resurrection\u201d (115)\n \u201cCome, ye faithful, raise the strain\u201d (113)\n St. Stephen the Sabaite, 725-94, \u201cArt thou weary, heavy-laden\u201d (143)\n Candle Lighting Hymn, \u201cDarkening night, the land doth\u201d (32)\n\n\n 4. Hymns of the Western Church: Latin.\n\nTwo great names are associated with the music of the Western Church:\nAmbrose, c. 340-97, known as the \u201cFather of Hymnody in the Western\nChurch;\u201d and Gregory the Great, 540-604, the missionary-minded pope, and\nreformer of church music.\n\nAmbrose, Bishop of Milan, not only composed hymns and music but\nstimulated others to do the same. Under his leadership there developed a\nlarge body of church music based upon four scales, which came to be\nknown as Ambrosian Chant. Although widely known as a scholar,\ntheologian, and preacher, Ambrose\u2019s most lasting influence was upon the\nmusic of the church. None of his hymns are found in our collection.\n\nGregory the Great, two centuries later, carried forward the work of\nAmbrose. He added four more scales or modes to the Ambrosian system,\nthus giving to the repertory of church music more definiteness and\nvariety. The music that developed during the papacy of Gregory came to\nbe known as Gregorian Chant, or plainsong, or plainchant. It is \u201cplain\u201d\nbecause unadorned, unharmonized and unmeasured. Its rhythm is the free\nrhythm of speech, the beats falling irregularly. The Gregorian Chant\nremained the music of the church for a thousand years and forms the\nbasis of all Roman Catholic music today. Some of these chants were\nadapted by Luther for congregational singing, and set to words in the\nvernacular of the people. A few of the tunes, usually in a form scarcely\nrecognizable from the original, are used today in Protestant hymnals, as\nfor instance, the tune \u201cHamburg.\u201d Some of the music in the Amish church\nservices is traceable to the Gregorian Chant.\n\nThe singing in the medieval church was liturgical in character and\nconfined to the clergy and trained choirs. This was its weakness. The\nlaity was not expected to sing, neither were they able to do so.\nCongregational singing, so important in our worship today, had for\ncenturies been unknown in the Roman Catholic Church. Reform was\ninevitable and it came in due time.\n\nWhile only remnants of the music survive, many hymns from the Western\nChurch have been translated from the Latin and a few choice ones have\nfound their way into the _Hymnary_.\n\n\n Latin Hymns in the Hymnary\n\n Prudentius, 348-c. 413, \u201cBethlehem, of noblest cities\u201d (88)\n Gregory the Great, 540-604, \u201cFather, we praise Thee\u201d (24)\n Anonymous, 6th or 7th century, \u201cChrist is made the sure\u201d (277)\n \u201cJoy dawned again on Easterday\u201d (415)\n Theodulph of Orleans, 9th century, \u201cAll glory, laud, and honor\u201d\n (100)\n Bernard of Clairvaux, 1091-1153, \u201cJesus the very thought\u201d (155)\n \u201cO sacred Head, now wounded\u201d (539)\n Bernard of Cluny, 12th century, \u201cJerusalem, the golden\u201d (262-3)\n Anonymous, 12th century, \u201cO come, O come, Emmanuel\u201d (67)\n Savonarola, 1452-98 (Italian), \u201cJesus, Refuge of the weary\u201d (536)\n Anonymous, 17th-18th centuries, \u201cO come, all ye faithful\u201d (80)\n \u201cThe year is gone beyond recall\u201d (382)\n\n\n 5. Hymns of the Bohemian Brethren.\n\nThe followers of John Hus who came to be known as the Bohemian Brethren,\nand later as the Moravians, were the first Protestant group to introduce\ncongregational singing into their worship. They also published the first\nProtestant hymnbooks, one in 1501 and another in 1505, containing 89 and\n400 hymns, respectively, in their native Bohemian tongue. Their efforts\nto introduce congregational singing were sternly opposed by the Roman\nhierarchy. The Council of Constance condemned Hus to be burned at the\nstake and warned his successor, Jacob of Misi, to cease the singing of\nhymns in the churches. It decreed:\n\n If laymen are forbidden to preach and interpret the Scriptures, much\n more are they forbidden to sing publicly in the churches.\n\nAs a result of their persecution, the Brethren in 1508 sent out\nmessengers to search for true Christian people into whose communion they\nmight apply for admission\u2014one to Russia, one to Greece, one to Bulgaria,\nand one to Palestine and Egypt. All returned unsuccessful. No such\nChristians had been found. They therefore remained in their own country,\ngiving themselves assiduously to the translation and printing of the\nBible.\n\nIn 1522 the Brethren sent two messengers to Luther to greet him and ask\nhis advice. Luther became interested in them and welcomed their\nfellowship. He was impressed with the hymnbook the Brethren had\npublished, and later used some of the hymns in his own work.\n\nTwo centuries later, the Brethren, known now as the Moravians, settled\non Count Zinzendorf\u2019s estates in Saxony, spreading rapidly from thence\ninto other countries in Europe and to the United States. One of\nEngland\u2019s foremost hymn writers and hymnologists, James Montgomery, was\nan adherent to their faith.\n\n\n Bohemian Brethren and Moravian Hymns in the Hymnary\n\n Michael Weisse, 1480-1534, \u201cChrist, the Lord, is ris\u2019n again\u201d (544)\n Tunes: \u201cMit Freuden Zart\u201d (512), \u201cRavenshaw\u201d (292)\n von Zinzendorf, Nikolaus L., 1700-60, \u201cJesus, still lead on\u201d (574)\n von Zinzendorf, Christian R., 1724-62, \u201cMan of sorrows\u201d (537)\n Henriette Luise von Hayn, 1724-82, \u201cI am Jesus\u2019 little lamb\u201d (430)\n James Montgomery, 1771-1854, \u201cHail to the Lord\u2019s Anointed\u201d (65)\n \u201cAngels from the realms of glory\u201d (81)\n \u201cGo to dark Gethsemane\u201d (107) and many others\n\n\n 6. Hymns of the Reformation: the German Chorales.\n\nThe movement toward congregational singing, inaugurated by the Bohemian\nBrethren, was soon to be merged into the greater Reformation movement.\nLuther\u2019s influence on the worship and music of the church was\nrevolutionary. For a thousand years the laymen had had no part in church\nsong. Congregational singing was unknown. Ambrosian music had at first\nbeen introduced for congregational use but it became more and more\nliturgical, thrusting the laity into the background. The Gregorian Chant\nwhich followed was never intended for use except by the priests and\ntrained choirs. The followers of Hus pioneered in congregational\nsinging; but it was Luther and his followers who brought it into full\nfruition.\n\nLuther was a born music lover and a musician of adequate training.\nMoreover he possessed a remarkable gift for writing hymns in clear\nthought to bring the Word of God home to the hearts of the common\npeople. He and his followers put songs on the lips of the German people\nand they sang themselves into the Reformation. So effective were these\nsongs that his enemies in the Roman church declared that \u201cLuther\u2019s songs\nhave damned more souls than all his books and speeches.\u201d\n\n_Chorales._ The word \u201cchorale\u201d (\u201cchoral\u201d in German) refers to the hymn\ntunes of Lutheran Protestantism, though in common usage the term\nincludes the words associated with the tunes. The melodies had much to\ndo with the popularity of the songs. They came from various sources.\nMany of them were original compositions by Luther and others; some were\nborrowed from the hymn books of the Bohemian Brethren; a considerable\nnumber were adaptations of plainsongs used in the Catholic Church; still\nothers were adopted from beloved folksongs. Luther was an eclectic in\nhis choice of music. He used any tune from any source that suited his\npurpose. Many thousands of chorales came into existence in Germany\nduring his time and the two centuries that followed. The hundreds still\nin use represent the best in church music today. They are characterized\nby a plain melody, a strong harmony, and a stately rhythm; all of which\nadapts them well for effective congregational singing.\n\nThe chorales at first did not have the regular rhythms that they later\ntook on. The steady progression of even notes, invariable in Bach\u2019s day,\nhad come only gradually into use. Some of the recent hymnbooks, in the\ninterest of greater variety of rhythm, are returning to the original\n\u201crhythmic chorales.\u201d\n\nThough _unison_ singing has been widely practiced and is advocated today\nby some good authorities in church music, Luther encouraged part\nsinging. In his first Preface to the _Geystliches Gesangb\u00fccklin_, 1525,\nhe wrote:\n\n These songs have been set in four parts, for no other reason than\n because I wished to provide our young people (who both will and ought\n to be instructed in music and other sciences) with something whereby\n they might rid themselves of amorous and carnal songs, and in their\n stead learn something wholesome, and so apply themselves to what is\n good with pleasure, as becometh the young.\n\nThe period of the German chorales may be said to have begun with Luther,\n1483-1546, and ended two centuries later with J. S. Bach, 1685-1750.\nBach brought the chorale tunes to their highest perfection, using many\nof them in his larger choral works. He composed about 30 original\nchorale melodies, wrote reharmonizations for approximately 400, and\ncomposed many chorale preludes for the organ which are in wide use\ntoday.\n\nThe German hymns and chorale tunes, used constantly in the home and\nschool, as well as in the church, have been of great importance in our\nMennonite worship in the past. They constitute the main body of material\nin all our German collections of hymns. In an effort to preserve and\nemphasize this rich heritage, there was incorporated into the _Hymnary_,\na special section, Book III, made up exclusively of chorales.\n\n\n German Chorales in the Hymnary\n\n 16th Century\n Martin Luther, 1483-1546, \u201cA mighty fortress is our God\u201d (549)\n \u201cFrom heaven above to earth I come\u201d (527)\n \u201cOut of the depths I cry to Thee\u201d (531-2)\n Nicolaus Selnecker, 1532-92, \u201cNow cheer our hearts\u201d (557)\n Philipp Nicolai, 1556-1608, \u201cWake, awake, for night is flying\u201d (522)\n \u201cHow brightly shines the Morning Star\u201d (529)\n 17th Century\n (_1_)\u2014_Period of The Thirty Years War\u20141618-48_\n Johann Heerman, 1585-1647, \u201cAh, dearest Jesus\u201d (534)\n Josua Stegman, 1588-1632, \u201cAbide with us, our Savior\u201d (559)\n Matthaus von L\u00f6wenstern, 1594-1648, \u201cLord of our life\u201d (278)\n Georg Weissel, 1590-1635, \u201cLift up your heads\u201d (523)\n Heinrich Albert, 1604-51, \u201cGod who madest earth\u201d (573)\n Ernst Homburg, 1605-81, \u201cChrist, the life of all the living\u201d (535)\n Michael Schirmer, 1606-73, \u201cO Holy Spirit, enter in\u201d (546)\n Paul Gerhardt, 1607-76, \u201cO sacred Head, now wounded\u201d (539) and\n others\n Gerhard Tersteegen, 1697-1769, \u201cGod reveals His presence\u201d (506)\n \u201cO power of love, all else transcending\u201d (517)\n (_2_)\u2014_Later 17th Century_\n Johann Franck, 1618-77, \u201cDeck thyself, my soul,\u201d (552)\n Tobias Clausnitzer, 1619-84, \u201cLiebster Jesu, wir sind hier\u201d (553a)\n Georg Neumark, 1621-81, \u201cHe who would be in God\u201d (571)\n Johann Scheffler, 1624-77, \u201cI am the Lord, O hear my voice\u201d (565)\n Joachim Neander, 1650-80, \u201cHeaven and earth, the sea\u201d (510)\n _18th Century_\n Johann Mentzer, 1658-1734, \u201cO that I had a thousand voices\u201d (509)\n Erdmann Neumeister, 1671-1756, \u201cSinners Jesus will receive\u201d (466)\n Benjamin Schmolck, 1672-1737, \u201cMy Jesus, as Thou wilt\u201d (250)\n Philipp F. Hiller, 1699-1769, \u201cO Son of God, we wait for\u201d (524)\n \u201cWhat mercy and divine compassion\u201d (562)\n Christian F. Gellert, 1715-69, \u201cHow great, almighty is Thy\u201d (516)\n Johann Sebastian Bach, 1685-1750. The life of the great musician\n marks the close of the German Chorale period and for that\n reason his name is placed here. None of Bach\u2019s original\n chorale melodies are found in the _Hymnary_ but use is made of\n a number of his harmonizations. See 539, 545, 556, 557, 564,\n 566.\n\n\n 7. Hymns of the Reformation: The Metrical Psalms.\n\nWhile the German people, under the leadership of Luther, were singing\nchorales set to original religious poems, a large section of\nProtestantism, under the influence of John Calvin, confined itself to\nthe singing of Psalms. To the French reformer, now preaching at Geneva,\nhymns were \u201cman-made,\u201d whereas the psalms were the inspired word of God\nand the only proper vehicle for the praise of God. Calvin, unlike\nLuther, was not a musician, and at first permitted only unison singing,\nunaccompanied. Part singing and instrumental accompaniment seemed to\nsavor of the frivolous and worldly, an opinion which Calvin, however,\nwas soon to modify. For two hundred years the Calvinistic churches on\nthe Continent and in Britain were influenced in their worship song by\nthe strict views of Calvin, limiting themselves to the metrical psalms\nand scriptural paraphrases. The German people in the meantime produced a\nrich treasury of original religious lyrics, contributed by some of their\nbest poets.\n\n\n Psalter Tunes and Metrical Psalms in the Hymnary\n\n _Genevan Psalter_ Tunes, 1551.\n O Seigneur (19)\n Old 134th (128, 132, 616)\n Rendez \u00e0 Dieu (306)\n Old 124th (354)\n Old 100th (594)\n _Scottish Psalter_, 1650.\n Book Five (575 to 600) with a few exceptions\n _New Version_, 1696, Tate and Brady.\n \u201cThrough all the changing scenes of life\u201d (583)\n \u201cAs pants the hart for cooling streams\u201d (586)\n \u201cO come, loud anthems let us sing\u201d (18)\n \u201cWhile shepherds watched their flocks by night\u201d (73-4)\n\n\n 8. Psalm Versions.\n\nThe use of the psalms in singing, first on the Continent, then in\nEngland and Scotland, and later in America, brought forth many metrical\nversions of the psalter, the principal ones being the following:\n\na. _The Genevan Psalter_, begun 1539, published complete in 1562. It was\nmade at the request of John Calvin by Cl\u00e9ment Marot, court poet of\nFrance, and Theodore Beza, a French scholar. It became the psalm book\nfor the Reformation churches on the continent, and is spoken of as the\nmost famous book of praise the Christian Church ever produced. It was\nissued in at least one thousand editions and translated into a number of\ntongues. Some of the original tunes are still in use, e.g., \u201cOld\nHundredth.\u201d\n\nb. _The Anglo-Genevan Psalter_, Geneva, 1556. This was used by John\nKnox, the Scottish reformer, and his followers who fled the persecutions\nof \u201cBloody Mary,\u201d and formed a congregation at Geneva. The book\nincorporated some of the Sternhold and Hopkins versions which were in\nuse in England, and added others.\n\nc. _The Old Version_, Sternhold and Hopkins, completed in 1562. Used in\nEngland for 134 years. It is entitled, _The Whole Booke of Psalmes_, but\ncame to be known as the \u201cOld Version.\u201d\n\nd. _The Bay Psalm Book_, Boston, 1640. This was the first book printed\nin English-speaking America. It was made to obtain greater literalness\nto the Hebrew original than was found in the versions then in use. The\nbook reigned supreme among the English churches in New England for over\na century. Seventy editions of it were printed in America, the last in\n1773. Eighteen editions appeared in England, and twenty-two in Scotland.\nThere were no tunes given it until 1698, then only 13, with the air in\nthe bass.\n\ne. _The Scottish Psalter_, completed 1650. Special mention is made of\nthis version of the Psalms because it is the source of nearly all the\nselections of metrical psalms which constitute Book Five of the\n_Hymnary_. The number of versions and editions of psalms which appeared\non the Continent and in England were numerous and confusing, each\nclaiming its own special merits. Finally, in the interests of better\nliterary diction and greater unity in singing in the Scottish\nPresbyterian churches, the General Assembly authorized a new version.\nThe result, after many years\u2019 work, was the famous _Scottish Psalter_ of\n1650 which remains the standard work in Scotland today.\n\nThere is a certain \u201cdignified crudeness\u201d in some of the literary\nexpressions but the psalms have long been learned in this version and\nhave become an important part of the religious training and experience\nof millions of English speaking people, especially in Scotland.\n\nThe Scottish Psalter first appeared with words only. There were no notes\nand no suggestions for melodies. The succeeding one hundred years were a\ntime of confusion. The tunes used were few in number, such as the\nleaders had learned from various sources, and passed on to succeeding\ngenerations by rote. The time came when better singing and better tunes\nwere demanded and gradually the psalter appeared with tunes. Early tune\nversions put the melody invariably in the tenor. The latest edition,\nprinted in 1929, by the Oxford Press, contains the best Psalm tunes\nwhich had gradually come into use, many of them arranged with\n\u201cFaux-bourdon\u201d (wherein the congregation sings one or more verses to the\nmelody while the choir supplies the harmony), and \u201cDescant\u201d (a second\nmelody over that of the tune).\n\nf. _The New Version_, Tate and Brady, London, 1696. This version\ngradually supplanted the _Old Version_ of Sternhold and Hopkins, and\nheld its place in the worship of the church for 150 years. It was\nadopted, in 1789, by the Protestant Episcopal Church in the United\nStates and bound with the prayer book of that Communion.\n\nThe above versions are only a few of the large number of psalters that\nwere published by the Calvinistic churches on the Continent, in Great\nBritain, and in America. The metrical psalms were designed for the\nsinging church. They were intended to restore song to the people in\ntheir worship, serving in this respect a similar purpose to the chorales\nin Germany.\n\nSome of the psalm books were published without music, some with the\nmelody only, and others in four-part harmony. The statement is\nfrequently made that Calvinistic Protestantism approved only unison\nsinging. The appearance of numerous books, complete with four voice\nparts, points to the contrary. It is true that Calvin at first\nencouraged unison singing only, regarding harmony more in the nature of\namusement than the worship of God; but upon observing the effectiveness\nof singing in Germany, he soon changed his views and became more liberal\nin this respect.\n\n\n 9. English Hymnody.\n\nThe youthful, courageous Isaac Watts, 1674-1748, an ardent dissenter,\npioneered the movement which resulted in a flood of hymns and hymnbooks\nin the English churches. Watts was not satisfied with the psalm singing\nof his time, which by now had become formal and lifeless. Parts of the\npsalter, he pointed out, were obviously not written in the spirit of the\nGospel. \u201cBy keeping too close to David,\u201d he wrote in one of his\nPrefaces, \u201cthe vail of Moses is thrown over our hearts.\u201d Watts removed\nthat \u201cvail,\u201d Christianizing the psalms and composing during his lifetime\nmore than 600 original hymns, expressing in the language of the time,\nthe thoughts of the worshippers. Through his influence, his age, the\n18th century, became the first age of hymn singing in England.\n\nJohn and Charles Wesley, following Watts, made enormous use of hymn\nsinging in their evangelistic work, giving the movement for\ncongregational singing a powerful impetus. Charles is said to have\ncomposed over 6,000 hymns.\n\nFrom the Wesleys onward through the 19th century, the hymn writers in\nEngland became numerous. The restrictive shackles of psalm singing had\nbeen broken and the creative urge to worship in new forms resulted in a\nvast number of original religious lyrics and the publication of hundreds\nof hymnbooks. The development can be summarized here only in outline\nform.\n\n\n English Hymnody in the Hymnary\n\n Early\u201417th Century\n Henry Wotton, 1568-1639, \u201cHow happy is he\u201d (208)\n George Herbert, 1593-1633, \u201cTeach me, my God and King\u201d (226)\n John Milton, 1608-74, \u201cLet us with a gladsome mind\u201d (64)\n \u201cHow lovely are Thy dwellings fair\u201d (592)\n Thomas Ken, 1637-1711, \u201cAwake, my soul, and with the sun\u201d (25)\n \u201cAll praise to Thee, my God, this night\u201d (33)\n \u201cPraise God, from whom all blessings flow\u201d (618)\n Joseph Addison, 1672-1719, \u201cThe spacious firmament on high\u201d (50)\n \u201cHow are Thy servants blest\u201d (338)\n 18th Century\n _1. Two Independents_:\n Isaac Watts, 1674-1748, \u201cFather of English Hymnody\u201d\n \u201cWhen I survey the wondrous cross\u201d (105-6)\n \u201cJoy to the world! the Lord is come\u201d (70)\n \u201cGod is the refuge of His saints\u201d (257)\n and many others\n Philip Doddridge, 1702-51, \u201cHow gentle God\u2019s commands\u201d (56)\n (and 128, 167, 218, 383, 465)\n _2. The Wesleys and their Associates_:\n John Wesley, 1703-91, translations (170, 226, 246, 508, 558)\n Charles Wesley, 1707-88, \u201cBard of Methodism\u201d\n \u201cCome, Thou long-expected Jesus\u201d (69)\n \u201cJesus, Lover of my soul\u201d (158-9)\n \u201cLove divine, all loves excelling\u201d (178-9)\n and many others\n William Williams, 1717-91, \u201cSweet Singer of Wales\u201d\n \u201cGuide me, O Thou great Jehovah\u201d (160)\n John Cennick, 1718-55, \u201cLo, He comes, with clouds\u201d (130)\n \u201cJesus, my all, to heav\u2019n is gone\u201d (468)\n Thomas Olivers, 1725-99, \u201cThe God of Abraham praise\u201d (14)\n Edward Perronet, 1726-92, \u201cAll hail the power of Jesus\u201d (3, 4, 5)\n _3. A Calvinistic Antagonist of Wesley_\n Augustus Toplady, 1740-78, \u201cRock of Ages, cleft for me\u201d (148)\n _4. The Olney Hymnists:_\n John Newton, 1725-1807, \u201cGlorious things of thee\u201d (274)\n \u201cSafely through another week\u201d (284)\n \u201cAmazing grace! how sweet the sound\u201d (463)\n William Cowper, 1731-1800, \u201cGod moves in a mysterious way\u201d (60)\n \u201cO for a closer walk with God\u201d (197)\n \u201cThere is a fountain filled with blood\u201d (492)\n _5. Others\u201418th Century:_\n Anne Steele, 1716-78, \u201cFather, whate\u2019er of earthly bliss\u201d (251)\n Joseph Grigg, c. 1720-68, \u201cBehold a Stranger at the door\u201d (141)\n \u201cJesus, and shall it ever be\u201d (192)\n Robert Robinson, 1735-90, \u201cMighty God, while angels bless\u201d (46)\n \u201cCome, Thou fount of every blessing\u201d (189)\n John Fawcett, 1740-1817, \u201cBlest be the tie that binds\u201d (41)\n \u201cLord, dismiss us with Thy blessing\u201d (45)\n Modern English\u201419th Century\n _1. Earliest_:\n Thomas Kelly, 1769-1854, \u201cLook, ye saints, the sight\u201d (119)\n \u201cHark, ten thousand harps and voices\u201d (123)\n \u201cOn the mountain top appearing\u201d (336)\n James Montgomery, 1771-1854, \u201cPrayer is the soul\u2019s sincere\u201d (184)\n \u201cAngels, from the realms of glory\u201d (81)\n \u201cIn the hour of trial\u201d (195) and many others\n Robert Grant, 1779-1838, \u201cO worship the King\u201d (7)\n \u201cSavior, when, in dust to Thee\u201d (145)\n Reginald Heber, 1783-1826, \u201cHoly, holy, holy\u201d (1)\n \u201cBread of the world in mercy broken\u201d (304)\n \u201cFrom Greenland\u2019s icy mountains\u201d (333)\n Charlotte Elliott, 1789-1871, \u201cJust as I am, without one plea\u201d (458)\n \u201cO holy Savior, Friend unseen\u201d (233)\n \u201cMy God and Father, while I stray\u201d (245)\n Henry Milman, 1791-1868, \u201cRide on, ride on in majesty\u201d (101)\n John Bowring, 1792-1872, \u201cIn the Cross of Christ I glory\u201d (110)\n \u201cWatchman, tell us of the night\u201d (66)\n \u201cGod is love; His mercy brightens\u201d (55)\n Henry F. Lyte, 1793-1847, \u201cAbide with me\u201d (40)\n _2. The Oxford Group_:\n John Keble, 1792-1866, \u201cNew every morning is the love\u201d (22)\n \u201cSun of my soul, Thou Savior dear\u201d (30)\n Matthew Bridges, 1800-94, \u201cCrown Him with many crowns\u201d (118)\n John Henry Newman, 1801-90, \u201cLead, kindly light\u201d (162-3)\n Richard Trench, 1807-86, \u201cLord, what a change within\u201d (183)\n Frederick Faber, 1814-63, \u201cThere\u2019s a wideness in God\u2019s mercy\u201d (58)\n \u201cFaith of our fathers\u201d (154)\n Mrs. Cecil Frances Alexander, 1823-95, \u201cThere is a green hill\u201d (104)\n (_Translators of Latin and Greek Hymns_)\n John Chandler, 1806-76, \u201cChrist is our Cornerstone\u201d (9)\n \u201cWhat star is this\u201d (87)\n Edward Caswall, 1814-78, \u201cBethlehem, of noblest cities\u201d (88)\n \u201cJesus, the very thought of Thee\u201d (155)\n John M. Neale, 1818-66, \u201cO come, O come Emmanuel\u201d (67)\n \u201cAll glory, laud, and honor\u201d (100)\n _3. Translators of German Hymns_:\n Catherine Winkworth, 1829-78, \u201cWake, awake for night\u201d (522)\n and 24 others\n Frances E. Cox, 1812-97, \u201cSing praise to God\u201d (512)\n \u201cJesus lives\u201d (543)\n Jane L. Borthwick, 1813-97, \u201cBe still, my soul\u201d (54)\n \u201cMy Jesus, as Thou wilt\u201d (250)\n \u201cJesus, still lead on\u201d (574)\n Sarah Borthwick Findlater, 1823-1907, \u201cO happy home\u201d (358)\n _4. Other Hymnists\u201419th Century_:\n Christopher Wordsworth, 1807-85, \u201cGracious Spirit,\u201d (174)\n \u201cO day of rest and gladness\u201d (285)\n Horatius Bonar, 1808-89, \u201cI heard the voice of Jesus say\u201d (142)\n \u201cI lay my sins on Jesus\u201d (444)\n \u201cWhen the weary, seeking rest\u201d (203) and others\n Alfred Tennyson, 1809-92, \u201cStrong Son of God\u201d (149)\n \u201cSunset and evening star\u201d (265)\n \u201cRing out, wild bells\u201d (379)\n Henry Alford, 1810-71, \u201cWe walk by faith, and not by sight\u201d (152)\n \u201cCome, ye thankful people, come\u201d (377)\n W. W. How, 1823-97, \u201cO Jesus, Thou art standing\u201d (144)\n \u201cFor all the saints who from their labor rest\u201d (317)\n \u201cO Word of God Incarnate\u201d (289) and others\n Godfrey Thring, 1823-1903, \u201cFrom the Eastern mountains\u201d (89)\n \u201cThou to whom the sick and dying\u201d (370)\n Adelaide Proctor, 1825-64, \u201cMy God, I thank Thee\u201d (177)\n \u201cI do not ask, O Lord\u201d (471)\n Edward H. Bickersteth, 1825-1906, \u201cPeace, perfect peace\u201d (256)\n John Ellerton, 1826-93, \u201cSavior, again to Thy dear name\u201d (43)\n \u201cNow the laborer\u2019s task is o\u2019er\u201d (315)\n \u201cThroned upon the awful tree\u201d (109) and others\n S. Baring-Gould, 1834-1924, \u201cNow the day is over\u201d (29)\n \u201cOnward, Christian soldiers\u201d (225)\n Edwin Hatch, 1835-89, \u201cBreathe on me, breath of God\u201d (135)\n Frances R. Havergal, 1836-79, \u201cTake my life, and let it be\u201d (215)\n \u201cLord, speak to me, that I may speak\u201d (296)\n \u201cThou art coming, O my Savior\u201d (126) and others\n Samuel Stone, 1839-1900, \u201cThe Church\u2019s one foundation\u201d (273)\n George Matheson, 1842-1906, \u201cO love that wilt not let me go\u201d (175)\n Recent English Hymns\n Rudyard Kipling, 1865-1936, \u201cFather in heav\u2019n\u201d (401)\n Stopford A. Brooke, 1832-1916, \u201cLet the whole creation cry\u201d (49)\n John Oxenham, 1852-1941, \u201cIn Christ there is no East\u201d (320)\n \u201cPeace in our time, O Lord\u201d (357)\n Percy Dearmer, 1867-1936, \u201cRemember all God\u2019s children\u201d (436)\n Richard Roberts, 1874\u2014, \u201cFor them whose ways\u201d (166)\n Laurence Housman, 1865\u2014, \u201cFather Eternal\u201d (354)\n\n\n 10. American Hymns.\n\nThe English speaking colonists who settled in America during the 17th\ncentury continued the psalm singing traditions of their forebears in\nEngland. The practice prevailed in their churches for two hundred years.\nThe first book printed by them was the _Bay Psalm Book_, in 1640, at\nCambridge, Massachusetts. It contained no original hymns. The singing of\npsalms, and later of hymns borrowed from England made up nearly the\nentire repertory of church music until the middle of the 19th century.\n\nOn the other hand, the German speaking colonists, including the\nMennonites, had brought with them the hymn books of the Lutheran\ntradition and continued the use of the German chorales in their worship.\nThe two streams of hymnody, English psalms and German chorales, went\ntheir independent courses for two centuries, scarcely influencing each\nother.\n\nIn the meantime there was very little original hymnody produced in\nAmerica, with the exception of the work of the Wesleys during their\nbrief experiment in Georgia, and the composition of certain hymns and\ntunes by the German people of Pennsylvania, which have remained, until\nrecently, in manuscript form. Timothy Dwight\u2019s hymn on the church, \u201cI\nlove Thy Kingdom, Lord\u201d (275) is probably the earliest American hymn\nstill in use.\n\nAfter the middle of the 19th century the number of hymn writers became\nlarge and their works came into increasing use, some choice examples\nfinding their way into English hymnbooks. America\u2019s original\ncontribution to Christian hymnody has not been only the Gospel Songs\nrepresented by the writings of Fanny Crosby, but the more permanent\nworks of Whittier, George W. Doane, Hosmer, Samuel Longfellow,\nWashington Gladden, S. F. Smith, and many others. Our musical\ncontributions have been less conspicuous, but the tunes of Mason are\ncoming into their own again and many of them will doubtless survive for\na long time, as will also those of Bradbury, Hastings, and others.\n\nThe tendency today in American hymnbooks is to unite the best in English\nand German traditions. The _Hymnary_ illustrates this trend. It makes\nlarge use of the English hymns while at the same time preserving a\nconsiderable body of the German chorales. In keeping with this trend,\nthe recent hymnbooks of the Episcopal, Presbyterian, Methodist and other\nchurches of English origin, incorporate some of the German chorale tunes\nand in some cases the translations of the words. The hymn books of our\ntime have become the channels through which flow the rich contributions\nto the stream of Christian hymnody from Christian people of all times\nand places.\n\n\n American Hymns in the Hymnary\n\n Early American\n Timothy Dwight, 1752-1817, \u201cI love Thy kingdom, Lord\u201d (275)\n Thomas Hastings, 1784-1872, \u201cHail to the brightness\u201d (332)\n Henry Ware, Jr., 1794-1843, \u201cHappy the home when God\u201d (361)\n Wm. B. Tappan, 1794-1849, \u201c\u2019Tis midnight; and on Olive\u2019s brow\u201d (103)\n Francis Scott Key, 1779-1843, \u201cLord, with glowing heart\u201d (511)\n George W. Doane, 1799-1859, \u201cSoftly now the light of day\u201d (36)\n 19th Century\n Leonard Bacon, 1802-81, \u201cO God, beneath Thy guiding hand\u201d (367)\n John G. Whittier, 1807-92, \u201cDear Lord and Father\u201d (181)\n Ray Palmer, 1808-87, \u201cMy faith looks up to Thee\u201d (150)\n S. F. Smith, 1808-95, \u201cThe morning light is breaking\u201d (324)\n Oliver W. Holmes, 1809-94, \u201cLord of all being, throned afar\u201d (53)\n E. H. Sears, 1810-76, \u201cIt came upon the midnight clear\u201d (75)\n W. H. Burleigh, 1812-71, \u201cLead us, O Father, in the paths\u201d (164)\n Harriet Beecher Stowe, 1811-96, \u201cStill, still with Thee\u201d (23)\n Sylvanus Phelps, 1816-95, \u201cSavior, Thy dying love\u201d (220)\n Arthur C. Coxe, 1818-96, \u201cO where are kings and empires\u201d (276)\n Elizabeth Payson Prentiss, 1818-78, \u201cMore love to Thee\u201d (472)\n Edward Hopper, 1818-88, \u201cJesus, Savior, pilot me\u201d (161)\n George Duffield, Jr., 1818-88, \u201cStand up, stand up for Jesus\u201d (193)\n Samuel Longfellow, 1819-92, \u201cHoly Spirit, Truth divine\u201d (136)\n James Russell Lowell, 1819-91, \u201cOnce to every man\u201d (346)\n Anna Warner, 1820-1915, \u201cWe would see Jesus\u201d (201)\n John H. Hopkins, 1820-91, \u201cWe three kings of Orient are\u201d (90)\n Eliza Scudder, 1821-96, \u201cThou Grace Divine, encircling all\u201d (57)\n Samuel Johnson, 1822-82, \u201cFather, in Thy mysterious\u201d (188)\n Jeremiah E. Rankin, 1828-1904, \u201cGod be with you\u201d (365)\n Joseph H. Gilmore, 1834-1918, \u201cHe leadeth me\u201d (478)\n Phillips Brooks, 1835-93, \u201cO little town of Bethlehem\u201d (84)\n Recent American Hymns\n Washington Gladden, 1836-1918, \u201cO Master, let me walk\u201d (223)\n Frederick L. Hosmer, 1840-1929, \u201cNot always on the mount\u201d (98)\n Mary Lathbury, 1841-1913, \u201cDay is dying in the west\u201d (31)\n \u201cBreak Thou the bread of Life\u201d (288)\n Frank Mason North, 1850-1936, \u201cWhere cross the crowded\u201d (222)\n M. Woolsey Stryker, 1851-1929, \u201cAlmighty Lord, with one\u201d (390)\n Henry van Dyke, 1852-1933, \u201cJoyful, joyful, we adore Thee\u201d (10)\n Louis F. Benson, 1855-1930, \u201cO sing a song of Bethlehem\u201d (92)\n Maltbie D. Babcock, 1858-1901, \u201cThis is my Father\u2019s world\u201d (48)\n Katherine Lee Bates, 1859-1929, \u201cO beautiful for spacious\u201d (343)\n Milton S. Littlefield, 1864-1934, \u201cO Son of man, thou\u201d (373)\n Jay T. Stocking, 1870-1936, \u201cO Master Workman\u201d (93)\n Wm. M. Vories, 1880\u2014, \u201cLet there be light, Lord God\u201d (353)\n Harry Webb Farrington, 1880-1931, \u201cI know not how that\u201d (99)\n W. Russel Bowie, 1882\u2014, \u201cLord, through changing days\u201d (402)\n Howard Arnold Walter, 1884-1918, \u201cI would be true\u201d (207)\n Earl Marlatt, 1892\u2014, \u201c\u2018Are ye able,\u2019 said the Master\u201d (392)\n\n\n 11. Gospel Songs.\n\nDuring the latter part of the 19th century there came into use, both in\nthe United States and in England, a type of religious song known as the\nGospel Song. Less dignified than the chorales or the English hymns,\nthese songs made a popular appeal and were widely used in prayer\nmeetings and revivals.\n\nThe words of the typical Gospel Song are usually simple and easily\nremembered and concern themselves largely with the individual\u2019s\nsalvation. The personal pronouns \u201cI\u201d and \u201cmy\u201d predominate. The tunes are\nrhythmic and catchy and always have a refrain added. Their harmonies are\nlargely built on the simple tonic, dominant, and subdominant chords. The\nmasses of the people readily learned to sing these tunes and experienced\na thrill in singing them which the use of the more stately and solid\nhymns failed to effect.\n\nThe great bulk of these songs were produced in America during the latter\nhalf of the 19th century and were found extremely useful in large mass\nmeetings. The evangelistic work of Moody and Sankey during the 1870\u2019s,\n1880\u2019s, and 1890\u2019s brought the Gospel Songs into special prominence and\nthe Salvation Army has made them known in nearly every country in the\nworld. Collections of Gospel Songs sold by the millions of copies and\nevery denomination was affected, to a greater or lesser extent, by this\ntype of singing.\n\nSince the standard of music and words in the Gospel Songs is\nconsiderably below that which prevails in our best hymnals as well as in\nsecular music and literature taught in the public schools, churches\nshould seriously consider the ultimate effect of their too frequent use.\nIt is a fallacy to assert that the people will respond to nothing\nbetter. Gospel Songs have a legitimate place, particularly in special\nservices and revivals, but they leave much to be desired in the total\nwork and worship of the church. Neither the music nor the words possess\nthe strength and dignity entirely adequate for the worshipful praise of\nthe Eternal.\n\nThe principal names associated with Gospel Songs are the following:\n\n_Authors._ Fanny J. Crosby, Philip P. Bliss, Robert Lowry, Katherine\nHankey, E. A. Hoffman, and many others. Most of the words, though not\nall, were written by Americans during the latter part of the nineteenth\ncentury. Miss Crosby was by far the most prolific of them all and many\nof her works are found in all modern hymnals of denominations that use\nthis type of music. In Germany, Ernst Gebhardt became the leader of the\ngospel song movement, composing words and music, publishing numerous\nsong books, and serving as song leader in great revival meetings.\n\n_Music._ William B. Bradbury, Robert Lowry, W. H. Doane, Philip Philips,\nJames McGranahan, George C. Stebbins, P. P. Bliss, D. W. Towner, Wm. J.\nKirkpatrick, and others.\n\n_Song Leaders._ P. P. Bliss, Ira Sankey, James McGranahan, George C.\nStebbins, Charles Alexander, Homer Rodeheaver.\n\nIt should be noted that there is no absolute line of demarcation between\nhymns and some of the Gospel Songs. Some of the numbers in the Gospel\nSongs section of the _Hymnary_ might well be classified as hymns, e.g.,\nNos. 441, 444, 447, 458, 463, 468, 470, 471, 472, and 492. Either words\nor music meet the generally accepted standards of a hymn.\n\n\n 12. Women Hymn Writers.\n\nThere have been no outstanding women composers of church tunes but some\nof our finest lyrics have been contributed by women, as the following\nlist from the _Hymnary_ will show:\n\n _German_\n Katharina von Schlegel, b. 1697, \u201cBe still, my soul\u201d (54)\n Henriette Luise von Hayn, 1724-82, \u201cWeil ich Jesu\u201d (430)\n _English_\n Anne Steele, 1716-78, \u201cFather, whate\u2019er of earthly bliss\u201d (251)\n Marianne Nunn, 1778-1847, \u201cOne is kind above all others\u201d (447)\n Harriet Auber, 1773-1862, \u201cOur blest Redeemer\u201d (138)\n Dorothy Ann Thrupp, 1779-1847, \u201cSaviour, like a shepherd\u201d (395)\n Charlotte Elliott, 1789-1871, \u201cJust as I am, without one plea\u201d (458)\n Margaret Mackay, 1802-87, \u201cAsleep in Jesus\u201d (314)\n Sarah Flower Adams, 1805-48, \u201cNearer my God, to Thee\u201d (202)\n Jemima Luke, 1813-1906, \u201cI think when I read that sweet\u201d (427)\n Anne Bront\u00eb, 1820-49, \u201cBelieve not those who say\u201d (210)\n Cecil Frances Alexander, 1823-95, \u201cThere is a green hill\u201d (104)\n Adelaide Proctor, 1825-64, \u201cMy God, I thank Thee\u201d (177)\n Elizabeth Clephane, 1830-69, \u201cBeneath the Cross of Jesus\u201d (112)\n Anna L. Coghill, 1836-1907, \u201cWork, for the night is coming\u201d (221)\n Frances R. Havergal, 1836-79, \u201cTake my life and let it be\u201d (215)\n Dorothy Blomfield, 1858-1932, \u201cO perfect love, all human\u201d (312)\n Jessie Adams, 1863\u2014, \u201cI feel the winds of God today\u201d (391)\n (_Translators_)\n Frances Cox, 1812-97, \u201cSing praise to God\u201d (512)\n Jane L. Borthwick, 1813-97, \u201cBe still my soul\u201d (54)\n Sarah Borthwick Findlater, 1823-1907, \u201cO happy home\u201d (358)\n Catherine Winkworth, 1829-78. Numerous hymns. Foremost translator of\n German chorales.\n _American_\n Harriet Beecher Stowe, 1811-96, \u201cStill, still with Thee\u201d (23)\n Elizabeth Prentiss, 1818-78, \u201cMore love to Thee, O Christ\u201d (472)\n Susan Warner, 1819-85, \u201cJesus bids us shine\u201d (420)\n Anna B. Warner, 1820-1915, \u201cJesus loves me! this I know\u201d (428)\n Fanny Crosby, 1820-1915, \u201cRescue the perishing\u201d (497) and many\n others\n Eliza Scudder, 1821-96, \u201cThou Grace Divine, encircling all\u201d (57)\n Phoebe Cary, 1824-71, \u201cOne sweetly solemn thought\u201d (264)\n Katherine Hankey, 1834-1911, \u201cI love to tell the story\u201d (493)\n Mary Ann Thomson, 1834-1923, \u201cO Zion, haste\u201d (328)\n Annie Sherwood Hawks, 1835-1918, \u201cI need Thee every hour\u201d (187)\n Mary Lathbury, 1841-1913, \u201cDay is dying in the west\u201d (31)\n \u201cBreak Thou the bread of life\u201d (288)\n Katherine Lee Bates, 1859-1929, \u201cO beautiful for spacious\u201d (343)\n\n\n 13. Mennonite Hymnody.\n\nMennonites have made many contributions to society through their\nreligious life and practices, but we have produced no important hymnody\nof our own. Throughout the four hundred years of our existence as a\nchurch, we have been a singing people, in times of persecution as well\nas in times of peace. Great emphasis has always been laid upon the\nimportance of congregational singing in our worship services. Since the\nbeginning of the 19th century the Mennonites of various branches, in\nAmerica alone, have published over fifty hymnbooks. But an examination\nof these hymnbooks shows that we are heavily indebted to others. Instead\nof producing original hymns and tunes, we have borrowed, with minor\nexceptions, our entire repertory from other denominations. The wealth of\nverse and music produced by German and English writers throughout the\ncenturies has been found to serve our needs adequately and well.\n\nThe churches in Europe used hymnbooks compiled from Lutheran and\nReformed sources. Upon coming to the United States and Canada, they\ngradually adopted English and American hymns and in some sections of the\nchurch, the Gospel Songs came into wide use.\n\nOur German collections of hymns have, until recently, been uniformly on\na higher level, both as to music and poetry, than the collections used\nafter the change was made to the English language. During the transition\nfrom the German to the English language, many churches, in their choice\nof their hymnbooks, sacrificed the fine chorales which had been a part\nof their religious heritage. This was due partly to the revivalistic\ninfluences of the times and partly to the fact that there were no good\ntranslations available of the German hymns which earlier were in use.\nThe situation is gradually correcting itself. We are re-evaluating our\nhymnody, sifting the wheat from the chaff, and bringing back into our\nworship the rich treasure of song which had been used in the past. The\n_Mennonite Hymnary_ is an effort in this direction.\n\n\n 14. The Antecedents of the Mennonite Hymnary.\n\nThe story of the hymn books antedating the _Hymnary_ may be briefly\nsummarized by listing the following books:\n\n 1565. The first German Mennonite hymn book was published in 1565 or\n 1566 (date omitted from title), entitled, _Ein sch\u00f6n Gesangb\u00fcchlein\n Geistlicher Lieder, zusammengetragen aus dem A. und N. Testament\n durch fromme Christen und Liebhaber Gottes, welcher hief\u00fcr etliche\n getrucht sei gewesen, aber noch viel dazu gethan, welche nie im\n Truck aussgangen seindt, in welchen auch ein recht Leben und\n Fundament dez rechten Christlichen Glaubens gelehrt wirdt. Coloss.\n 3._\n\n A second edition, 1570-1583, (date not given), adds to the above\n title the following:\n\n _Jetzo von neuem widerum \u00fcbersehn, an vielen Orten gebessert und mit\n etlichen newen Liedern vermehret. Coloss. 3._\n\n Of the 133 hymns in the book, 9 had been in use among other\n churches. Many of the others were by Mennonite authors, among them\n Johann Sch\u00fctz, Thomas Ducker, Gerhard Siebenakker von Sittart, and\n Heinrich Krenen von Breidtbock. Many of the hymns are of a\n controversial nature and have no literary value; for example, this\n on infant baptism:\n\n Die Schrift sagt nicht von Kindertaufe\n Davon hab ich nicht gelesen.\n Wer nach Gottes Wort getauft soll sein\n Der musz gl\u00e4ubig wesen.\n\n Es ist ein Bad der Wiedergeburt,\n Ein Bund eines guten Gewissens\n Ein\u2019 Verneurung des heiliges Geistes\n Davon keine Kinder wissen.\n\n Most of the hymns were set to secular melodies popular at the time.\n Very little of this first hymnal survives.\n\n 1570\u2014_Ausbund, Das ist: Etliche sch\u00f6ne Christliche Lieder, wie sie in\n dem Gef\u00e4ngnis zu Passau in dem Schlosz von den Schweizer-Br\u00fcdern und\n von andern rechtglaubigen Christen hin und her gedichtet worden._\n\n At least twelve editions have been printed in Europe, the last one\n in Basel, 1838. Its use was confined to the South Germans and Swiss\n Mennonites. Reprinted in America and still in use by the Amish, the\n _Ausbund_ has the distinction of being the oldest hymn book\n officially in use by any church in America.\n\n 1780\u2014_Geistreiches Gesangbuch zur \u00f6ffentlichen und besonderen Erbauung\n der Mennonitischen Gemeinde in und vor der Stadt Danzig._\n\n The book has had long use in Danzig. A revised edition appeared in\n 1908.\n\n 1803\u2014_Das Kleine Geistliche Harfe der Kinder Zions._ Germantown, Pa.\n The first Mennonite hymnbook printed in America. It was the official\n hymnbook of the Franconia Conference of Mennonites of which John H.\n Oberholzer, founder of the General Conference of Mennonites, was a\n member. Seven editions were printed, the last in Elkhart, Ind.,\n 1904.\n\n 1804\u2014_Unpartheyisches Gesangbuch_, Lancaster, Pa. The official\n hymnbook of the Lancaster Mennonite Conference for almost a century.\n Fourteen reprints were made, the last in 1923 for the Amish.\n\n 1843\u2014_Gesangbuch in welchem eine Sammlung geistreiche Lieder\n befindlich._ 9th ed. Elbing. The hymnbook of the Prussian\n Mennonites. It was taken by the Prussians to Russia where it was\n republished in Odessa, 1844.\n\n 1856\u2014_Gesangbuch zum Gottesdienstlichen und haeuslichen Gebrauch in\n Evangelischen Mennoniten Gemeinden._ Worms.\n\n Published by the churches of Baden and the Palatinate. The hymnal\n committee was fortunate in securing the assistance of the eminent\n German hymnologist, Albert Knapp. The book contains 600 hymns and an\n appendix of prayers. A book of melodies was also provided. This\n collection holds an important place in Mennonite hymnody. It was\n reprinted in Danzig, 1873, for use by the Danzig Mennonites, and in\n Philadelphia, 1873, for use in the General Conference of Mennonites.\n The excellent qualities of the more recent _Gesangbuch mit Noten_\n may be traced, in considerable measure, to this work.\n\n 1869\u2014_Gesangbuch in Mennoniten Gemeinden f\u00fcr Kirche und Haus._\n Published for the churches of West Prussia, this work went through\n at least four editions, the fourth in 1901. The book was republished\n in Danzig, 1873.\n\n 1873\u2014_Gesangbuch zum Gottesdienstlichen und h\u00e4uslichen Gebrauch in\n Mennoniten Gemeinden._ Philadelphia. Ordered by the sixth General\n Conference of Mennonites held at Wadsworth, Ohio. The main body of\n the book is the same as that published in Worms, 1856, but with the\n appendix of prayers omitted, and an appendix of 22 hymns added, the\n latter the contribution of the Mennonites in Pennsylvania. The book\n was intended to form a closer bond of union between the Mennonites\n in the East and those west of the Mississippi.\n\n 1890\u2014_Gesangbuch mit Noten. Herausgegeben von der allgemeinen\n Conferenz der Mennoniten von Nord America._ Berne, Ind. The book\n passed through 15 editions, the last in 1936. A noteworthy\n collection of hymns and tunes that met with wide approval in the\n General Conference churches.\n\n 1894\u2014_Mennonite Hymnal, A Blending of Many Voices._ Berne, Ind. An A.\n S. Barnes publication adopted, practically unchanged, by the General\n Conference of Mennonites. Our first official English hymnal, though\n many collections from other sources were finding wide use in our\n churches. The book has nothing of distinctiveness or distinction.\n\n 1927\u2014_The Mennonite Hymn Book._ Berne, Ind. Published by the General\n Conference of Mennonites. Compiled and edited by a committee\n appointed by the Conference. The book was more satisfactory than the\n _Mennonite Hymnal_ of 1894, but never became very popular. Total\n sales of three editions were less than 5,000 copies.\n\n 1940\u2014_The Mennonite Hymnary._ Published by the General Conference of\n Mennonites of North America, Board of Publication, Mennonite\n Publication Office, Newton, Kansas, 1940. Now in its sixth edition.\n\n\n 15. The Translation of Hymns.\n\nA word may be in order concerning the translation of hymns. It is\ndifficult to transfer the color and feeling of one language to another.\nFor this reason many people who know the German hymns by heart have a\nsense of disappointment when they read them in an English version. In\nsome instances a translation is inferior to the original but this is not\nnecessarily the case. It is well to remember that nearly all of us read\nthe Bible only in a translation, yet never doubt the literary quality of\nthe English King James Version or the German Version of Luther. The\nhymn, \u201cIch weiss einen Strom,\u201d is superior as poetry, and in its\nreligious feeling, to the English original, \u201cO have you not heard of\nthat beautiful stream,\u201d though the former is a translation of the\nlatter. The reason is that Gebhardt, the translator, was a poet in his\nown right. Good translations are possible if the translator has poetic\nability of a high order, and if he translates into his native tongue.\nCatherine Winkworth was the foremost translator of German hymns into\nEnglish and Ernst Gebhardt performed a similar role in translating\nEnglish and American hymns into German. Had either tried to do the work\nof the other, the results would in all probability have lacked true\ncolor and correct idiomatic and poetic expression.\n\n\n 16. Church Unity in the Hymnbook.\n\nThe unity of the Christian Church is expressed nowhere more eloquently\nthan in the hymns we sing. Every modern hymnal, regardless of the\ndenominational interest it represents, reaches across the ages to gather\nits treasures from sources new and old; it knows nothing of the external\nbarriers which divide Christians into denominations, but makes use of\nthe hymns of widely divergent Christian groups. The _Mennonite Hymnary_\nis no exception. Here are found hymns from the early church, East and\nWest, translated from the Greek and Latin fathers. Others, like\nSavonarola\u2019s hymn, come from the Middle Ages. Many are chorales from the\nland of Luther, or metrical psalms from the Calvinistic reformers. A\nsubstantial body of our hymnody stems from the Anglican Church, while\nsome of our best hymns are from sturdy independents like Watts and\nDoddridge, and still others breathe the evangelistic fervor of Wesley,\nCowper, and Newton. The Quakers too have made their contribution as well\nas certain Roman Catholics and Unitarians. In no aspect of our church\nlife do we attain so nearly to ecumenicity as in our worship in song.\nChristians may differ widely in their religious views but they are able\nto unite as one body in singing their songs of praise.\n\nThe following classification of hymns by denominations is far from\nexhaustive. It is intended merely to suggest the wealth of material\ndrawn from many denominations, listing only representative writers\ntogether with a representative hymn. The index of authors may be\nconsulted for a complete list of hymns written by each author.\n\n a. _Anglican_ (_Church of England_)\n Addison, Joseph, \u201cThe spacious firmament on high\u201d (50)\n Alexander, Mrs. Cecil (Irish), \u201cJesus calls us, o\u2019er the tumult\u201d\n (140)\n Baring-Gould, Sabine, \u201cOnward, Christian soldiers\u201d (225)\n Bode, John E., \u201cO Jesus, I have promised\u201d (212)\n Croly, George (Irish), \u201cSpirit of God, descend\u201d (133)\n Dix, William C., \u201cAs with gladness men of old\u201d (530)\n Ellerton, John, \u201cSavior, again to Thy dear name we raise\u201d (43)\n Elliott, Charlotte, \u201cJust as I am, without one plea\u201d (458)\n Grant, Robert (Scotch), \u201cO worship the King\u201d (7)\n Hankey, Katherine, \u201cI love to tell the story\u201d (493)\n Havergal, Frances, \u201cTake my life, and let it be\u201d (215)\n Heber, Reginald, \u201cHoly, holy, holy\u201d (1)\n How, W. W., \u201cO Jesus, Thou art standing\u201d (144)\n Lyte, Henry F., \u201cAbide with me\u201d (40)\n Newton, John, \u201cGlorious things of thee are spoken\u201d (274)\n Pierpoint, Folliott S., \u201cFor the beauty of the earth\u201d (51)\n Stone, Samuel, \u201cThe Church\u2019s one foundation\u201d (273)\n Toplady, Augustus, \u201cRock of ages\u201d (148)\n Wordsworth, Christopher, \u201cO day of rest and gladness\u201d (285)\n b. _Baptist_\n Fawcett, John (Eng.), \u201cBlest be the tie that binds\u201d (41)\n Gilmore, Henry, \u201cHe leadeth me\u201d (478)\n Hearn, Marianne (Eng.), \u201cJust as I am, thine own to be\u201d (393)\n Hawks, Annie S., \u201cI need Thee every hour\u201d (187)\n Lowry, Robert, \u201cLow in the grave He lay\u201d (452)\n Phelps, Sylvanus, \u201cSavior, Thy dying love\u201d (220)\n Rankin, Jeremiah, \u201cGod be with you till we meet again\u201d (365)\n Smith, Samuel F., \u201cThe morning light is breaking\u201d (324)\n Stennett, Samuel, \u201cMajestic sweetness sits enthroned\u201d (120)\n c. _Bohemian Brethren_ (_Moravians_)\n Hayn, Luise von, \u201cI am Jesus\u2019 little lamb\u201d (430)\n Montgomery, James, \u201cPrayer is the soul\u2019s sincere desire\u201d (184)\n Rights, Douglas LeTell, \u201cVeiled in darkness Judah lay\u201d (68)\n Weisse, Michael, \u201cChrist, the Lord, is ris\u2019n again\u201d (544)\n Zinzendorf, Nikolaus Ludwig, Graf von, \u201cJesu! geh\u2019 voran\u201d (574)\n Zinzendorf, Christian Renatus, Graf von, \u201cMan of sorrows\u201d (537)\n d. _Catholic_ (_Roman_)\n St. Bernard of Clairvaux, \u201cO sacred Head, now wounded\u201d (539)\n Bridges, Matthew, \u201cCrown Him with many crowns\u201d (118)\n Faber, Frederick, \u201cFaith of our fathers\u201d (154)\n Franz, Ignaz, \u201cGrosser Gott, wir loben dich\u201d (519)\n Mohr, Joseph, \u201cSilent night\u201d (83)\n Newman, John Henry, \u201cLead, kindly Light\u201d (162-3)\n Scheffler, Johann, \u201cMir nach, spricht Christus\u201d (565)\n e. _Congregational_\n Bliss, Philip P., \u201cBrightly beams our Father\u2019s mercy\u201d (448)\n Dwight, Timothy, \u201cI love Thy Kingdom, Lord\u201d (275)\n Gladden, Washington, \u201cO Master, let me walk with Thee\u201d (223)\n Luke, Jemima (Eng.), \u201cI think when I read that sweet story\u201d (427)\n Palmer, Horatio, \u201cYield not to temptation\u201d (477)\n Palmer, Ray, \u201cMy faith looks up to Thee\u201d (150)\n Shurtleff, Ernest W., \u201cLead on, O King Eternal\u201d (399)\n Sleeper, W. T., \u201cYe must be born again\u201d (461)\n Stocking, Jay T., \u201cO Master Workman of the race\u201d (93)\n Stowe, Harriet Beecher, \u201cStill, still with Thee\u201d (23)\n Walter, Howard A., \u201cI would be true\u201d (207)\n Wolcott, Samuel, \u201cChrist for the world we sing\u201d (327)\n f. _English Independent_\n Doddridge, Philip, \u201cHow gentle God\u2019s commands\u201d (56)\n Watts, Isaac, \u201cWhen I survey the wondrous cross\u201d (105-6)\n g. _Episcopal_ (_American_)\n Brooks, Phillips, \u201cO little town of Bethlehem\u201d (84)\n Bowie, W. Russel, \u201cLord, through changing days\u201d (402)\n Coxe, Arthur C., \u201cO where are kings and empires now\u201d (276)\n Doane, George W., \u201cFling out the banner\u201d (331)\n Hopkins, John, Jr., \u201cWe three kings of Orient are\u201d (90)\n Key, Francis Scott, \u201cLord, with glowing heart I\u2019d praise\u201d (511)\n Roberts, Daniel C., \u201cGod of our fathers, whose almighty\u201d (347)\n h. _Lutheran_ (_German_)\n Clausnitzer, Tobias, \u201cLiebster Jesu, wir sind hier\u201d (553a)\n Gerhardt, Paul, \u201cCommit thou all thy griefs\u201d (558)\n Luther, Martin, \u201cA mighty fortress is our God\u201d (549)\n Nicolai, Philipp, \u201cWake, awake for night is flying\u201d (522)\n Rinkart, M. Martin, \u201cNow thank we all our God\u201d (514)\n Schmolck, Benjamin, \u201cMy Jesus, as Thou wilt\u201d (250)\n Spitta, Karl Johann Philipp, \u201cO happy home, where Thou\u201d (358)\n i. _Methodist_\n Crosby, Fanny, \u201cJesus, keep me near the cross\u201d (490)\n Farrington, Harry Webb, \u201cI know not how that Bethlehem\u2019s\u201d (99)\n Gebhardt, Ernst (German), \u201cIch weiss einen Strom\u201d (232)\n Lathbury, Mary, \u201cBreak Thou the bread of life\u201d (288)\n Marlatt, Earl, \u201cAre ye able, said the Master\u201d (392)\n Nicholson, James, \u201cLord Jesus, I long to be perfectly whole\u201d (469)\n North, Frank Mason, \u201cWhere cross the crowded ways of life\u201d (222)\n Owens, Priscilla, \u201cWe have heard the joyful sound\u201d (334)\n Wesley, Charles, \u201cJesus, lover of my soul\u201d (158-9)\n Williams, William (Welsh), \u201cGuide me, O Thou great\u201d (160)\n j. _Presbyterian_\n Babcock, Maltbie, \u201cThis is my Father\u2019s world\u201d (48)\n Benson, Louis, \u201cO sing a song of Bethlehem\u201d (92)\n Clephane, Elizabeth (Scotch), \u201cBeneath the cross of Jesus\u201d (112)\n Duffield, George, \u201cStand up, stand up for Jesus\u201d (193)\n Hastings, Thomas, \u201cHail to the brightness\u201d (332)\n Hopper, Edward, \u201cJesus, Savior, pilot me\u201d (161)\n Mackay, Wm. P., \u201cWe praise Thee, O God\u201d (437)\n Matheson, George (Scotch), \u201cO Love that wilt not let me go\u201d (175)\n Merrill, Wm. P., \u201cRise up, O men of God\u201d (230)\n Prentiss, Elizabeth, \u201cMore love to Thee, O Christ\u201d (472)\n Small, James G. (Scotch), \u201cI\u2019ve found a Friend\u201d (445)\n Van Dyke, Henry, \u201cJoyful, joyful, we adore Thee\u201d (10)\n k. _Quaker_\n Adams, Jessie, \u201cI feel the winds of God today\u201d (391)\n Barton, Bernard, \u201cWalk in the light\u201d (209)\n Whittier, John G., \u201cDear Lord and Father of mankind\u201d (181)\n l. _Unitarian_\n Adams, Sarah F., \u201cNearer, my God, to Thee\u201d (202)\n Bennett, S. F., \u201cIn the sweet bye and bye\u201d (504)\n Bowring, John, \u201cIn the cross of Christ I glory\u201d (110)\n Holmes, Oliver W., \u201cLord of all being, throned afar\u201d (53)\n Hosmer, Frederick L., \u201cFather, to Thee we look in all our\u201d (249)\n Johnson, Samuel, \u201cFather, in Thy mysterious presence\u201d (188)\n Longfellow, Samuel, \u201cI look to Thee in every need\u201d (244)\n Martineau, James, \u201cThy way is in the deep, O Lord\u201d (242)\n Parker, Theodore, \u201cO Thou great Friend to all the sons\u201d (224)\n Sears, Edmund, \u201cIt came upon a midnight clear\u201d (75)\n Ware, Henry, Jr., \u201cGreat God, the followers of Thy Son\u201d (13)\n m. _No Church Affiliation_\n Bates, Katherine Lee, \u201cO beautiful, for spacious skies\u201d (343)\n Vories, Wm. M., \u201cLet there be light, Lord God of hosts\u201d (353)\n\n\n 17. Hymn Meters.\n\nMeter (English, _Metre_) refers to the rhythmic element in poetry:\n\n a. the number of lines in a stanza.\n b. the number of syllables in a line.\n c. the arrangement of accented and unaccented syllables.\n\nThe figures attached to the tune names in the _Hymnary_ indicate the\nnumber of lines in a stanza and the number of syllables in a line, e.\ng., 8.7.8.7. means that the hymn has four lines in each stanza, the\nfirst line being made up of 8 syllables, the second of 7 syllables, the\nthird of 8 syllables, and the last of 7 syllables. The figures are\nplaced there to facilitate the fitting of tunes to hymns, a\nresponsibility which is left now-a-days largely to hymnbook editors.\n\nA given tune may be used with any variety of hymns provided the latter\nhave the same meter as the tune. Likewise a given hymn may be sung to\nany tune that fits its meter, e.g., \u201cCome, Thou Almighty King,\u201d set to\nthe tune, \u201cItalian Hymn,\u201d as both have the meter pattern 6.6.4.6.6.6.4.\nThis is also the meter of \u201cMy country \u2019tis of thee\u201d set to \u201cAmerica.\u201d\nHence the words and tunes of these hymns may be interchanged. As a\nmatter of fact, \u201cCome Thou Almighty King\u201d was originally used with the\ntune \u201cAmerica.\u201d The practice of using alternate tunes is less common now\nthan formerly and must be done with care for while the meters may be\nsuited, the words and tune may be incompatible otherwise.\n\n\n Meter Names\n\nA few meters have specific names. These, with their abbreviations are as\nfollows:\n\n_Short Meter_ (S.M.) 6.6.8.6, e.g.\n\n Blest be the tie that binds (6)\n Our hearts in Christian love: (6)\n The fellowship of kindred minds (8)\n Is like to that above. (6)\n\n_Short Meter Double_ (S.M.D.) is used for a tune in which the quatrain\nis repeated, e.g. \u201cTerra Beata\u201d (48), set to the words \u201cThis is my\nFather\u2019s world.\u201d\n\n_Common Meter_ (C.M.), also called Ballad Meter, consists of four lines\nof 8.6.8.6. syllables, e.g.\n\n In Christ there is no East or West (8)\n In Him no South or North; (6)\n But one great fellowship of love (8)\n Throughout the whole wide earth. (6)\n\nNearly all the metrical psalms appeared in this meter.\n\n_Common Meter Double_ (C.M.D.) is employed when two Common Meter\nquatrains are used to form one stanza, e.g.,\n\n \u201cIt came upon a midnight clear.\u201d (75)\n\n_Long Meter_ (L.M.) consists of a four line stanza in which each line is\nof eight syllables, e.g.,\n\n Praise God, from whom all blessings flow; (8)\n Praise Him, all creatures here below; (8)\n Praise Him above, ye heavenly host; (8)\n Praise Father, Son, and Holy Ghost. (8)\n\n_Long Meter Double_ (L.M.D.), not often used, consists of a stanza of\neight lines, each line of eight syllables, e.g.,\n\n \u201cThe spacious firmament on high.\u201d (50)\n\n\n Accentuation\n\nIn setting a hymn to music it is important that the accented syllables\nof the poetry fall on the accented beats of the musical bars. Try\nsinging \u201cSoftly and tenderly Jesus is calling\u201d (456) to the tune \u201cIch\nweiss einen Strom\u201d (232). The meter is the same in each\ncase\u201411.7.11.7.\u2014with refrain\u2014but the words and tune are obviously not\nsuited to each other because of differences in accentuation.\n\n\n 18. Hymn Tunes.\n\n a. What is a good tune?\n b. Importance of tunes.\n c. Composers of tunes.\n d. Sources of tunes.\n e. Tune names.\n\n\n a. What is a good tune?\n\nThe quality of a tune must be judged by its definite and restricted use.\nIt is to be sung by a congregation of people, the majority of whom have\nhad only limited musical training, and without benefit of rehearsal. The\ntune must therefore be judged by such questions as these: Is it\nsingable? Are the parts within easy pitch range of the voices? Is it\nfree from difficult intervals or modulations into other keys? Is it\ninteresting? Does it create a worshipful atmosphere? Does the mood of\nthe tune fit the mood and thought of the words?\n\n\n b. The importance of tunes.\n\nThe tune is of great importance to the success of the hymn. Our \u201cbest\nhymns\u201d owe their popularity in many instances, to the tune with which\nthey are associated. On the other hand many excellent hymns remain\nunused because the tunes given them are too difficult or too\nuninteresting. It is the tune that creates the mood of worship and\ncharges the words with emotion so that their message is carried forth\nwith feeling and power.\n\n\n c. Composers of tunes.\n\nThe story of the development of the hymn tune begins with the worship\nsong in the Temple at Jerusalem where the psalms were sung antiphonally\nby priests and people accompanied by harps and trumpets. Little is known\nof these tunes or their composers. This early Christian music would\ndoubtless sound strange to modern ears.\n\nThe important names in the roll of church musicians, from the early\ncenturies to the present time, include the following:\n\n _Italian_\u2014Ambrose, 4th century\n Gregory the Great, 6th century\n Palestrina, 1525-94\n _French_\u2014Louis Bourgeois, c. 1510-?\n _German_\u2014Luther, 1483-1546; Nicolai, 1556-1608; Hassler, 1564-1612;\n Praetorius, 1571-1621; Cr\u00fcger, 1598-1662; Bach, 1685-1750.\n _English_\u2014Tallis, 1510-85; Gibbons, 1583-1625; Croft, 1678-1727;\n Gauntlett, 1805-76; Monk, 1823-99; Dykes, 1823-76; S. Wesley,\n 1810-76; Barnby, 1838-96; Stainer, 1840-1901; Sullivan,\n 1842-1900.\n _American_\u2014L. Mason, 1792-1872; Bradbury, 1816-68; Hastings,\n 1784-1872; Stebbins, 1846-1945.\n\nThe great composers, besides Bach, whose names are found in church\nhymnals are: Haydn, Beethoven, Handel, Mozart, Mendelssohn, Gounod, and\nSibelius.\n\nThe above is only a partial list of composers of good church music.\nAmong their works is a corpus of fine hymn tunes far greater than has\nbeen utilized by the church so far. For years to come, compilers of hymn\nbooks will have a vast reservoir of excellent tunes, old yet new, to\ndraw from.\n\n\n d. Sources of tunes.\n\nAn examination of the origin of church tunes shows a variety of sources.\nMany tunes were especially written for the words to which they are set;\nothers are adaptations from early medieval chants; still others, as for\nexample, the \u201cPassion Chorale\u201d and \u201cLondonderry Air\u201d, were folk tunes\noriginally used with secular words. Some of our best tunes are\nadaptations of melodies from larger musical works, as for example, \u201cHymn\nto Joy\u201d (10) from Beethoven\u2019s _Ninth Symphony_; \u201cFinlandia\u201d (54), from a\ntone poem by Sibelius; and \u201cSeymour\u201d (36), from Weber\u2019s opera, _Oberon_.\n\n\n e. Tune names.\n\nComposers usually name their tunes in order to facilitate their\nidentification. The names given them are selected quite arbitrarily. W.\nH. Havergal, prolific composer of church music, named his tunes after\nthe rivers, mountains, valleys, etc., of Palestine, e.g. \u201cAbana,\u201d\n\u201cAhava,\u201d \u201cArarat,\u201d \u201cBaca,\u201d etc. Other tunes have been named for the\ncomposer, e.g., \u201cBradbury\u201d (395); the name of a friend, e.g.,\n\u201cRockingham\u201d (105); name of a city or village, e.g., \u201cBoylston\u201d (214); a\nstreet, \u201cFederal Street\u201d (192); a cottage, \u201cHollingside\u201d (159); an event\nin history, \u201cNicaea\u201d (1); or the central idea in the words, \u201cPilot\u201d\n(161).\n\nIn Germany, the usual practice has been to name the tune after the first\nline of the hymn to which it was originally set.\n\nSome tunes, unfortunately, are known by more than one name, e.g., \u201cSt.\nMichel\u2019s\u201d (93) and \u201cJerusalem, Jerusalem\u201d (125). In a few cases the same\nname is given to several tunes, e.g., \u201cWesley\u201d (309 and 332). This is\nconfusing and it is highly desirable that hymnbook editors strive toward\nuniformity of nomenclature.\n\n\n 19. John Wesley\u2019s Rules for Singing.\n\nIn one of John Wesley\u2019s compilations of tunes, _Sacred Melody_, the\ngreat preacher and founder of Methodism gives the following rules for\nsinging. Some of the expressions used may provoke a smile but, as\nLightwood suggests, \u201cit would be a very good thing if these were read\naloud from time to time in all churches and chapels where good\ncongregational singing is aimed at.\u201d\n\n a. Learn these tunes before you learn any others; afterwards learn as\n many as you please.\n\n b. Sing them exactly as they are printed here, without altering or\n mending them at all; and if you have learned to sing them otherwise,\n unlearn it as soon as you can.\n\n c. Sing ALL. See that you join with the congregation as frequently as\n you can. Let not a slight degree of weakness or weariness hinder you.\n If it is a cross to you, take it up, and you will find it a blessing.\n\n d. Sing lustily and with a good courage. Beware of singing as if you\n were half dead, or half asleep; but lift up your voice with strength.\n Be no more afraid of your voice now, nor more ashamed of its being\n heard, than when you sang the songs of Satan.\n\n e. Sing modestly. Do not bawl, so as to be heard above or distinct\n from the rest of the congregation, that you may not destroy the\n harmony; but strive to unite your voices together, so as to make one\n clear melodious sound.\n\n f. Sing in tune. Whatever time is sung be sure to keep with it. Do not\n run before nor stay behind it; but attend close to the leading voices,\n and move therewith exactly as you can; and take care not to sing too\n low. This drawling way naturally steals on all who are lazy: and it is\n high time to drive it out from among us, and sing all our tunes just\n as quick as we did at first.\n\n g. Above all sing spiritually. Have an eye to God in every word you\n sing. Aim at pleasing Him more than yourself, or any other creature.\n In order to do this attend strictly to the sense of what you sing, and\n see that your heart is not carried away with the sound, but offered to\n God continually; so shall our singing be such as the Lord will approve\n of here, and regard you when He cometh in the clouds of Heaven.\n\n\n\n\n BOOK I\n Hymns for Worship and Praise\n\n\n WORSHIP\u2014PRAISE AND ADORATION\n\n\n1. Holy, holy, holy _Reginald Heber_, 1783-1826\n\nA metrical paraphrase of Revelation 4:8-11. The hymn was written for use\non Trinity Sunday of the Church Year but has found a wide general use as\na morning hymn. It ranks high in any list of \u201cbest hymns.\u201d Some give it\nfirst place.\n\nThe author, Reginald Heber, was educated at Oxford, England, for the\nAnglican ministry. For sixteen years he served as rector at Hodnet,\nShropshire, where most of his hymns were written. He became an eminent\nchurchman, as well as hymn writer, and was made bishop of Calcutta in\n1822. After four years, his life came to an end suddenly at the close of\na day in which he had baptized forty-two native converts. He is the\nauthor of the popular missionary hymn, \u201cFrom Greenland\u2019s icy mountains\u201d\n(333).\n\n\u201cHoly, holy, holy,\u201d was one of Alfred Tennyson\u2019s favorite hymns, and it\nwas sung at his funeral service in Westminster Abbey, April 12, 1892.\n\n_MUSIC._ The tune, NICAEA, was composed for this hymn and was so named\nbecause the text deals with the doctrine of the Trinity as expounded in\nthe Council of Nicaea which met in the city of Nicaea in Asia Minor, 325\nA.D., the first ecumenical council of the Christian Church. It convened\nat the call of the Emperor, Constantine, to settle the so-called \u201cArian\ncontroversy\u201d concerning the nature of Christ. Arius, a presbyter of\nAlexandria, taught that Christ was neither divine nor human, but\nsuperangelic. After sitting from May 20 to August 25, to hear all sides\nof the heated debate, the council decided in favor of Athanasius, a\ndeacon of Alexandria and chief opponent of Arius. The result was\nincorporated in the Nicene creed which declares that Christ is \u201cthe same\nsubstance with the Father.\u201d Our hymn asserts the same doctrine: \u201cGod in\nThree Persons, blessed Trinity.\u201d\n\nJ. B. Dykes, 1823-76, composer of the tune, was born in Hull, England,\nthe son of a banker. He was educated at Cambridge for the ministry but\nhad also received a thorough training in music and became one of\nEngland\u2019s leading hymn-tune writers. For a score of years he was vicar\nof the Anglican church, St. Oswald\u2019s, in the city of Durham. He\npublished sermons and other writings but is best known for his 300 hymn\ntunes, many of which are still in wide use. One of his most popular\ntunes is \u201cLux Benigna\u201d which is always associated with John Henry\nNewman\u2019s hymn, \u201cLead kindly light\u201d (162).\n\n\n2. God is in His holy temple _Anonymous_\n\nBased on Hab. 2:20: \u201cThe Lord is in his holy temple: let all the earth\nkeep silence before him.\u201d The hymn, whose authorship is anonymous, is a\ncall to silence and reverence as the worshipper bows in the presence of\nGod.\n\n_MUSIC._ The origin of the popular and useful tune, AUTUMN, has been in\ndispute. Some books refer to it as a Spanish melody, and others have\nseen in the tune a reminiscence of a psalm-tune found in the _Genevan\nPsalter_ of 1551. It is ascribed here to one, Louis von Esch, but Dr.\nRobert McCutchan, editor of the _Methodist Hymnal_ and author of _Our\nHymnody_, says: \u201cThere is no basis whatever for ascribing it to any\nother than Barth\u00e9l\u00e9mon.\u201d\n\nFrancois H. Barth\u00e9l\u00e9mon was born in Bordeaux, July 27, 1741, and died in\nLondon, July 20, 1808. He gave up his position as an officer in the\nFrench army to make music his profession and became a composer and\ndistinguished violinist and conductor in England. Most of his\ncompositions were of a secular nature. His other church pieces are\n\u201cMorning Hymn\u201d (25) and \u201cBallerma\u201d (146, 585). Late in life Barth\u00e9l\u00e9mon\njoined the Swedenborgian Church. He died of paralysis at the age of 67.\n\n\n3, 4, 5. All hail the power of Jesus\u2019 name _Edward Perronet_, 1726-92\n\nThe original version of this hymn contained eight stanzas and first\nappeared in the _Gospel Magazine_, Augustus Toplady\u2019s journal, the first\nstanza together with the tune \u201cMiles Lane,\u201d in November, 1779, and the\nremaining stanzas in April, 1780. It is one of the popular, stirring\nhymns of the English language, sung in England almost invariably to the\ntune \u201cMiles Lane\u201d and in America more generally to \u201cCoronation.\u201d\n\nEdward Perronet was born in 1726 and became a vicar in the Church of\nEngland in Shoreham. Later, under the influence of John Wesley, he left\nthe established church to become an itinerant Methodist preacher. After\nsome years he left the Methodists and ministered to a small dissenting\ncongregation in Canterbury, where he died in 1792.\n\nThe fourth stanza is attributed by some authorities to the Rev. John\nRippon, a Baptist minister.\n\nA missionary in India, E. P. Scott, went to visit a mountain tribe when\none day he found himself surrounded with a number of wild, ferocious\ntribesmen, pointing their spears at him. Expecting death, he closed his\neyes and sang this hymn, \u201cAll hail the power of Jesus\u2019 name,\u201d playing\nthe tune \u201cMiles Lane\u201d on his violin. The music and words produced such a\nprofound effect upon these wild tribesmen that they spared Scott\u2019s life\nand invited him to settle among them. For over two years, until his\nhealth failed, he worked with great success among them, and when he was\ncompelled to return to America, they accompanied him thirty or forty\nmiles and begged him to return. Upon regaining his health, he did return\nand labored with them until his death.\n\n_MUSIC._ MILES LANE (No. 3) was composed by William Shrubsole,\n1760-1806, especially for this hymn. He was an intimate friend of the\nauthor of the hymn. Most of his life was spent as music teacher and\norganist in various English churches. The tune is very effective,\nespecially in its thrilling climax in the fourfold repetition of \u201cCrown\nHim.\u201d However, due to its wide melodic range, its sustained notes, and\ninterrupted pace, it is more difficult to sing than \u201cCoronation.\u201d\n\nCORONATION (No. 4) was composed by Oliver Holden. He had little formal\ntraining in music and was a carpenter by trade. He was born in Shirley,\nMass., Sept. 18, 1765. After the English burned Charlestown, across the\nriver from Boston, Holden helped in the task of rebuilding and made\nconsiderable money. Later he engaged in the real estate business, owned\na music store, and all the while led choirs and singing schools. He was\nelected representative to the Congress. He was an influential citizen\nand a prominent member of the Baptist Church. However, he is remembered\nby posterity as the composer of this much-loved tune.\n\nDIADEM (No. 5) is an effective tune widely used on anniversary\noccasions. The composer, James Ellor, an English Methodist, was born in\nLancashire in 1819. He was not a professional musician, but a hatter by\ntrade. For a time he worked as a railway employee. While still a young\nman, he came to America, where he worked at the hatmaking trade. For\nsome years before his death in 1899, he was nearly blind. This tune was\ncomposed when Ellor was only 19 years old. It was written especially for\nthis hymn and has had wide use as a choir number.\n\n\n6. Ye servants of God, your Master proclaim _Charles Wesley_, 1707-88\n\nThis hymn by Charles Wesley, perhaps the greatest hymnist of all ages,\nwas No. 1 in a collection published in 1774 and entitled, _Hymns for\nTimes of Trouble and Persecution_. The original had six stanzas and was\nmarked, \u201cTo be sung in a tumult.\u201d The Wesleys knew the meaning of\npersecution and tumults. They were often attacked by godless men who\nused physical violence. Hoodlums were known to try to break up their\nmeetings by blowing horns, ringing bells, or barking in front of the\npreacher. Sometimes cattle were driven into the congregation. The\nWesleys were also opposed by the clergy and people of the established\nchurch who hated the upheavals and disturbances these men caused in the\nstaid and stolid church life of the times. Nothing could stop the\nWesleys or repress their enthusiasm. John, who once thanked God for\ngetting together such a \u201ccongregation of drunkards, swearers, and\nSabbath breakers,\u201d continued his preaching; and Charles his hymn\nwriting. With the early apostles, the Wesleys could say, \u201cWe cannot but\nspeak the things which we have seen and heard.\u201d\n\nCharles Wesley, John\u2019s youngest brother, graduated from Oxford in 1729\nand became a devout priest in the Anglican Church. He came to Georgia in\n1735 as secretary to General Oglethorpe but after one year, he returned\nto England on account of failing health. The years from 1738 to 1756\nwere devoted whole heartedly to assisting his brother John in the great\nrevivalistic work among the masses of the common people in England,\nScotland, and Ireland. He was a prolific writer, being the author of\nabout 6,500 hymns. Of these only a few score survive, so difficult is it\nto write hymns that stand the test of time. Twenty-three of his hymns,\nmore than of any other author, are included in the _Hymnary_. Wesley,\nbeing Arminian in his theology (as opposed to the predestinarian views\nof Calvinism) emphasizes in his hymns the power of Christ to save to the\nuttermost. Others of his hymns surpass this one from the standpoint of\ngood literature, but very few equal its spirit of adoring praise and\nfervid enthusiasm.\n\n_MUSIC._ HANOVER is a vigorous, singable, hymn-tune which has long been\nassociated with these words, although the tune \u201cLyons\u201d (7), too, is\nfrequently set to this hymn. It is one of the earliest examples of the\nEnglish psalm-tune, as distinguished from the Genevan. The triple\nmeasure was novel and met with objection when it first appeared.\n\nThe composer, William Croft, 1678-1727, had a doctor\u2019s degree in music\nand was organist, for a time, in Westminster Abbey, London, where his\nremains lie buried. He labored hard, amidst many discouragements, to\nimprove the music in the Church of England, and made for himself in the\nfield of sacred music, one of the greatest names in English musical\nhistory. His tunes and anthems are widely used.\n\n\n7. O worship the King, all glorious above _Robert Grant_, 1779-1838\n\nA simple, yet majestic hymn, based on the magnificent 104th Psalm. A\ncareful reading of the Psalm will result in a new appreciation of this\nfree paraphrase by Grant.\n\nRobert Grant was born in Bombay, India. When six years old, his parents\nmoved to London. He received his education in Oxford, was admitted to\nthe bar, elected to Parliament in 1808, and then held various\nresponsible government positions, climaxed in 1834 by his appointment as\nGovernor of Bombay. He died at Delpoonie, India, where a medical school,\nbearing his name, was erected in his memory. Though a prominent man and\nactive in public affairs, Grant will be remembered principally as the\nauthor of this, his most important hymn. He wrote a number of other\nhymns but only this one and \u201cSavior, when, in dust, to Thee\u201d (145) have\nsurvived.\n\n_MUSIC._ The tune LYONS is by Haydn, not the famous \u201cPapa\u201d Haydn who\nwrote symphonies, string quartets, and _The Creation_, but J. Michael\nHaydn, 1737-1806, a younger brother. He was born in Austria. Though\nself-taught in music (like his famous brother Franz), he became the\nteacher of many eminent musicians of his time, including Carl von Weber.\nHaydn was a warm-hearted, devout, and gifted man, and might have become\nfamous except for two things\u2014his life was lived in the shadow of his\nmore illustrious brother, and he was too modest to permit most of his\nworks to be published.\n\nLYONS is a singable tune with a fine melodic curve and is strikingly\nsimilar to \u201cHanover\u201d (6) with which it may be interchanged with good\neffect.\n\n\n8. Come Thou Almighty King _Charles Wesley_, 1707-88\n\nThis hymn of praise and prayer is widely used in all branches of the\nChristian church in the English speaking world and has been translated\ninto many foreign languages. It has been generally attributed to Charles\nWesley, the great \u201cBard of Methodism,\u201d but the authorship is uncertain.\nThe hymn appeared as the first of only two selections in a small booklet\npublished by John Wesley about 1757. The second hymn was by Charles\nWesley and was entitled, \u201cThe Backslider.\u201d \u201cCome, Thou Almighty King,\u201d\nwith the title, \u201cAn Hymn to the Trinity,\u201d did not bear the name of\nCharles Wesley, and it appears nowhere in his collected works. No one\ncan be certain, therefore, of the authorship or date of its writing.\nLike all good hymns, it rises above time or personal circumstance and\nexpresses for all Christians their feeling of praise and adoration of\nGod. It was originally sung to the tune, \u201cGod Save the King,\u201d the hymn\nfollowing the same metrical pattern as the British National Anthem and\nour own \u201cAmerica.\u201d\n\n_MUSIC._ ITALIAN HYMN, also called \u201cTrinity,\u201d and \u201cMoscow,\u201d is one of\nour most famous hymn tunes and deserves its renown. It was composed for\nthis hymn by Felice de Giardini, 1716-1796, an Italian violinist, who\nspent many years in England and ranked among the top-notch artists and\nteachers of violin in Europe. Though a great artist, he was a capricious\nand peevish personality, had few friends and many enemies, was a poor\nbusiness manager, and died in poverty and distress in the city of Moscow\nwhere he had gone to better his fortune and failed.\n\n\n9. Christ is our Cornerstone _Latin, 8th century_\n _Tr. John Chandler_, 1806-76\n\nThis is a translation of a mediaeval Latin hymn. At the beginning of the\nChristian era, the prevailing language was Greek. With the dominance of\nRome over the empire of Alexander the Great, Greek gradually gave way to\nthe Latin tongue, and from the fourth century to the dawn of the\nReformation, a rich treasury of Latin hymns came into existence in the\nchurch. Many of these have now been translated for use in modern English\nspeaking churches. They are stately, reverent, devout pieces of\ndevotional literature which have been the joy and consolation of\ncountless saintly souls down through the centuries. Other examples of\nhymns from Latin sources are found at Nos. 67, 80, 87, 114, 116, 171,\n277, 382, and 415.\n\n\u201cChrist is our Cornerstone\u201d is based on \u201c_Angularis fundamentum_,\u201d a\ndedication hymn of anonymous authorship, attributed here to the 8th\ncentury, but it may be of much earlier origin. Hymn 277, \u201cChrist is made\nthe sure foundation,\u201d is another rendering of the same Latin poem, by a\ndifferent translator and into a different meter, and is there dated \u201c6th\nor 7th century.\u201d\n\nJohn Chandler, the translator, was one of a group of Anglican clergymen\nbelonging to what was known in England as the Oxford Group (not to be\nconfused with the recent Oxford group movement headed by John Buchman).\nThey were interested in restoring to the church a dignified service of\nworship. These Latin hymns contributed to this purpose. Chandler was a\nscholar as well as preacher, author of several books and many printed\nsermons and tracts, and was one of the first and best translators of\nLatin hymns. This, of course, is not a literal translation, for\nconsideration had to be given to poetic and doctrinal fitness for modern\nuse.\n\n_MUSIC._ The tune DARWALL was composed by John Darwall, 1731-89, an\nAnglican clergyman and also an enthusiastic amateur musician. He\ncomposed a tune for each of the 150 metrical Psalms, each written in two\nparts only, treble and bass. DARWALL was set to Psalm 148. His tunes,\nfor the most part, have not been published and have passed into\noblivion.\n\n\n10. Joyful, joyful we adore Thee _Henry van Dyke_, 1852-1933\n\nA nature hymn of the first order, written by one who himself had a\nprofound appreciation and love of the out-of-doors. The words from\nbeginning to end are an expression of the beauty in nature and the\nresulting joy and spirit of praise it brings to the worshipper. The hymn\nwas written in 1907 while the author was on a preaching visit to\nWilliams College; it was designated to be sung to the \u201cHymn to Joy\u201d in\nthe last movement of Beethoven\u2019s _Ninth Symphony_. The words fit the\nmusic perfectly. It is one of the most joyful hymns in the English\nlanguage.\n\nHenry van Dyke was born in Germantown, Pa.; received his education in\nPrinceton University and Theological Seminary; and began his work as\npastor of the United Congregational Church in Newport, R. I. After four\nyears he was called to the pulpit of the Brick Presbyterian Church in\nNew York where he became a widely known figure. In 1900 he was called to\nthe chair of English Literature in Princeton. He was a friend of\nPresident Woodrow Wilson who appointed van Dyke as minister to the\nNetherlands and Luxemburg, which post he held from 1913 to 1917. He is\nthe author of many books, including the beautiful story entitled, _The\nOther Wise Man._\n\n_MUSIC._ HYMN TO JOY is a hymn tune arrangement from the fourth movement\nof Beethoven\u2019s _Ninth Symphony_, probably the greatest symphony ever\npenned, even though the composer was stone-deaf when he wrote it.\n\nLudwig von Beethoven was born at Bonn, Germany, in 1770 and died in\nVienna in 1827. During his tempestuous life, he composed many\ncompositions for piano, violin, orchestra, and string quartet. His nine\nsymphonies are on the repertoire of all the great modern symphony\norchestras.\n\n\n11. Give to our God immortal praise _Isaac Watts_, 1674-1748\n\nRecognized as the best of three versions which Watts made of Psalm 136.\nThe hymn expresses with dignity and fervor the high praise of God.\n\nIsaac Watts, scholar, poet, and pastor of the Independent Church in Mark\nLane, London, ranks among the greatest of English hymn writers. He is\nthe author of about 600 hymns and versions, many of which are still in\ncommon use. The _Hymnary_ contains 19 of his works. Watts is often\nreferred to as the \u201cfather of English hymnody.\u201d Though suffering from\nbodily ailments during the greater part of his adult life, he was robust\nin his thinking and became a bold and sturdy fighter for the cause of\nintellectual and religious freedom. Watts was one of the gentlest and\nkindest of men and a friend of the young. His wide intellectual\ninterests enabled him to write textbooks on logic, geography, and\nastronomy, which were used in the universities of England as well as\nHarvard and Yale. Though he was never married and had no children of his\nown, Watts was a lover of children and wrote one of the world\u2019s most\nbeautiful cradle songs\u2014\u201cHush, my dear, lie still and slumber.\u201d In 1715,\nhe issued a notable book of verse for children. One of the poems,\nentitled, \u201cAgainst Quarrelling and Fighting,\u201d runs as follows:\n\n Let dogs delight to bark and bite\n For God hath made them so;\n Let bears and lions growl and fight\n For \u2019tis their nature to.\n\n But children, you should never let\n Such angry passions rise;\n Your little hands were never made\n To tear each other\u2019s eyes.\n\nLet grown-ups in our day grasp the idea in this simple poem!\n\n_MUSIC._ The tune, LASST UNS ERFREUEN, one of the most famous in any\nhymn book, was published in _Geistliche Kirchenges\u00e4ng_, Cologne, 1623.\nIt was set to an Easter hymn beginning, \u201c_Lasst uns erfreuen herzlich\nsehr_,\u201d from whence it derives its name. The tune is unusual for its\nsimplicity of structure and its invariable repetition of phrases\nthroughout. Usually the alleluias in lines 3 and 6 are sung in harmony,\nthe rest of the song in unison. The tune lends itself well to antiphonal\nor echo singing on the rare occasions when such varied effects are\ndesired. The composer is not known.\n\n\n12. O for a thousand tongues to sing _Charles Wesley_, 1707-88\n\nFrom a poem of 18 stanzas, written by Wesley to celebrate the first\nanniversary of his great spiritual change, a conversion experience in\nwhich he felt the clear light of the Gospel possessing his soul. The\npoem was entitled, \u201cFor the Anniversary Day of One\u2019s Conversion.\u201d Wesley\nwas greatly influenced by the Moravian missionary Peter Bohler who once\nsaid to him: \u201cHad I a thousand tongues, I would praise Him with them\nall.\u201d The incident, lingering in Wesley\u2019s mind, was turned into a song\nwhich expresses the joy and confidence of the redeemed. For 150 years,\nand until recently, this hymn appeared as No. 1 in Methodist hymnbooks\non both sides of the Atlantic.\n\nFor further comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ AZMON was introduced into this country from Germany where it\nwas a favorite school song. Carl G. Gl\u00e4ser, the composer, was born at\nWeissenfels, Germany, 1784, and died at Barmen, 1829. He was a teacher\nof piano, violin, and voice, and director of choruses. He also owned and\nmanaged a music store.\n\nLowell Mason, the arranger of the tune, was one of America\u2019s earliest\nexponents and teachers of public school music and did much to bring\nworthy popular hymn tunes into the churches. He was born January 8,\n1792, at Orange, N. J. At the age of 16, he was a choir leader and\nteacher of singing classes. At 23, he went to Savannah, Ga., as a bank\nclerk, returning to Boston in 1827 to become president and conductor of\nthe Handel and Haydn Society. He wrote a large number of singable hymn\ntunes which have had wide use in the hymn books of all denominations.\nMore of his compositions are found in the _Hymnary_ than of any other\ncomposer. He died at Orange, N. J., August 11, 1872.\n\n\n13. Great God, the followers of Thy Son _Henry Ware, Jr._, 1794-1843\n\nWritten for an ordination service which took place in Baltimore in 1819,\nWilliam E. Channing preaching the sermon.\n\nThe author, Henry Ware, Jr., was born at Hingham, Mass., April 21, 1794;\ndied September 25, 1843, at Framingham, Mass. He was educated at\nHarvard, and served as minister of the Second Unitarian Church, Boston,\n1817 to 1829, with Ralph Waldo Emerson as assistant for a time. From\n1829 to 1842, he was Professor of Pulpit Eloquence and Pastoral Care in\nthe Harvard Divinity School. He was editor of the _Christian Disciple_\nand later of the _Christian Register_.\n\n_MUSIC._ For comments on Lowell Mason, composer of HEBRON, see Hymn 12.\n\n\n14. The God of Abraham praise _Daniel Ben Judah, 14th century_\n _Revised version by Thomas Olivers_, 1725-99\n\nThis praise hymn, with its magnificent tune, had its origin in a Jewish\nsynagogue in London. Thomas Olivers, a Welshman and follower of John\nWesley, spent fifty years of his life as a Methodist minister, during\nwhich time he travelled more than 100,000 miles on horseback in his\nevangelistic work. His fame, however, rests upon this hymn. While\nvisiting in London, he went to the Great Synagogue in Duke\u2019s Place and\nheard the cantor sing the Hebrew _Yigdal_ or doxology, in which the\narticles of the Jewish faith are recited. Upon hearing this, Oliver\nwrote \u201cThe God of Abraham praise,\u201d a Christian version of the _Yigdal_.\nThe original is by Daniel Ben Judah of the 14th century. Oliver then\ncalled on the Cantor, Meyer Leoni, who gave him this melody to suit the\nhymn he had written.\n\n_MUSIC._ LEONI, according to Winfield Douglas, is probably not older\nthan the 17th century and is not related to ancient Jewish music.\nAlthough written in a minor key, it strikes the note of praise. Its\nrhythm and vigor of movement adapts it well for use as a processional or\nrecessional hymn.\n\n\n15. We praise Thee, O God, our Redeemer _Julia Bulkley Cady Cory_\n\nA notable hymn of praise written by Mrs. Julia Cady Cory, who was born\nand reared in what was reputed to be one of the happiest Christian homes\nin New York City. Her father, J. Cleveland Cady, was a nationally known\narchitect. A devout Christian, he had a genuine love for boys and girls\nand was superintendent of the same Sunday school for fifty-two years.\nConcerning the origin of this hymn, Mrs. Cory has written:\n\n Years before I was married (in 1902), the organist of the Brick\n Presbyterian Church of New York City, knowing of my interest in\n hymnology, came to me and told me that he had a very fine Netherlands\n melody associated with most militaristic and unchristian words. He\n lamented the fact, and requested me to write more suitable words,\n which could be used for the Thanksgiving service at the Brick Church.\n The hymn as you see it today, was the result.\n\n_MUSIC._ KREMSER is named after Edward Kremser, 1838-1914, a Viennese\nmusician who arranged the tune from a Netherlands melody dating to 1625.\nThe composer is not known. It is a stirring piece of music, simple in\nstyle, and easy to sing. It is equally impressive, whether sung in\nmeasured, stately tones like a chorale, or in the gayer festive mood in\nwhich young people like to sing. Children and young people usually\nrespond to this hymn with enthusiasm.\n\n\n16. Praise the Lord: ye heavens adore Him _Foundling Hospital\n Collection_\n _Stanza 3 by Edward Osler_, 1798-1863\n\nA free rendering of some lines of Psalm 148 in which all the hosts of\nheaven and earth join in a magnificent chorus of praise to God.\n\nThe first two stanzas are anonymous. They were first published in the\n_Foundling Hospital Collection_, a book of hymns and anthems compiled by\nThomas Coram, an English seaman, merchant captain and philanthropist. In\nlater life, Mr. Coram devoted his time and fortune to the support of a\nchildren\u2019s hospital in which a chapel was also maintained and the\nchildren trained in singing.\n\nEdward Osler, author of the third stanza, was an English surgeon and\nauthor of books on scientific as well as religious subjects. He was also\na distinguished hymnologist and wrote a number of versions of the Psalms\nand hymns for use in the Church of England.\n\n_MUSIC._ FABEN was composed by John Henry Wilcox, 1827-75, Boston\norganist and expert in organ construction. The tune should not be taken\ntoo fast; otherwise the short notes become choppy and the effect is\nspoiled. Singers should avoid slurring the intervals of the melody,\nespecially the descending fourth at the end of the first, third and\nseventh lines.\n\n\n17. Come, let us join our cheerful songs _Isaac Watts,_ 1674-1748\n\nA paraphrase of Revelation 5:11-13. It is one of the most widely\nesteemed of Watts\u2019 poems and one of the classics of English hymnody.\n\nThe basses and tenors would be less likely to sing the wrong words at\nthe beginning of the third score if the lines of all four stanzas had\nbeen printed. Let the song leader remind them to look ahead for the\nproper lines of each stanza before singing their solo part, and so avoid\nsome incongruities of thought!\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ CAMBRIDGE is an effective tune but with most congregations it\nneeds some rehearsal before it is usable in a worship service. The\ncomposer, John Randall, 1715-99, was an organist and Professor of Music\nin Cambridge University. He was a friend of the poet Thomas Gray.\n\n\n18. O come, loud anthems let us sing _Tate and Brady_\n\nA metrical version of Psalm 95, by Tate and Brady, two Irishmen who\ncollaborated in producing, in 1696, the _New Version_ of the Psalms.\nTheir work partly supplanted the older version by Sternhold and Hopkins,\nthen in use.\n\nNahum Tate, 1652-1715, was the son of an Irish clergyman, and, like\nBrady, received his education at Trinity College, Dublin. He was only a\nsecond-rate poet but managed to receive appointment as Poet Laureate of\nEngland in 1690.\n\nNicholas Brady, 1659-1726, was granted the honorary degree of Doctor of\nDivinity from Dublin University for services rendered to the Protestant\ncause. Among his many appointments were the chaplaincy to the king of\nEngland and incumbency of Stratford-on-Avon. Tate and Brady recast all\nof the Psalms into metrical verse in an attempt to improve on the old\nversion then in use in the churches. Their work was done in a day when\nonly the psalms were permitted to be sung in worship services in\nEngland. The writing of hymns was still in the future. Only a few of\ntheir renderings still find a place among our modern English hymns. The\n_Hymnary_ includes two besides this one, Nos. 583 and 586.\n\n_MUSIC._ The tune was found in _St. Basil\u2019s Hymn Book_ where it is\ncredited to Haydn, but we are not told which Haydn. No further\ninformation concerning its origin has been traced. It is especially\neffective when sung by a large congregation.\n\n\n MORNING\n\n\n19. When morning gilds the skies _19th century_\n _Tr. E. Caswall_, 1814-78\n\nA radiant morning hymn of adoration. It comes from the German song, \u201cBei\nfr\u00fchem Morgenlicht,\u201d of unknown authorship, which first appeared in\nprint in the _Katholisches Gesangbuch_, 1828, bearing the title, \u201cA\nChristian Greeting.\u201d\n\n Bei fr\u00fchem Morgenlicht\n Erwacht mein Herz und spricht.\n Gelobt sei Jesus Christus!\n So sing ich fr\u00fch and sp\u00e4t,\n Bei Arbeit und Gebet,\n Gelobt sei Jesus Christus!\n\nThe translator, Edward Caswall, was an English scholar and clergyman,\neducated at Oxford. He left the Church of England to become a Roman\nCatholic priest. Caswall did much for the sick poor and the poor\nchildren in Birmingham, England, where he lived. He wrote excellent\noriginal hymns and made many translations from German and Latin sources.\n(See Nos. 88 and 155.)\n\n_MUSIC._ O SEIGNEUR was composed or arranged by the Frenchman L.\nBourgeois, _c._ 1500- _c._ 1561, who was an adherent of Calvin and\nfollowed him to Geneva in 1541. He was assigned by Calvin the task of\nproviding music for the metrical psalter, but his work was attended with\ntroubles and difficulties. Once he was thrown in prison for making\nunauthorized alterations in certain well-known tunes. He tried hard to\nintroduce part-singing in a day when only unison singing was permitted\nby Calvin. Not succeeding in this, he left Geneva and returned to Paris,\nhis birthplace. O SEIGNEUR is a superb tune. It gathers interest and\nforce throughout its considerable length. The tune, which also may be\nused as a choir anthem, should be sung in fairly lively tempo to bring\nout its extraordinary power.\n\n\n20. Lord, in the morning _Isaac Watts_, 1674-1748\n\nBased on Psalm 5:3: \u201cMy voice shalt thou hear in the morning, O Lord; in\nthe morning will I direct my prayer to thee, and will look up.\u201d Watts\ndid not hesitate to change the wording of the Psalms, when necessary, to\n\u201cChristianize\u201d them. In the preface to his book of _Psalms_, he states\nhis method and purpose in these words:\n\n It is necessary that I should inform my readers that they are not to\n expect in this book an exact translation of the Psalms of David. My\n design is to accommodate the Book of Psalms to Christian Worship.\n\nFor further comments on Watts see Hymn 11.\n\n_MUSIC._ WARWICK, a psalm-tune of somewhat ornamental style, was\ncomposed by Samuel Stanley, 1767-1822, who for thirty-three years was\nthe leader of singing in Carr\u2019s Lane Meeting House, Birmingham, England,\nwhere he made its music famous. He was a noted violincellist and an\nauthority on the music of Handel. His position in the church was not\nthen considered inconsistent with his being, for a time, keeper of the\ntown tavern.\n\n\n21. When morning gilds the skies _19th century, Tr. E. Caswall_,\n 1814-78\n\nFor comments on the words see Hymn 19.\n\n_MUSIC._ LAUDES DOMINI was composed by Joseph Barnby, 1838-96, an\nEnglish organist and one of the most prolific hymn-tune writers of his\ntime. He was conductor of the Royal Choral Society in London, which\npresented many splendid performances of the great oratorios. It is a\nreverent and vigorous tune, written especially for this hymn, and makes\na good processional.\n\n\n22. New every morning is the love _John Keble_, 1792-1866\n\nTaken from John Keble\u2019s _Christian Year_, a book of devotional poetry,\none of the great religious classics in the English language. The\noriginal poem of sixteen stanzas is based on Lamentations 3:22b, 23a:\n\u201cHis compassions fail not. They are new every morning.\u201d The hymn shows a\ndeep appreciation of the beauties of the natural world, linking them\nwith the worship of God.\n\nJohn Keble was educated at Oxford where he was an outstandingly\nbrilliant student. Later he taught at Oxford for nine years and then\nspent thirteen years as curate in his father\u2019s church in\nGloucestershire. Following that he became vicar of Hursley where he\nrebuilt the parish church with profits from his book, _The Christian\nYear_, which passed through 90 editions during the author\u2019s lifetime.\nKeble was one of the influential leaders in the so-called Oxford or\nTractarian Movement in England, an effort to emphasize worthier ideas of\nthe church and a greater dignity and beauty in worship.\n\n_MUSIC._ MELCOMBE, a melody of fine balance and great dignity, was\ncomposed by Samuel Webbe, 1740-1816, son of an English government\nofficial in Minorca. He spent his early life as a cabinetmaker but later\nturned to music, becoming a noted organist and composer of a large\nquantity of secular and sacred music.\n\n\n23. Still, still with Thee _Harriet Beecher Stowe_, 1811-96\n\nBased on Psalm 139:18: \u201cWhen I awake I am still with Thee.\u201d It is a\nbeautiful, personal, morning hymn, expressing the soul\u2019s adoration upon\nwaking to find itself in the glad consciousness of the divine presence.\n\nHarriet Beecher Stowe belonged to a famous American family. Her father,\nLyman Beecher, and her brother, Henry Ward Beecher, were eloquent and\ninfluential preachers in the Presbyterian and Congregational churches,\nrespectively. Harriet\u2019s girlhood was spent in Cincinnati, Ohio, where\nher father was president of Lane Theological Seminary. She married\nCalvin Ellis Stowe, of the Lane faculty. In 1852, she published _Uncle\nTom\u2019s Cabin_, a story which became immensely popular and made a notable\ncontribution to the cause of freedom for the slaves.\n\n_MUSIC._ CONSOLATION is No. 9 of the 48 pieces, all of distinctive lyric\nquality, composed by Felix Mendelssohn-Bartholdy, and known as _Songs\nwithout Words._ The tune appears here in slightly modified form. It is\nwell adapted for the hymn but suffers frequently from dragging. It\nshould be sung with a steady pace and clearly defined rhythm.\n\nFelix Mendelssohn-Bartholdy was born in Hamburg, Germany, 1809, the son\nof a Jewish banker. His father, Abraham Mendelssohn, wished the children\nto be brought up as Protestant Christians and added the name \u201cBartholdy\u201d\nto distinguish them from the Jewish members of the family. \u201cBartholdy\u201d\nwas the name of the proprietor of the garden belonging to the family.\nMendelssohn composed extensively for the piano and wrote symphonies for\nthe orchestra. Among his choral works are the great oratorios, _Elijah_\nand _St. Paul_. A man of culture and wealth, he travelled extensively\nand was popular wherever he went, especially in England. He died in\nLeipzig in 1847.\n\n\n24. Father, we praise Thee _Gregory the Great_, 540-604\n _Tr. Percy Dearmer_, 1867-1936\n\nThe original of this morning hymn is attributed to Gregory the Great,\nPope Gregory I, a sincere man, devoted to missions and reforms within\nthe church, and one of the greatest of the line of Popes. The date of\nhis election to the papacy, A.D. 590, is usually given by church\nhistorians as the end of the period of the Ancient Church and the\nbeginning of the period of the Middle Ages\u2014a witness to the importance\nof Gregory. A man of unblemished character and statesmanlike wisdom, he\nhad a noble vision and ambition for Christianity and took a keen\ninterest in the ritual and music of the church. Though not original or\nscholarly, he was a voluminous writer and had much influence in his\ntime. He sent out missionaries, such as Augustine to England, and\nlabored incessantly to purify and strengthen the church, care for its\npoor, and bring Christianity to the heathen. Gregory was particularly\ninterested in the music of the church; and the \u201cGregorian Chants,\u201d many\nof them composed by him, became the basis of cathedral music for a\nthousand years. He did away with certain embellishments which had crept\nin through the influence of Ambrose, and inaugurated the use of the\nsolemn, stately chants which bear his name.\n\nThe translation of this hymn is by Percy Dearmer, an English hymnologist\nand clergyman who became Canon of Westminster, London, in 1931. He\nedited _Songs of Praise_, adopted widely in England for use in churches\nand public schools.\n\n_MUSIC._ CHRISTI SANCTORUM is a tune of uncertain origin taken from a\nbook by Francois de la Feill\u00e9e, entitled _Methode du Plain Chant_,\npublished in 1782. The melody, easily within range of all voices, is\nwell adapted for unison singing. It is most effective when sung somewhat\nslowly. Though the tune appears in a book of plainsong, the melody has\nrhythm and is measured, and has none of the characteristics of a\nplainsong.\n\n\n25. Awake, my soul, and with the sun _Thomas Ken_, 1637-1711\n\nTaken from a _Manual of Prayers_, which Bishop Ken wrote for Winchester\nCollege students in 1674. It appeared as the \u201cMorning Hymn.\u201d The preface\nof the book admonished the boys \u201cto be sure to sing the Morning and\nEvening Hymn in your chamber devoutly.\u201d Both the Morning and Evening\nHymn (33) had for the closing stanza the famous doxology, \u201cPraise God\nfrom whom all blessings flow,\u201d now sung by the whole Christian church.\nThe original poem had fourteen stanzas. According to Julian, this hymn\nis one of four at the head of all hymns in the English language.\n\nThomas Ken was an English poet and clergyman and had considerable\nmusical talent. He was a man unafraid to declare his convictions. He\nonce refused to read, at the king\u2019s command, a certain document to his\nparishioners, and was imprisoned for his defiance. He finally lost his\nbishopric because he refused to swear allegiance to Mary and William of\nOrange when they became rulers of England. Ken was known for his saintly\ncharacter, his great ability and eloquence as a preacher, and his\npioneering in the art of hymn writing.\n\nThat all hymns must be written in the third person, as is sometimes\nasserted, is disproved by this great hymn in its use of \u201cI\u201d and \u201cmy.\u201d\n\n_MUSIC._ For comments on Francois H. Barth\u00e9l\u00e9mon, composer of the tune,\nMORNING HYMN, see Hymn 2.\n\n\n26. Christ, whose glory fills the skies _Charles Wesley_, 1707-88\n\nOne of the greatest morning hymns in the English language, based on Mal.\n4:2: \u201cBut unto you that fear my name shall the sun of righteousness\narise with healing in his wings.\u201d James Montgomery called it \u201cone of\nCharles Wesley\u2019s loveliest progeny.\u201d It pictures Christ as the true\nLight and the Sun of Righteousness triumphing over the darkness of sin\nand grief.\n\nCharles Wesley was the second youngest in a family of nineteen children\nand became the \u201csweet singer of Methodism.\u201d He and Isaac Watts were the\nmost important hymnists of the 18th century in England.\n\nFor further comments on Wesley see Hymn 6.\n\n_MUSIC._ LUX PRIMA is by the French composer, Charles F. Gounod,\n1818-93, a musician of a deeply religious nature. Gounod had taken two\nyears of theology with the expectation of becoming ordained, but later\ndecided that his greatest contribution to religion would be through\nmusic. His outstanding religious work is the oratorio, _The Redemption_.\nWhile composing it, he used to spend hours in Notre Dame Cathedral in\nprayer and meditation. LUX PRIMA is a stirring tune, building up to a\nclimax at \u201cDay-star,\u201d and is widely used as a processional.\n\n\n27. Come, my soul, thou must be waking _F. R. von Canitz_, 1654-99\n _Tr. H. J. Buckoll_, 1803-71\n\nFrom a book of German lyrics, translated by H. J. Buckoll. The original\npoem of 13 stanzas begins with the words, \u201c_Seele, du muszt munter\nwerden_.\u201d The hymn, expressing the glories of a new day, is especially\nsuitable for use in schools and colleges. It is a translation of stanzas\n1, 6, 8, 10, and 11 of the original:\n\n Seele, du musst munter werden!\n Denn der Erden\n Blickt hervor ein neuer Tag.\n Komm, dem Sch\u00f6pfer dieser Strahlen\n Zu bezahlen,\n Was dein schwacher Trieb vermag.\n\n Bitte, dass er dir Gedeihen\n Mag verleihen,\n Wenn du auf was Gutes zielst;\n Aber dass er dich mag st\u00f6ren\n Und bekehren\n Wenn du b\u00f6se Regung f\u00fchlst.\n\n Denk, dass er auf deinen Wegen\n Ist zugegen,\n Und erkennet, was du tust;\n Dass er auch verborgne Flecken\n Kann entdecken,\n Und die tiefste S\u00fcndenlust.\n\n Drum so seufze, dass dein Scheiden\n Nicht ein Leiden,\n Sondern sanftes Schlafen sei\u2014\n Dass ich seh\u2019 mit ew\u2019ger Wonne\n Jene Sonne,\n Wann des Todes Nacht vorbei.\n\n Treib\u2019 nur Gottes Gnadenblicke\n Nicht zur\u00fccke\n Fasse treulich ihren Schein;\n Dann wird deiner Seele Frieden\n Schon hienieden\n S\u00fcsser als die Sonne sein.\n\nFriedrich Rudolph Ludwig, Freiherr von Canitz, was born in Berlin in\n1654. He was a distinguished diplomat, a philanthropist, and a devout\nChristian. In the early morning of his last day on earth, August 11,\n1699, ill with dropsy, he gazed at the rising sun and exclaimed, \u201cOh, if\nthe sight of this created sun is so charming and beautiful, what will be\nthe sight of the unspeakable glory of the Creator himself!\u201d He was\n_Staatrath_ (State Counsellor) at the time of his death.\n\nThe translator, Rev. Henry J. Buckoll, was educated at Oxford and spent\nmost of his life teaching. He edited several collections of songs for\nschools and in 1842 published _Hymns Translated from the German_.\n\n_MUSIC._ HAYDN comes from a tune in one of the movements of a string\nquartet by Franz Joseph Haydn, 1732-1809, the great Austrian composer,\nand important figure in the history of music. He was affectionately\nnamed \u201cPapa Haydn\u201d by Mozart. He wrote church music, song, opera, and\noratorio, over 100 symphonies and 83 string quartets. His _Creation_, a\nsacred oratorio, is widely known. He was devoutly religious and did not\nhesitate to ascribe his musical scores to God\u2019s glory. He gave as one of\nhis reasons for writing music: \u201cthat the weary and worn or the man\nburdened with affairs might enjoy something of solace and refreshment.\u201d\nThere is a cheerfulness and optimism about his music which appeals to\namateur and professional alike. Haydn was a teacher as well as composer\nand numbered among his pupils Mozart and Beethoven.\n\n\n EVENING\n\n\n28. Now on land and sea descending _Samuel Longfellow_, 1819-92\n\nWritten for use in a series of vesper services the author was conducting\nin his church. It was published, with other hymns, in a small book\ncalled _Vespers_. This hymn and \u201cAgain as evening\u2019s shadow falls\u201d (No.\n280), also by Longfellow, have become two of the most-loved evening\nhymns in the English language.\n\nSamuel Longfellow, younger brother of the poet, Henry Wadsworth\nLongfellow, was born and died in Portland, Maine. He was educated at\nHarvard for the ministry and served congregations in Fall River, Mass.;\nBrooklyn; and Germantown, Pa., resigning the last charge to write his\nbrother\u2019s _Life_, 1886. Though a Unitarian, he speaks of Christ as Lord\nand Saviour and accepted the miracles of the New Testament. He edited\nseveral important hymn books and wrote a number of hymns of excellent\nquality. Thirteen of his compositions are included in the _Hymnary_.\n\n_MUSIC._ VESPERS is by the Russian composer Dimitri Stephanovitch\nBortniansky who was born at Gloukoff, in the Ukraine, 1752, and died at\nSt. Petersburg, 1825. He studied music at Moscow, St. Petersburg, and\nVenice, Italy, the Empress Catherine of Russia supplying the necessary\nfunds. (It was this Empress Catherine who extended an invitation in 1786\nto Prussian Mennonites to settle in South Russia, promising religious\ntoleration, military exemption, and other special privileges.)\nBortniansky became Director of the Imperial Kapelle, the Empress\u2019 Church\nChoir. He was a distinguished composer of sacred music and has had a\ngreat and lasting influence on Russian church music. From his pen came\nthe well-known chorale tune, \u201c_Ich bete an die Macht der Liebe_\u201d (No.\n517).\n\nThe word \u201cJubilate\u201d means \u201cto shout for joy.\u201d It comes from the same\nLatin root as \u201cjubilee\u201d and \u201cjubilant.\u201d Its English pronunciation in\nsinging is J\u014do-b\u012d-l\u00e4-t\u012d. If you prefer the Latin, sing it\nY\u014do-b\u0101-l\u00e4-t\u012d.\n\n\n29. Now the day is over _Sabine Baring-Gould_, 1834-1924\n\nBased on Proverbs 3:24:\n\n \u201cWhen thou liest down, thou shalt not be afraid;\n Yea, thou shalt lie down, and thy sleep shall be sweet.\u201d\n\nThe hymn was written for children, but is suitable for worshippers of\nall ages.\n\nSabine Baring-Gould was educated at Cambridge and became a clergyman of\nthe Church of England. He was a man of great industry and versatility,\nand possessed a wide range of interests. He wrote books on travel,\nbiography, history, and is the author of several novels. He also edited\nseveral collections of folk songs. Baring-Gould is the author of \u201cOnward\nChristian soldiers,\u201d another hymn written for children, which has\nreceived a much wider use than originally intended.\n\n_MUSIC._ MERRIAL is a favorite tune for choir use in evening services.\nThe average congregation can learn to sing it without difficulty, and\nwhen sung slowly and thoughtfully, it constitutes a deeply moving\nevening prayer.\n\nFor comments on the composer, Joseph Barnby, see Hymn 21.\n\n\n30. Sun of my soul, Thou Savior dear _John Keble_, 1792-1866\n\nAnother evening hymn, widely used, and destined to live as long as\nEnglish hymns are sung. It is taken from the author\u2019s _Christian Year_,\na book of devotional poetry which sold 305,500 copies in forty-six\nyears. The original poem of fourteen stanzas, composed November 25,\n1820, appeared with the title, \u201c\u2019Tis Gone, that Bright and Orb\u00e8d Blaze,\u201d\nand was headed with the text, \u201cAbide with us\u201d (Luke 24:29). The hymn\nrepresents a lone traveller pressing on his way after the sun has set,\nbut trusting in Christ, the \u201cSun of the soul,\u201d for guidance and\nprotection, and lifting a prayer for the sick and poor and the helpless.\nTennyson, too, likened Christ to the sun. Asked what Christ meant to him\nhe paused beside a flower in the garden and answered: \u201cWhat the sun is\nto that flower, Jesus Christ is to my soul. He is the Sun of my soul.\u201d\n\nFor further comments on John Keble see Hymn 22.\n\n_MUSIC._ HURSLEY is a good tune but not as good as the original,\n\u201c_Grosser Gott, wir loben Dich_\u201d (No. 519), from which some unknown\nperson adapted it. The melody and harmonization have been changed, not\nfor the better, to suit the English words. \u201cHursley\u201d was the name of the\nparish of which Keble was vicar, and the tune was doubtless given this\nname when it came to be associated with Keble\u2019s hymn.\n\n\n31. Day is dying in the west _Mary Lathbury_, 1841-1913\n\nAn evening hymn of high rank which has been used widely in American\nchurches during the past half century.\n\nMary A. Lathbury, daughter of a Methodist minister, was a successful art\nteacher but is remembered chiefly for her work with the Methodist Sunday\nSchool Union and her literary contributions to periodicals for young\npeople. The \u201cLook Up\u201d Legion which she founded had for its motto, Edward\nEverett Hale\u2019s four rules of good conduct:\n\n Look up, not down;\n Look forward, not back;\n Look out, not in,\n And lend a hand.\n\nMiss Lathbury wrote this hymn for use at the vesper services at Lake\nChautauqua, in western New York, where hundreds of young people, eager\nto deepen their spiritual life, have met every year since 1873 for Bible\nstudy and prayer. This hymn and \u201cBreak Thou the Bread of Life\u201d give the\nauthor a permanent place in American hymnody.\n\n_MUSIC._ CHAUTAUQUA was written especially for Miss Lathbury\u2019s hymn.\nWilliam F. Sherwin, 1826-88, studied music under Lowell Mason and later\nbecame a teacher of vocal music. He was unusually successful in leading\nchoral groups and was appointed music director at Lake Chautauqua. The\ntune is dignified and stately, yet simple. The refrain should be sung\nsoftly at the beginning and rise gradually to a climax.\n\n\n32. Darkening night the land doth cover _Anon. Greek_\n _Tr. Robert Bridges_, 1844-1930\n\nFrom an anonymous 8th-century or earlier Greek hymn. Some authorities\nbelieve it to be an expansion of the Greek candle lighting hymn (No.\n34), also translated by Robert Bridges. The editors of the _Hymnary_, in\nsearch of a poem to fit the well-known UNTER LILIEN JENER FREUDEN tune\nin the _Gesangbuch mit Noten_, found for it this beautiful evening hymn\npublished in the _American Oxford Hymnal_.\n\nThe translator, Robert Bridges, was one of England\u2019s great literary\nscholars who gave serious attention to hymnology. After graduating from\nEton and Oxford, he turned his attention to medicine and became a\ndistinguished surgeon. At the early age of 38, however, he retired from\nmedicine to give himself to literature and music. In 1913, he was made\nPoet Laureate of England. His most significant work in hymnology was the\nfamous _Yattendon Hymnal_, which he published in 1899 while living in\nthe village of Yattendon. It consisted of 100 hymns, 44 of which were\nfrom his own pen, either as author or translator. The hymns were set to\nmusic derived largely from the _Genevan Psalter_. The hymnal represented\nan extraordinarily high standard, both as to words and music, but it\nnever became popular, and copies of it are nearly impossible to find.\n\n_MUSIC._ The tune, UNTER LILIEN JENER FREUDEN, is found at No. 546 of\nthe _Gesangbuch mit Noten_ where it is set to a poem by J. Allendorf. No\ninformation has been traced concerning the composer, J. Voigtl\u00e4nder.\n\n\n33. All praise to Thee, my God this night _Thomas Ken_, 1637-1711\n\nBased on Psalm 91:4: \u201cHe shall cover thee with his feathers; and under\nhis wings shalt thou trust.\u201d\n\nThis is the \u201cEvening Hymn,\u201d whereas No. 25 is the \u201cMorning Hymn\u201d which\nBishop Ken wrote for the devotional use of students at Winchester\nCollege. His endeavor was to express in simple, fitting words the\nthoughts that ought to be in the minds of the boys of the school \u201cand\nall other devout Christians\u201d in the evening. The two hymns were\npublished in 1695 and have been growing in fame and power these two and\none-half centuries. Both concluded with the doxology, \u201cPraise God from\nwhom all blessings flow,\u201d now known and sung throughout Christendom.\n\n_MUSIC._ The tune, EVENING HYMN, was originally in canon form, i.e., a\nform in which one voice begins the melody which is then imitated note\nfor note by some other voice, as in a \u201cround.\u201d Tallis, as was customary\nat the time, started the melody in the tenor, imitated by the soprano.\nThe tune used here is a later and altered form which, in the judgment of\nthis writer, is less interesting than the canonic form used in many\nhymnbooks. Its choice was an editorial inadvertence.\n\nThomas Tallis, composer of the tune, died in 1585. The exact date of his\nbirth, probably before 1520, remains uncertain. Styled the \u201cFather of\nEnglish Cathedral Music,\u201d he was chorister at St. Paul\u2019s Cathedral,\nLondon, and later held important posts as organist. He was indisputably\nthe greatest English musician of his age, and EVENING HYMN is his most\nfamous tune.\n\n\n34. O Gladsome Light, O Grace _Greek 1st or 2d Century_\n _Tr. Robert Bridges,_ 1844-1930\n\nThis is the oldest Christian hymn in common use, belonging to the first\nor second century. It was sung by the early Christians as a hymn of\nthanksgiving at the lighting of the candles at the vesper services in\nthe church and probably also in the home. It is still so used in the\nEastern churches. St. Basil wrote c. 370 regarding this hymn: \u201cWe cannot\nsay who is the father of this expression at the Thanksgiving of the\nLighting of the Lamps; but it is an _ancient_ formula which the people\nrepeat.\u201d So in A.D. 370 the hymn was already ancient!\n\nFor comments on the translator, Robert Bridges, see Hymn 32.\n\n_MUSIC._ The tune NUNC DIMITTIS is by the French musician, Louis\nBourgeois, c. 1510-61, the best melodist of his day, and composer of\nmost of the music for the _Genevan Psalter_, a French metrical version\nof the Psalms published in 1549. Many of his melodies have been altered,\nas for example, \u201cOld Hundredth,\u201d but this one has come to us unchanged.\nIt is a glorious melody which needs to be listened to repeatedly to be\nappreciated. The harmonization is by Claude Goudimel, c. 1505/10-72,\nanother eminent Protestant musician, who provided harmonies for many of\nthe Genevan psalm tunes. Goudimel\u2019s life came to an end in the massacre\nof St. Bartholomew in 1572, one of those tragedies during the\ncounter-reformation in which the Protestants suffered at the hands of\nthe Jesuits.\n\n\n35. God that madest earth and heaven _Stanza 1, Reginald Heber_,\n 1783-1826\n _Stanza 2, William Mercer_, 1811-73\n _Stanza 3, Richard Whateley_, 1787-1863\n\nThe original hymn consisted of the first stanza only which was written\nby Reginald Heber after hearing the tune used here played by a Welch\nharpist in a home where Heber was visiting. Retiring to a quiet place,\nhe promptly wrote the stanza to suit the melody.\n\nFor comments on Reginald Heber see Hymn 1.\n\nWilliam Mercer, author of the second stanza, was a clergyman in the\nChurch of England in Sheffield. In 1857, he issued _The Church Psalter\nand Hymn Book_, the most important Church of England book of its time.\nHis aim was to promote greater participation by the congregation in the\nhymn singing.\n\nRichard Whately was archbishop of Dublin. He was a man of great\nbrilliance of mind, though, it is said, he had no ear for music and no\neye for natural beauty.\n\n_MUSIC._ The tune AR HYD Y NOS is a Welsh traditional melody commonly\nassociated with the words \u201cAll through the night.\u201d It appears in many\nmodern hymnals. A growing number of folk tunes are being used for hymn\ntunes.\n\n\n36. Softly now the light of day _George Washington Doane_, 1799-1859\n\nAn American hymn characterized by simplicity and grace, and sung the\nworld over wherever the English language is spoken. It appeared in 1824\nin a collection of poems, _Songs by the Way_, with the heading\n\u201cEvening.\u201d It is based on Psalm 141:2, \u201cLet my prayer be set forth\nbefore Thee as incense; and the lifting up of my hands as the evening\nsacrifice.\u201d\n\nGeorge Washington Doane was born in Trenton, New Jersey, in 1799, the\nyear that the \u201cFather of our Country\u201d died; hence his name. He was\neducated at Union College, Schenectady, New York, and ordained, at the\nage of 22, in the Episcopal Church. At the early age of 33 he was made\nbishop of New Jersey. A pioneer in education, and ahead of his time in\nmany things, his life was full of trials. But his exceptional talents,\nlearning and force of character made him one of the great church leaders\nof his time.\n\n_MUSIC._ SEYMOUR is by the eminent German composer of opera, Carl M. von\nWeber, 1786-1826. This tune, a great favorite, is from the opening\nchorus of his opera, _Oberon_, which is sung while fairies \u201ctrip it\nlightly\u201d on the stage. When contributions towards the musical edition of\nthe famous English book, _Hymns Ancient and Modern_, London, 1861, were\ninvited by advertisement, the editor, W. H. Monk, received more requests\nfor the insertion of this tune than any other, despite its secular\norigin.\n\n\n37. At even, when the sun was set _Henry Twells_, 1823-1900\n\nThis evening hymn, a prayer for the healing of our bodily as well as\nspiritual ills, has been translated into many foreign tongues, and is\nfound in nearly all standard hymn books both in America and abroad. The\noriginal has eight stanzas. It is based on the touching evening scene\ndescribed in Mark 1:32, \u201cAt even, when the sun was set, they brought\nunto him all that were sick.\u201d\n\nHenry Twells was ordained in 1849 in the Church of England. Among the\nparishes he served was Stratford-on-Avon, the birthplace of Shakespeare.\nAt the time he wrote this hymn, he was headmaster of a large grammar\nschool and penned the verses one afternoon while the boys were writing\nan examination.\n\n_MUSIC._ The tune, ANGELUS, appeared in somewhat different form in\n_Heilige Seelenlust_, one of a series of Catholic collections of hymns\nin Germany, written in the vernacular, and edited by Johann Scheffler.\nThe tune is credited to Georg Josephi, a German musician of whom little\nis known except that he was the musical editor of _Heilige Seelenlust_.\nIt is a tune of rare beauty though its modulations into several\ndifferent keys makes it more difficult to sing than some and gives it a\nsense of restlessness not found in other popular tunes.\n\n\n38. Savior, breathe an evening blessing _James Edmeston_, 1791-1867\n\nThis hymn ranks with the best of the evening hymns of the English\nlanguage though it is practically all that survives of the more than two\nthousand hymns that came from the too prolific pen of the author.\n\nJames Edmeston, a member of the Church of England, was an eminent London\narchitect and surveyor who had a great love for and interest in children\nand possessed a gift for writing sacred poetry. He had the habit of\nwriting a hymn every Sunday and reading it at family worship.\n\nDuring the Boxer uprising in China in 1900, in which many Americans lost\ntheir lives, a group of missionaries, beleaguered outside of Shanghai,\nfound in this hymn the expression of their feelings, as well as a great\nsource of comfort. One of them wrote:\n\n Separated from home and friends, facing death in a far-off land, and\n full of tenderest feelings, we lifted our hearts in song:\n\n \u201cThough destruction walk around us,\n Though the arrows past us fly:\n Angel guards from Thee surround us;\n We are safe if Thou art nigh.\u201d\n\n Out of the storm each soul, renewing its strength, mounted up with\n wings as eagles and found peace in the secret of His presence. Our\n Saviour breathed, in very deed, \u201can evening blessing,\u201d the fragrance\n of which remains even unto this day. The last verse of the hymn,\n \u201cShould swift death this night o\u2019ertake us,\u201d was omitted. It seemed\n too probable that it might. We wanted only to think of the\n safe-keeping, and such, thank God, it proved to be.\n\n_MUSIC._ The tune EVENING PRAYER was written by Stebbins while music\ndirector at Tremont Temple, Boston, as a response to be sung after the\nmorning prayer. Two years later it was set to this evening hymn by the\ncomposer himself, for use in an evangelistic campaign in Providence, R.\nI. Stebbins writes, \u201cI arranged to have a male choir of 20 voices sing\nthe music as set to the beautiful hymn, and to my gratification found\nthey were admirably suited to each other. Since then the hymn has been\nused in many gospel hymn books and church hymnals, both here and abroad.\nIt has been used also in St. Paul\u2019s Cathedral, in London.\u201d\n\nGeorge C. Stebbins, 1846-1945, was born and reared on a farm in New\nYork. He became interested in music through the country singing school.\nAfter serving as music director at the First Baptist Church, Chicago,\nand Tremont Temple, Boston, he became associated with D. L. Moody and\nhelped organize choruses for many of Moody\u2019s evangelistic campaigns both\nhere and abroad. He was co-editor with Ira Sankey and James McGranahan\nof various editions of _Gospel Hymns_ and was himself one of the best\ncomposers of gospel hymn tunes. He lived to be nearly 100 years old.\n\nThe hymn is also set to the tune \u201cRinge Recht\u201d (147) in some hymnals.\n\n\n39. Unheard the dews around me fall _Anonymous_\n\nThis hymn, emphasizing the silences of God as manifested in the world\nwithout and within, is of anonymous authorship. It is found in _Hymns of\nthe Spirit_ but most of the other modern hymnals have overlooked it.\n\n_MUSIC._ WINDSOR is an English tune of unknown origin. It was set to\nPsalm 116 in a book of Psalm tunes by M. William Damon, published in\n1591. It is one of a number of tunes written in the minor mode which\nappear in the _Hymnary_. Note that the \u201cAmen\u201d closes with the chord in F\nmajor, in keeping with the general practice of following a minor tune\nwith an \u201cAmen\u201d in which the last chord is in the major mode.\n\nIn _Songs of Praise_, London, 1931, this tune is set to the hymn \u201cJesus,\nthe very thought of Thee\u201d (155).\n\n\n40. Abide with me; fast falls the eventide _Henry F. Lyte,_ 1793-1847\n\nOne of the great consolation songs of Christianity. It is really not an\nevening hymn, but for a person in his last illness, when the thought of\npassing through the gateway of death, and the glory of the great beyond\nare the soul\u2019s vital concern. It has long been sung at evening services\nbecause, presumably, the end of the natural day suggests the evening of\nlife, and the mood of the tune is so well suited to the pensive\nquietness of the close of day.\n\nHenry F. Lyte, a Scotsman, was a young clergyman in the Church of\nEngland when he wrote this hymn. There is a popular tradition that he\nwrote it near the end of his life when ill health compelled him to\nresign his parish and after he held his last communion on September 4,\n1847. But James Moffatt, the distinguished historian and translator of\nthe Bible, gives a different account of its origin. He says the hymn was\ninspired during the fatal illness of an intimate friend of the author,\nRev. William A. Le Hunte. Dr. Lyte was constantly at the side of his\ndying friend who, in his closing hours, repeatedly said these words,\n\u201cAbide with me,\u201d which moved Dr. Lyte to write the hymn. Twenty-seven\nyears later, 1847, when he felt his own end approaching, he recalled the\nhymn.\n\n_MUSIC._ EVENTIDE is Monk\u2019s best known tune. In a letter to J. C.\nHadden, Mrs. Monk wrote: \u201cThis tune was written at a time of great\nsorrow\u2014when together we watched, as we did daily, the glories of the\nsetting sun. As the golden rays faded, he took up some paper and\npencilled that tune which has gone over all the world.\u201d The composition\nis said to have been completed in ten minutes. It was the last hymn sung\nby the Canadian nurse Edith Cavell before she suffered martyrdom in\nBelgium, October 12, 1915.\n\nWm. H. Monk, 1823-89, English organist and composer, devoted his life to\nthe service of church music. For forty years he held the post of\norganist at King\u2019s College, London, and St. Matthias, Stoke Newington,\ndevoting himself to the advancement of good congregational singing. \u201cHe\ntaught many to praise God who had never praised Him before; he taught\nothers to praise Him more worthily than hitherto.\u201d He was the music\neditor of the famous _Hymns Ancient and Modern_, published in England,\n1861.\n\n\n CLOSE OF WORSHIP\n\n\n41. Blest be the tie that binds _John Fawcett_, 1740-1817\n\nThis hymn is often sung at the close of church meetings. Sometimes the\ncustom of the people joining hands while singing is observed.\n\nJohn Fawcett, an English Baptist minister, was serving a small country\nchurch in Yorkshire when he received and accepted a call to a large city\nchurch in London, which paid a salary more suited to the needs of his\nbig family. His farewell sermon had been preached, six or seven wagons\nstood loaded with his furniture and books, and all was ready for his\ndeparture. But when the members of his humble flock turned out to bid\nfarewell, many of them in tears, and imploring him to stay, it was more\nthan he or Mrs. Fawcett could stand. He ordered the wagons unloaded and\nthe furniture put back in its place, and sent a message to the London\nchurch that he was not coming. Afterwards he wrote this hymn which was\nto become one of the most famous in the English language.\n\n_MUSIC._ DENNIS is simple and easy of performance, yet pleasing and\neffective. The tune was composed by Hans Georg N\u00e4geli, 1768-1836, a\nSwiss, who was born near Zurich where he spent most of his life as music\npublisher, composer, and teacher. He was a prominent figure in public\nschool music and was greatly interested in church music.\n\nLowell Mason found this melody in manuscript form and arranged it for\nuse as a church tune.\n\nFor comments on Lowell Mason see Hymn 12. The tune \u201cBoylston\u201d (214) is\nalso used with this hymn.\n\n\n42. The Lord be with us as we bend _John Ellerton_, 1826-93\n\nThe hymn is particularly appropriate for the close of an evening\nservice.\n\nJohn Ellerton was a minister of the Church of England, a teacher,\nauthor, and one of England\u2019s most distinguished hymnists. He assisted in\nediting the famous _Hymns Ancient and Modern_, London, 1861. He was\nearly surrounded with religious influences and had a happy childhood\nlife. Of his parents he wrote, \u201cI used to feel how happy my father and\nmother were, even more than how good they were.\u201d He composed about fifty\nhymns and made about ten translations, a large proportion of which have\nfound their way into church hymnals. He refused to take out a copyright\nfor any of his hymns, saying that \u201cif any are counted worthy to\ncontribute to Christ\u2019s praise in the congregation, one ought to feel\nvery thankful and humble.\u201d His hymns, of which there are eight in the\n_Hymnary_, are elevated in tone and devotional spirit.\n\n_MUSIC._ BEATITUDO was written for the Revised Edition of _Hymns Ancient\nand Modern_, 1875, and was set to the words, \u201cHow bright these glorious\nspirits shine.\u201d\n\nFor comments on the composer, J. B. Dykes, see Hymn 1.\n\n\n43. Savior, again to Thy dear Name we raise _John Ellerton_, 1826-93\n\nThis, the most popular of Ellerton\u2019s hymns, was originally written in\n1866 for a choir festival. It was revised and condensed to these four\nverses, rich in poetic beauty and spiritual power, to take a high place\namong our evening hymns. The first stanza may be used with good effect\nas a choral benediction. The last stanza was sung at Ellerton\u2019s funeral\non June 20, 1893.\n\nFor comments on John Ellerton see Hymn 42.\n\n_MUSIC._ ELLERS was composed for this hymn in 1869.\n\nEdward John Hopkins, 1818-1901, was a distinguished English church\nmusician who served as organist in several important London churches,\nincluding Westminster Abbey. He was a prolific composer of church music\nof fine quality\u2014services, hymn-tunes, anthems, organ pieces\u2014and enjoyed\na great reputation as editor of hymn books.\n\n\n44. O Savior, bless us ere we go _Frederick W. Faber_, 1814-63\n\nA hymn for the close of evening worship.\n\nFrederick W. Faber was educated at Oxford and became a minister in the\nChurch of England. He began his parish work at Elton where he became a\nforceful preacher and was known for his fine Christian character and\nlovely spirit. Church attendance increased, the parish grew, and the\npeople who had been known for their intemperance and immorality were now\nreputed for their thrift and good behavior.\n\nUnder the influence of John Henry Newman, Faber changed his views and\njoined the Roman Catholic Church. After a trip to Rome, he lived at\nBirmingham where he formed, with eight others, a community called\n\u201cBrothers of the Will of God.\u201d Later he moved to London where he\ncontinued his service in the Catholic Church until his death at the age\nof forty-nine. He wrote many theological and devotional books but is\nbest known for his hymns of which he wrote 150, among which are such\nfavorites as \u201cThere\u2019s a wideness in God\u2019s mercy\u201d (58) and \u201cFaith of our\nfathers\u201d (154). His hymns are numbered among the treasures of English\nhymnody. They are devotional in spirit and with slight alterations\nappropriate for use in all Christian churches.\n\n_MUSIC._ SURREY is a beautiful tune which became immediately popular and\nhas remained so, especially in England. The composer, Henry Carey,\n1692-1743, was a teacher in boarding schools and private families in\nEngland. He composed a large number of secular songs and was only\nincidentally a writer of church music.\n\n\n45. Lord, dismiss us with Thy blessing _John Fawcett_, 1740-1817\n\nThis popular dismission hymn is ascribed to the English Baptist\nminister, John Fawcett, who is best known as the author of \u201cBlest be the\ntie that binds.\u201d The hymn has undergone some alteration with the passing\nof the years. The third stanza originally read:\n\n \u201cSo whene\u2019er the signal\u2019s given\n \u201cUs from earth to call away,\n \u201cBorne on angels\u2019 wings to heaven\n \u201cGlad the summons to obey,\n \u201cMay we ever\n \u201cReign with Christ in endless day.\u201d\n\nFor comments on John Fawcett see Hymn 41.\n\n_MUSIC._ SICILIAN MARINERS is a familiar tune of unknown origin which\nhas been set to various hymns, including the Latin \u201c_O Sanctissima, O\nPurissima_,\u201d and the German \u201c_O du fr\u00f6liche, o du selige_.\u201d The tune,\nsometimes called \u201cSicily,\u201d is not known in Sicily today.\n\n\n GOD THE FATHER\u2014HIS MAJESTY AND POWER\n\n\n46. Mighty God, while angels bless Thee _Robert Robinson_, 1735-90\n\nThe author of this hymn had a unique career. Robert Robinson, born in\nNorfolk, England, of lowly parentage, was left fatherless at eight to be\nthe sole support of his widowed mother. At fourteen he was apprenticed\nto a barber in London who frequently reprimanded him for giving too much\ntime to the reading of books and too little to business. At seventeen he\nheard the great evangelist Whitefield preach a sermon on Matthew 3:7 and\ndecided to dedicate his life to God. His complete conversion he dates a\nfew years later, 1755. He began preaching under the Methodists but soon\ndeveloped independent views and in 1759 he received adult baptism and\nunited with the Baptists. Shortly afterwards he became the pastor of a\nsmall Baptist church in the university town of Cambridge. He was a\ngifted scholar, and though he had little formal education, he held the\nrespect of Cambridge students, notwithstanding the taunts of university\nprofessors. Serving a small and poor congregation and being without\nfinances to support his large family, he helped himself by engaging in\nfarming and carrying on business as a coal and corn merchant while\npreaching twice a Sunday and holding evangelistic meetings during the\nweek. In this he succeeded in a very remarkable measure, aided by the\nfact that he knew the soil and the tillers of the soil and was gifted\nwith the sense of humor and a Spurgeon-like wit. Besides this hymn, he\nalso wrote the well-known hymn, \u201cCome, Thou fount of every blessing\u201d\n(189).\n\n_MUSIC._ CRUCIFER, originally known as \u201cBethany,\u201d was composed by Henry\nSmart for \u201cJesus, I my cross have taken.\u201d The composer favored unison\nsinging of this melody, at moderate tempo. Most congregations will find\nthe pitch range in the melody too wide for best results in unison\nsinging.\n\nHenry Smart, 1813-1879, turned from the legal profession to devote his\nlife to music. Though largely self-taught, he became one of England\u2019s\ndistinguished organists and builder of organs. He suffered from poor\neyesight and the last fourteen years of his life he was totally blind,\nbut he kept on playing and composing for he had a very retentive memory\nand possessed a rare skill in extempore playing. Smart was a strong\nadvocate of congregational singing, but favored the unison singing of\nmelodies, and had a decided prejudice against what he considered unduly\nfast congregational singing.\n\n\n47. I sing the mighty power of God _Isaac Watts_, 1674-1748\n\nA hymn of praise, magnifying the power, wisdom, goodness, and\nomnipresence of God as revealed in creation. It appeared first in Watt\u2019s\n_Divine and Moral Songs for the Use of Children_ where it was entitled,\n\u201cPraise for Creation and Providence.\u201d The original has eight stanzas.\n\nFor comments on Watts see No. 11.\n\n_MUSIC._ ELLACOMBE is a cheerful, unpretentious tune that deserves to be\nbetter known. The source designated is _Gesangbuch der Herzogl_\npublished in 1784, but some of our best authorities are content to leave\nits exact origin in doubt. It found its way into English hymnals soon\nafter it was published in _Vollst\u00e4ndige Sammlung der gew\u00f6hnlichen\nMelodien zum Mainzer Gesangbuche_, by X. L. Hartig, in 1833.\n\n\n MAKER OF HEAVEN AND EARTH\n\n\n48. This is my Father\u2019s world _Maltbie D. Babcock_, 1858-1901\n\nThe original has sixteen stanzas, each beginning with the words \u201cThis is\nmy Father\u2019s world,\u201d a good slogan to begin and end the day. It appeared\nin the author\u2019s _Thoughts for Every Day Living_, a book of religious\nverse. The hymn expresses a confident attitude toward life and a buoyant\nfaith in God.\n\nMaltbie D. Babcock, prominent Presbyterian minister, was born in\nSyracuse, New York, graduated from Syracuse University and Auburn\nSeminary and then began his first pastorate at the First Presbyterian\nChurch, Lockport, N. Y. His second pastorate was at Brown Memorial\nChurch, Baltimore, where he was popular with the students at Johns\nHopkins University. He then received a call to the Brick Church, New\nYork City, where he became the successor of Henry van Dyke. In his\nstudent days he was known as a fine student, a great athlete, a good\nmusician, and a friend to all. He loved young people and during his\nministry they turned to him for counsel.\n\n_MUSIC._ The tune TERRA BEATA is simple, light in movement, and easy to\nsing. It was composed by Franklin Sheppard, 1852-1930, a Philadelphia\nbusiness man, Presbyterian layman, and friend of Dr. Babcock. Sheppard\nwas also an accomplished musician. He modestly attributed the tune to an\nold English folk melody, but it is known now that he himself was the\ncomposer. He named the tune \u201cTerra Beata,\u201d happy or blessed earth.\n\nThe arrangement in the _Hymnary_, known as \u201cTerra Patris,\u201d is by Edward\nShippen Barnes, a contemporary American organist and composer. His\nharmonization is a little more difficult to sing but also more\ninteresting than the original by Sheppard.\n\n\n49. Let the whole creation cry _Stopford A. Brooke_, 1832-1916\n\nThe hymn is an imitation of Psalm 148. It is a universal call to praise\nrather than an expression of praise, hence it is addressed not to God\nbut to his creation everywhere, as a call to worship God. The hymn is\ncharacterized by literary grace, simplicity, and tenderness, and is\nincluded in many modern hymnals.\n\nStopford A. Brooke, born in Ireland, was educated at Dublin, then became\na clergyman in the Anglican Church. For a time he was one of the most\npopular preachers in London. In 1880, being restive under the doctrinal\nstandards of the church, he severed his relation with the Anglicans and\ncontinued a ministry of preaching and lecturing and writing as an\nindependent, not associated with any denomination. His _Life and Letters\nof F. W. Robertson_ ranks among the classic biographies. In 1881, he\ncompiled _Christian Hymns_ for use in his own congregation, in which\nthis hymn is found, the original having ten stanzas.\n\n_MUSIC._ ROLAND is an easy, flowing tune which congregations love to\nsing after learning it well. It is suitable for use as a processional.\nThe composer, Caleb Simmer, born 1856, was an American musician. His\nsacred pieces include anthems, quartets, cantatas, and organ music.\n\n\n50. The spacious firmament on high _Joseph Addison_, 1672-1719\n\nThis hymn was praised by Lord Selbourne as \u201ca very perfect and finished\ncomposition, taking rank among the best hymns of the English language.\u201d\nThe author, Joseph Addison, was an eminent Englishman of letters. Dr.\nSamuel Johnson said of him, \u201cWhoever wishes to attain an English style,\nfamiliar, but not coarse, elegant but not ostentatious, must give his\ndays and nights to the volumes of Addison.\u201d In 1712, Addison wrote a\nseries of essays in the _Spectator_, concluding each essay with a hymn.\nIn the issue of August 23, this hymn, a free rendering of Psalm 19,\nformed the conclusion to an essay on \u201cThe Proper Means of Strengthening\nand Confirming Faith in the Mind of Man.\u201d\n\n_MUSIC._ CREATION is an adaptation of a part of the magnificent chorus\n(No. 14) in Haydn\u2019s oratorio, _The Creation_. For comments on Haydn, see\nHymn No. 27.\n\n\n51. For the beauty of the earth _Folliott S. Pierpoint_, 1835-1917\n\nThis delightful hymn of thanksgiving was originally written for the\ncommunion service to bring the note of joy into the solemn sacrament,\nmaking it truly an \u201ceucharist.\u201d It is now used frequently at\nThanksgiving and children\u2019s services. It names many causes for praise\nand thanksgiving, from the \u201cbeauty of the earth\u201d to the \u201cchurch that\nlifteth holy hands.\u201d\n\nThe author, Folliott S. Pierpoint, was born at Bath, England, and\neducated at Cambridge. He was a teacher of the classics, published\nseveral books of poems, and made notable contributions to the hymnody of\nthe church.\n\n_MUSIC._ DIX appeared first in a collection of chorales edited and\npublished by Kocher in Stuttgart in 1838, set to the hymn \u201c_Treuer\nHeiland, wir sind hier_.\u201d It has long been used with the words, \u201cAs with\ngladness men of old\u201d (530), by W. C. Dix, hence the name \u201cDix.\u201d It has a\nstrong, joyous tune which marches with stately tread and is a favorite\nprocessional.\n\nConrad Kocher, 1786-1872, was a German student of church music, a\ncomposer and teacher. He studied at St. Petersburg and in Rome. He\nfounded the School of Sacred Song in Stuttgart, which did much to\nimprove German church music and popularize four-part singing in Germany.\n\n\n52. God of the earth, the sky, the sea _Samuel Longfellow_, 1819-92\n\nA hymn which finds God in every aspect of nature. For comments on the\nauthor, Samuel Longfellow, see Hymn 28.\n\n_MUSIC._ SHELTERING WING, a long-meter melody admirably suited to these\nwords, is by the English church musician, Joseph Barnby, 1838-96. For\ncomments on him see Hymn 19.\n\n\n53. Lord of all being, throned afar _Oliver W. Holmes_, 1809-94\n\nA hymn difficult to praise too highly, probably the greatest penned on\nthe omnipresence of God. Its first appearance was in the _Atlantic\nMonthly_ as the final installment of the series of articles later\ncollected into book form and entitled _The Professor at the Breakfast\nTable_. The work closed with the following lines and the hymn:\n\n Peace to all such as may have been vexed in spirit by any utterances\n these pages may have repeated! They will, doubtless, forget for the\n moment the differences in the hues of truth we look at through our\n human prisms and join in singing (inwardly) this hymn to the Source of\n the light we all need to lead us, and the warmth which alone can make\n us brothers:\n\n Lord of all being! throned afar,\n Thy glory flames from sun and star;\n Centre and soul of every sphere,\n Yet to each loving heart how near.\n\nOliver Wendell Holmes was the son of a Congregational minister in\nCambridge, Massachusetts, although later when he became established as a\nphysician in Boston, he united with the Unitarians. His writings are\nnevertheless permeated by an evangelical warmth which has made his hymns\nacceptable to all denominations. Holmes was a distinguished graduate of\nHarvard University in Arts and Medicine and spent most of his years\nteaching anatomy at Harvard. But he is best known to us as a man of\nletters. None of his writings is so widely known as the two hymns, \u201cLord\nof all being\u201d and \u201cO Love divine, that stooped to share\u201d (172), both of\nthem found in the author\u2019s _The Professor at the Breakfast Table_.\n\n_MUSIC._ LOUVAN is by an American musician, Virgil C. Taylor, 1817-91,\norganist and editor of song books. This is the only one of his tunes now\nin common use. An alternative tune that fits the hymn very well is \u201cSt.\nCrispin\u201d found at No. 149.\n\n\n HIS LOVE AND MERCY\n\n\n54. Be still, my soul, the Lord is on thy side _Katharina von\n Schlegel, born c._ 1697\n _Tr. Jane L. Borthwick_, 1813-97\n\nThe hymn is a translation of a poem by Katharina von Schlegel. She was\nborn in Germany, 1697. No one seems to have found anything definite\nconcerning her life, except that she wrote some hymns, one of which\npassed into the English language. The original, based on Psalm 46:10,\n\u201cBe still and know that I am God,\u201d had four stanzas, as follows:\n\n Stille, mein Wille! Dein Jesus hilft siegen;\n Trage geduldig das Leiden, die Not;\n Gott ist\u2019s, der alles zum besten will f\u00fcgen,\n Der dir getreu bleibt in Schmerzen und Tod.\n Stille, mein Wille! Dein Jesus wird machen\n Gl\u00fccklichen Ausgang bedenklicher Sachen.\n\n Stille, mein Wille! Der Herr hat\u2019s in H\u00e4nden;\n H\u00e4lt sich dein Herz nur im Glauben an ihn,\n Wird er den Kummer bald wenden und enden\n Herrlich wird endlich, was wunderbar schien.\n Stille, mein Wille! Dein Heiland wird zeigen,\n Wie vor ihm Meer und Gewitter muss schweigen.\n\n Stille, mein Wille! Wenn Freunde sich trennen,\n Die du so z\u00e4rtlich und innig geliebt,\n Wirst du die Freundschaft des H\u00f6chsten erkennen,\n Der sich zum Eigentum treulich dir gibt.\n Stille, mein Wille! Dein Jesus ersetzet,\n Was dich beim Sterben der Liebsten verletzet.\n\n Stille, mein Wille! Es kommen die Stunden,\n Dass wir beim Herrn sind ohn\u2019 Wechsel der Zeit;\n Dann ist das Scheiden, der Kummer verschwunden.\n Ewige Freundschaft verg\u00fctet das Leid.\n Stille, mein Wille! Nach zeitlichem Scheiden\n Sehn wir uns wieder ohn\u2019 Schmerzen und Leiden.\n\nThe words, both in the original and in the English translation, are of\ngreat beauty and their message has brought real comfort to many a\nburdened and disquieted soul.\n\nThe translation is by Jane Borthwick, born in Edinburgh, who, with her\nsister, Sarah B. Findlater, did outstanding work as a translator of\nGerman hymns. Only Catherine Winkworth surpassed her. Miss Borthwick, a\nmember of the Free Church of Scotland, was a devout Christian character,\nespecially interested in the mission work of the church, both home and\nforeign. Another of her well-known translations is \u201cMy Jesus, as Thou\nwilt\u201d (250) from the original by Benjamin Schmolke.\n\n_MUSIC._ FINLANDIA is from the pen of Jean Sibelius, born December 8,\n1865, in Finland, and undoubtedly the greatest living composer. At this\nwriting, 1948, he is still living, but, through the misfortunes of war,\nreduced to penury and poverty. Besides seven symphonies, he wrote many\nsmaller orchestral works. This tune is from the tone poem \u201cFinlandia,\u201d\nthe arrangement having been made for the _Hymnal of the Presbyterian\nChurch_ in 1932. It is included in a number of recent hymn books and has\nbecome a favorite with worshipping congregations wherever introduced.\n\n\n55. God is love; His mercy brightens _John Bowring_, 1792-1872\n\nA bright, joyful hymn which we owe to a layman, Sir John Bowring, born\nat Exeter, England, 1792. Though a member of the Unitarian Church, his\nfaith was apparently that of an evangelical. On his tombstone are\nengraved the words of another great hymn which he himself wrote, \u201cIn the\nCross of Christ I glory\u201d (See 110). Bowring was the son of a\nmanufacturer of woolen goods and he spent his early years travelling in\nall parts of the world in the interest of his father\u2019s business. Though\nhe left school at the age of 14, he became an outstanding linguist and\nscholar and writer. At the age of 16, he had acquired five languages and\nlate in life he is said to have known 200 languages and spoken 100. One\nof his primary interests was politics. He was elected to the British\nParliament and later became the British consul at Canton and the\ngovernor of Hong Kong. He published a book of _Hymns_ with the desire\nthat they might be useful in strengthening the religious faith of others\nwho under suffering and disheartening circumstances might chance to read\nthem.\n\nThe hymn is constructed to emphasize in each stanza the idea of God as\nwisdom (I Cor. 1:30) and love (I John 4:8).\n\n_MUSIC._ STOCKWELL, a very useful tune, appeared in Lowell Mason\u2019s\npopular collection of hymns, _New Carmina Sacra_, in 1850, set to the\nwords, \u201cSilently the shades of evening,\u201d written by Christopher Cox.\n\nThe composer, Darius Eliot Jones, 1815-81, was born at Carroll, N. Y.\nHis father, Abner Jones, was a well-known music teacher in New York.\nDarius spent twenty years of his adult life in business. He served for a\ntime as assistant editor of the _Choral Advocate_, published by Mason\nBrothers, New York, and at the same time conducted the music in Plymouth\nChurch, Brooklyn, where Henry Ward Beecher was pastor. At Beecher\u2019s\nsuggestion, Jones prepared a new hymn book, _Temple Melodies_, 1861, for\nuse in Plymouth Church. Feeling a call to the Christian ministry, Jones\nentered Iowa College, at Davenport, as a student and at the age of 43\nwas ordained as a Congregational minister. He served churches at\nColumbia City and Newton Center, Ia., until 1863, when he became\ntreasurer of the Iowa General Association. For a year, he was agent for\nthe American Bible Society; and for four years, 1866-70, he was agent\nfor Iowa College, later located at Grinnell and known as Grinnell\nCollege. Here Jones published a second hymn book, _Songs for the New\nLife_, in 1869. From that time on, he served various churches in Iowa\nuntil his death in 1881.\n\n\n56. How gentle God\u2019s commands _Philip Doddridge_, 1702-51\n\nThis hymn, beautiful in poetic imagery, is based on I Peter 5:7,\n\u201cCasting all your care upon Him: for He careth for you.\u201d When it first\nappeared, posthumously, in a book of hymns by the author, it bore the\ntitle, \u201cGod\u2019s care a remedy for ours.\u201d\n\nPhilip Doddridge was born in London, the youngest of a family of twenty,\nmost of whom died in childhood. His father was an oil merchant. Before\nhe could read, he had learned from his mother the stories of the Bible\nby the aid of Bible pictures on the Dutch tiles that covered a portion\nof the living room. Doddridge became a minister in the Congregational\nChurch and devoted his life not only to preaching, but to writing books\nand teaching young men for the ministry. In 1751, he went to Lisbon to\nseek relief from tuberculosis but died there. He is the author of over\n400 hymns, a few of which have survived, and are found in most hymn\nbooks. The _Hymnary_ contains six of his compositions.\n\n_MUSIC._ DENNIS. For comments on this tune see Hymn 41.\n\n\n57. Thou Grace Divine, encircling all _Eliza Scudder_, 1821-96\n\nThe hymn was written by Eliza Scudder, an American hymn writer of the\nmiddle nineteenth century. She was born in Boston, and died in Weston,\nMassachusetts. She was a niece of Edmund H. Sears, author of \u201cIt came\nupon a midnight clear\u201d (No. 75). Miss Scudder was a person of deep\nreligious insight and lived a quiet, retiring life. She published a book\nof religious verse, _Hymns and Sonnets_, in 1880. During most of her\nactive life she was a Unitarian, but in later life joined the Episcopal\nChurch.\n\n_MUSIC._ BALLERMA (misspelled Balerma in some editions of the _Hymnary_)\nis a very simple tune, the second pair of lines varying only slightly\nfrom the first pair. The origin of the tune is uncertain. It is thought\nto be an old Spanish melody, arranged by F. H. Barth\u00e9l\u00e9mon.\n\nFor comments on Barth\u00e9l\u00e9mon see Hymn 2.\n\n\n58. There\u2019s a wideness in God\u2019s mercy _F. W. Faber_, 1814-63\n\nThe original of this poem has thirteen stanzas, the first of which\nreads:\n\n Souls of men! why will ye scatter\n Like a crowd of frightened sheep?\n Foolish hearts! why will ye wander\n From a love so true and deep?\n\nThe five stanzas selected for use here make an impressive and coherent\nhymn with no trace of the author\u2019s strong Roman Catholic bias which\ncharacterizes nearly all of his hymns.\n\nFor comments on F. W. Faber see Hymn 44.\n\n_MUSIC._ WELLESLEY was written, by request, for the graduation hymn of\nthe Newton (Mass.) high school class of which Miss Tourjee was then a\nmember. The original tune had a slight fault in voice leading which was\ncorrected, with her permission, by Dr. Hamilton C. Macdougall, then\nProfessor of Music at Wellesley College.\n\nLizzie S. Tourjee, 1858-1913, was a student at Wellesley College during\nthe year 1877-78. In 1883, she married Frank Estabrook. Her father, Dr.\nEben Tourjee, encouraged her in the writing of the tune, and named it\nfor the new college nearby where she became a student for one year.\n\n\n59. Father Almighty, bless us with Thy blessing _Anonymous_\n\nA prayer of invocation seeking the blessing and guidance of Almighty\nGod. The authorship is anonymous.\n\n_MUSIC._ INTEGER VITAE (or FLEMMING) was composed by Flemming for a\nchorus of men\u2019s voices. It was set to \u201cInteger Vitae,\u201d an ode by Horace.\nThe tune became a great favorite with college men not only in this\ncountry but also in England and Germany. It was introduced as a hymn\ntune through the hymnals of Dr. Charles R. Robinson, _Songs of the\nSanctuary_, and _Laudes Domine_, and has since been widely used and\naccepted as one of our most satisfactory hymn tunes. It is one of the\nfavorite tunes in the _Gesangbuch mit Noten_ where it is set to the\nwords, \u201c_Ach mein Herr Jesu_.\u201d\n\nThe composer, Frederick Ferdinand Flemming, M. D., 1778-1813, received\nhis training in medicine and was a successful practitioner in Berlin. He\nis known to posterity, however, as a composer of part songs for men\u2019s\nchoruses, and more particularly as the composer of this tune.\n\n\n60. God moves in a mysterious way _William Cowper_, 1731-1800\n\nThere is no basis, according to most hymnologists, for the story that\nthis hymn was written after Cowper was mysteriously prevented from\ncommitting suicide by drowning. The hymn was published by John Newton in\nthe _Olney Hymns_, 1779, and rapidly became popular. It is still found\nin nearly all the hymnals. Its original title was \u201cLight shining out of\ndarkness.\u201d Its central thought is that God is working His sovereign will\neven in the mystery and perplexity of human life, bringing light, not\n_after_ darkness, but _out of_ darkness.\n\nWilliam Cowper, 1731-1800, was the greatest English poet of his age. He\nhad been trained for the law and was called to the bar at the age of\ntwenty-three but had to retire on account of ill health. He lost his\nmental balance and became deeply melancholic, a misfortune which is\nattributed to cruelty received at the hands of older and stronger lads\nwhile he attended preparatory school. After treatment in a private\nasylum, and living for a time in the home of Rev. Morley Unwin, he moved\nto Olney where his devoted friend, the Rev. John Newton was curate. Here\nhe assisted Newton in his parochial and evangelistic work and\ncollaborated with him in the production of what became known as the\n_Olney Hymns_. In spite of efforts at literary work, his depression of\nspirit returned and never left him, except for brief intervals, until\nhis death in 1800.\n\n_MUSIC._ DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing\nin the _Scottish Psalter, The CL Psalms of David &_, Edinburgh, 1615,\nwhere it is named \u201cFrench Tune.\u201d Its first appearance in an English\nPsalter is in Ravencroft\u2019s _Whole Book of Psalms_, 1621, where it is\ncalled \u201cDundy.\u201d It is one of the best known of the psalm tunes and its\nsmooth, flowing melody has enjoyed great popularity.\n\nFor comments on the _Scottish Psalter_ see Hymn 575.\n\n\n61. O God, our help in ages past _Isaac Watts_, 1674-1748\n\nBased on Psalm 90:1-6: \u201cLord, thou hast been our dwelling place in all\ngenerations,\u201d etc., this is Watt\u2019s greatest hymn and one of the greatest\nin the English language. It is found in all English hymn books and has\nbeen translated into many languages. Its smoothness, simple dignity, and\nfaithfulness to Scripture give it the marks of a true church hymn, and\nit has probably been chosen more than any other for use upon important\noccasions. It is an indispensable New Year\u2019s hymn.\n\nA press dispatch related how the hymn was used during the Second World\nWar by a group of eleven doomed Norwegians as they faced a Nazi firing\nsquad in the village of Selbu outside of Trondheim, Norway, for \u201cgeneral\nhostility\u201d to German occupiers. \u201cDespite the torture to which they had\nbeen subjected to earlier,\u201d writes an eye-witness, \u201cthe group of\nprisoners, linked hand in hand, proudly and firmly faced their\nexecutioners. One of the men, Peter Morseth, who for years led the\nsinging in the local church, read a short prayer and was joined by his\ncompanions in singing the hymn, \u2018O God our help in ages past.\u2019 Then the\nshots rang out.\u201d\n\nJohn Wesley printed the hymn in his _Collection of Psalms and Hymns_,\n1734, altering the opening line from \u201cOur God, our help,\u201d to \u201cO God, our\nhelp.\u201d\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ ST. ANNE appeared anonymously, in two parts\u2014treble and bass\u2014in\n_A Supplement to the New Version of Psalms by Dr. Brady and Mr.\nTate. ... the sixth edition, corrected and much enlarged_, 1708, where\nit was set to Psalm 42. It is attributed upon good authority to William\nCroft, 1678-1727, who was interested in the production of the Tate and\nBrady _New Version_. Croft is one of the greatest names in English\nmusical history.\n\nFor further comments on Croft, see Hymn 6.\n\n\n62. The Lord is my Shepherd _James Montgomery_, 1771-1854\n\nOne of the fine metrical versions that have been made of the\nTwenty-third Psalm. It Is found in Montgomery\u2019s _Songs of Zion, being\nImitations of Psalms_, 1822. Another much-loved and widely used version\nof the same Psalm is that in the _Scottish Psalter_ (See 579).\n\nJames Montgomery, greatest of Moravian hymn writers, was born in\nAyrshire, Scotland, near the birthplace of Robert Burns. His father\nbecame a minister in the Moravian Church and finally went as a\nmissionary to the West Indies where both he and his wife died. After\nspending a part of his youth in precarious and doubtful ways of living,\nand failing in several business ventures, James became the editor of\n_The Sheffield Register_, a position he held with honor and distinction\nfor thirty-one years. He was twice imprisoned for expressing liberal\npolitical views in his paper. He is classed by the _literati_ as a minor\nEnglish poet, but in the writing of hymns he ranks with Wesley, Watts,\nand Doddridge. Of his 400 hymns, 100 are still in use. Eleven of his\nhymns are found in the _Hymnary_, exceeded in number only by those of\nHosmer, Wesley and Watts. All of Montgomery\u2019s hymns show a marvelous\nknowledge of the Scriptures on the part of their author. He found in the\nPsalms an inexhaustible source of devotional material and made metrical\nversions of many of them.\n\n_MUSIC._ POLAND. The tune is unique in the _Hymnary_ in that the melody\nin the first three lines is found in the alto. To bring the melody out\nwith sufficient clearness, the altos might well be reenforced by some\nsopranos, or men\u2019s voices, or both.\n\nThomas Koschat, 1845-1914, was an Austrian composer and singer. While a\nstudent of natural science at Vienna University he sang in the Court\nOpera Chorus, and soon became its leader. In 1875, Koschat organized the\nK\u00e4rnthner Quintet which became famous for its singing of Carinthian folk\nsongs. He is known for his harmonization of Carinthian melodies and\noriginal songs in their style, for which he wrote the texts.\n\n\n63. Father and Friend, Thy light, thy love _John Bowring_, 1792-1872\n\nA hymn on the omnipresence of God who reigns as Lord of life and cares\nfor His children.\n\nFor comments on John Bowring see Hymn 55.\n\n_MUSIC._ ILLA, a simple long-meter tune within easy compass of the\nvoices, is by the American composer, Lowell Mason, 1792-1872, an exact\ncontemporary of Bowring. Mason\u2019s tunes were popular at first and then\nfor a time they were frowned upon by some of the \u201chighbrow\u201d musicians\nbut in late years are returning with new favor into the hymn books.\nMason\u2019s name appears 24 times in our collection.\n\nFor further comments on Mason see Hymn 12.\n\n\n64. Let us with a gladsome mind _John Milton_, 1608-74\n\nThis delightful lyric is the result of John Milton\u2019s paraphrasing of\nPsalm 136 when he was a boy of 15 years. The original has 26 stanzas.\nThe Psalm tells the story of Israel\u2019s history, ending each verse with\nthe refrain, \u201cFor his mercy endureth forever.\u201d The selections here are\nhis renderings of verses 1, 2, 7, and 25. The closing stanza returns to\nverse 1.\n\nJohn Milton, the poet, was born in London, the son of the John Milton,\nwho had turned from the Roman Catholic Church to become a Protestant.\nThe future poet went to Christ\u2019s College, Cambridge, where he received\nhis B.A. in 1628 and M.A. in 1632. His short poems and paraphrases were\nwritten at an early age and constitute some of his best work. The second\nperiod of his literary career was given almost entirely to writings on\npolitical subjects for he lived in the day of the controversies which\nled to Civil War and the establishment of the Commonwealth in England.\nMilton joined Oliver Cromwell as his secretary for foreign tongues to\nthe Council of State, a position he held until the eve of the\nRestoration, when he barely escaped the scaffold. For years he had\nsuffered from poor eyesight and became totally blind in his forty-fourth\nyear. The third period of his life, after the Restoration of the\nMonarchy, was lived in close retirement. During this time he produced\nhis greatest writings: _Paradise Lost_, _Paradise Regained_, and _Samson\nAgonistes_, all of them dictated to others. He ranks second only to\nShakespeare among English poets. He translated 19 psalms into meter.\nBeing the scholar\u2019s rather than the people\u2019s poet, he, however, had no\ngreat influence on hymnology. His version of Psalm 84 is found at No.\n592.\n\n_MUSIC._ INNOCENTS appeared, anonymously, in the _Parish Choir_, 1850, a\npublication issued by members of the Oxford Movement in England who went\nby the name of \u201cThe Society for Promoting Church Music.\u201d The \u201cSociety\u201d\nlaid down the following principles for singing:\n\n1. Congregational singing should be in unison.\n\n2. The melody should be clearly marked.\n\n3. The compass should be within the natural limits of the human voice.\n\n4. Metrical psalmody should be confined to tunes in common time, as\nbeing more simple and solemn than triple time.\n\nAfter three years of precarious existence, 1846-49, the _Parish Choir_\nwas discontinued. INNOCENTS appeared at the end of Volume III amongst a\nnumber of old psalm tunes, appointed to be sung to a hymn for Innocents\nDay, hence the name. Lightwood attributes the tune to Joseph Smith, born\nin 1800, near Birmingham, England. Smith was not a professional musician\nbut very fond of music, an excellent singer, and composer of many hymn\ntunes and other pieces. The editor of the _Parish Choir_ altered the\noriginal to the present form. It made its way into _Hymns Ancient and\nModern_, 1861, and is now found in many modern hymn books.\n\n\n JESUS CHRIST OUR LORD\u2014HIS ADVENT\n\n\n65. Hail to the Lord\u2019s Anointed _James Montgomery_, 1771-1854\n\nA rendering of Psalm 72, made in 1821 for the Christmas worship of a\nMoravian settlement. The original has eight stanzas. Montgomery was\ngreatly interested in missions and this hymn, generally esteemed his\nfinest composition, is a good missionary hymn as well as a splendid one\nfor the Advent season. Dr. Adam Clarke gave it wide publicity by\npublishing it in his famous _Bible Commentary_, 1822, at the end of his\nexposition of Psalm 72, adding this note:\n\n I need not tell the intelligent reader that he has seized the spirit,\n and exhibited some of the principal beauties, of the Hebrew bard;\n though (to use his own words in a letter to me) his \u201chand trembled to\n touch the harp of Zion.\u201d I take the liberty here to register a wish,\n which I have strongly expressed to himself, that he would favor the\n Church of God with a metrical version of the whole book.\n\nIt is interesting to compare this hymn with Isaac Watts\u2019 rendering of\nthe same psalm (341).\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ WEBB, also known as \u201cMorning Light,\u201d was composed for a secular\nsong, \u201c\u2019Tis dawn, the lark is singing,\u201d and first published in _Odeon: A\nCollection of Secular Melodies_, by G. J. Webb and Lowell Mason, 1837.\nIt first appeared as a hymn tune in _The Wesleyan Psalmist_, 1842, and\nlater it was used for the hymn \u201cThe morning Light is breaking,\u201d in books\nby Mason and Webb.\n\nThe composer, George James Webb, 1803-87, a member of the Swedenborgian\nChurch, was born near Salisbury, England; studied theology and music;\ncame to the United States and became associated with Lowell Mason in\nediting and publishing music books. He was married to Mason\u2019s daughter,\nMary. He played the organ at Old South Church, Boston, and was Professor\nof Secular Music in the Boston Academy of Music.\n\n\n66. Watchman, tell us of the night _John Bowring_, 1792-1872\n\nAn Advent and missionary hymn, unique in that it consists of a dialog\n(between a watchman and a traveller). The hymn is based on Isaiah 21:11,\n12: \u201cWatchman, what of the night? watchman, what of the night? The\nwatchman said, The morning cometh, and also the night: if ye will\nenquire, enquire ye: return, come.\u201d The meaning of the passage is not\nevident from the context. Dr. C. S. Robinson describes the setting as\nfollows:\n\n The image it presents is singularly dramatic and picturesque. The\n scene is laid in the midst of the Babylonian Captivity. A lonely\n watchman is represented as standing on the ramparts of some tower\n along the defenses of the citadel. He seems to be anxiously looking\n for the issues of the siege leveled against it. The time is midnight.\n Calamity is over the land. The people are afflicted. Their enemies are\n pressing them hard. That solitary sentinel sadly remains at his post,\n peering into the unlit gloom, trying to discern signs of deliverance.\n But the heavens are starless, and the impenetrable clouds keep rolling\n on. Suddenly an unknown voice pierces the air. Whether in wailing\n sorrow or in bitter taunt, is not evident; but out of the stillness\n already grown oppressive breaks the question with repetitious\n pertinacity: \u201cWatchman, what of the night? Watchman, what of the\n night?\u201d The sentinel waits through a moment of surprised meditation\n and then tranquilly answers: \u201cThe morning cometh and also the night;\n if ye will inquire, inquire ye: return, come.\u201d Then the dialog lapses\n into silence again, and the night gathers its unbroken shadows deeper\n than ever.\n\nFor comments on John Bowring see Hymn 55.\n\n_MUSIC._ WATCHMAN is by Lowell Mason who wrote the tune in 1830 in 3-4\ntime. He intended it as a duet between soprano and tenor, with the\ncongregation repeating the last line of each stanza (the reply of the\nwatchman). The tune also lends itself well to antiphonal singing.\n\nFor comments on Mason see Hymn 12.\n\n\n67. O come, O come, Emmanuel _From the Latin, 12th Century_\n _Stanza 1, Tr. John M. Neale_, 1818-66\n _Stanzas 2, 3, Henry Sloan Coffin_, 1877\u2014\n\n Veni, veni, Emmanuel\n captivum solve Israel,\n qui gemit in exilio,\n privatus Dei Filio.\n Gaude, gaude; Emmanuel\n nascetur pro te, Israel.\n\nThe hymn comes from the Latin, being a translation of the first of the\nseven greater _Antiphons_ (short anthems-verses) sung in the Roman\nChurch at Vespers on the seven days before Christmas. The refrain,\n\u201cRejoice, rejoice,\u201d etc., added to the hymn during the 13th century, is\nthe answer to the longing for Christ expressed in each stanza.\n\nThe translation of Stanza 1 is by John M. Neale, 1818-66, a Cambridge\nscholar and the most noted hymnologist and liturgist of his time. He was\na minister and author of books on biblical and historical subjects, but\nhis fame rests chiefly on his translations of Greek and Latin hymns. The\n_Hymnary_ contains ten of his works.\n\nThe second and third stanzas were translated in 1916 by Henry Sloan\nCoffin, eminent Presbyterian minister, formerly of the Madison Avenue\nChurch in New York City, and then for many years president of Union\nTheological Seminary. He is a recognized leader in contemporary American\nchurch life.\n\n_MUSIC._ VENI EMMANUEL, written in the first Gregorian mode, is an\nadaptation by Thomas Helmore, in 1856, of a melody said to have been\nfound in a French manuscript in Lisbon, which has since disappeared. The\noriginal is believed to have been a 12th century \u201cKyrie.\u201d The harmony in\nthe minor mode gives the tune its quaint flavor. It should be sung with\nspirit, in keeping with the joyful anticipation embodied in the words.\nIt is effective with men\u2019s voices singing the first part in unison, then\nall the voices in harmony on the refrain. The tune also lends itself to\ninteresting effects in antiphonal singing.\n\n\n68. Veiled in darkness Judah lay _Douglas LeTell Rights_, 1891\u2014\n\nWritten in 1915, while World War I was raging in Europe and the clouds\nwere gathering thick over the United States. The hymn is an appeal for\nthe Spirit of Christ to bring peace and light to a troubled world. It\nwas composed while the author, a Moravian, was a student at the Divinity\nSchool of Harvard University. It was the custom at that institution to\nhave students of the School submit original compositions of hymns, one\nof which would be selected to be sung at the annual Christmas service of\nthe school. This hymn was selected for the Christmas of 1915.\n\nDouglas LeTell Rights, born in Winston-Salem, N. C., received his A. B.\ndegree from the University of North Carolina and then prepared for the\nministry at the Moravian Theological Seminary, Bethlehem, Pa., and at\nHarvard University. A member of the Moravian Church, anciently called\nthe _Unitas Fratrum_, his first pastorate was at the First Moravian\nChurch, Greensboro, N. C., 1916-18. In 1918-19, he was chaplain in the\narmy in World War I. Since 1919, he has been pastor of Trinity Moravian\nChurch, Winston-Salem, N. C. Rights is the author of _A Voyage Down the\nYadkin-Great Peedee River_, 1928, and has written numerous articles on\nhistorical and archaeological subjects pertaining to his native state.\nHis latest book is the _American Indian in North Carolina_.\n\n_MUSIC._ EBELING. For comments on the composer of this tune, Johann\nGeorg Ebeling, 1620-76, see Hymn 555.\n\n\n69. Come, Thou long-expected Jesus _Charles Wesley_, 1707-88\n\nA dignified, yet stirring Advent hymn, based on Haggai 2:7: \u201cThe desire\nof all nations shall come.\u201d One of the first hymns of Wesley, it\nappeared in a small book of 24 pages. _Hymns for the Nativity of our\nLord_, published in 1744. It is found in nearly all the modern hymn\nbooks in England and America.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ HYFRYDOL is a Welsh tune composed by Rowland Hugh Prichard,\n1811-87, of Bala, Wales, who was active in the church as song leader,\nsoloist, and composer of tunes. This tune is a composition of his youth,\nwhile he was still under twenty. It is characterized by its length,\nsmoothness, and utter simplicity, the whole melody moving throughout,\nexcept for one note, within the compass of the fifth.\n\n\n HIS BIRTH\n\n\n70. Joy to the world! the Lord is come _Isaac Watts_, 1674-1748\n\nThis hymn, which has such an important place in the yearly celebration\nof the Nativity, is a free rendering of the latter part of Psalm 98:\n\u201cMake a joyful noise unto the Lord, all the earth: make a loud noise,\nand rejoice, and sing praise.\u201d Watts entitled it, \u201cMessiah\u2019s Coming and\nKingdom.\u201d His effort to put the New Testament gospel into the Psalm\nresulted in a great hymn of the Advent and Nativity, though his free\nrendering nearly lost sight of the Psalm itself. He feels all nature\nthrilling with joy at the Saviour\u2019s birth.\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ ANTIOCH is an arrangement, credited by some authorities to\nLowell Mason, from Handel\u2019s _Messiah_. The opening phrase resembles the\nfirst bar of the chorus, \u201cLift up your heads,\u201d and the four measures set\nto \u201cand heaven and nature sing\u201d are reminiscent of the introduction to\nthe tenor recitative, \u201cComfort ye my people.\u201d It is a stirring tune well\nfitted to the words. It may be sung antiphonally to good effect, the\ncongregation singing lines 1 and 2 (1st score), the choir, lines 3 and 4\n(2d and 3d scores), and both choir and congregation the refrain (last\nscore).\n\n\n71. Christians, awake! salute the happy morn _John Byrom_, 1692-1763\n\nFrom a longer poem of 48 lines, written about 1749, by Dr. John Byrom\nfor his daughter Dolly who, when asked what she would like to have for a\nChristmas present, replied, \u201cPlease write me a poem.\u201d On Christmas\nmorning she found on her plate at the breakfast table a sheet of paper\non which was written this poem, entitled, \u201cChristmas Day. For Dolly.\u201d It\nis based on Luke 2.\n\nJohn Byrom was born in Manchester, England, graduated from Cambridge,\nstudied medicine but gave up its practice in order to teach a system of\nshorthand he himself had invented, and which became the chief system of\nshorthand in his time. He was a friend of Charles and John Wesley and\ntaught them shorthand, which Charles especially put to good use in\ndashing down hymns as they flashed into his mind. Byrom was a man of\nlearning and piety and also was given to wit and humor. He coined the\nphrase \u201ctweedledum and tweedledee\u201d when the friends of Handel and\nBuononcini were debating the relative merits of the two composers:\n\n Some say, compared to Buononcini\n That Mynheer Handel is a ninny.\n Others aver that he to Handel\n Is scarcely fit to hold a candle.\n Strange all this difference should be\n Twixt tweedledum and tweedledee.\n\n_MUSIC._ YORKSHIRE was composed by a musician and organist, John\nWainwright, of whom little is known. He is remembered principally by\nthis tune. Musically and emotionally, the tune is completely\nsatisfactory and well deserves its great popularity. It has been a\nfavorite among English speaking people for nearly a century.\n\n\n72. Today be joy in every heart _Frederick L. Hosmer_, 1840-1929\n\nA hymn of Christmas peace.\n\nThe author, Frederic L. Hosmer, one of America\u2019s foremost hymn writers,\nwas born in Framingham, Mass., and died in Berkeley, Calif. He was\neducated at Harvard University and Divinity School and served as\nminister of Unitarian churches in Northboro, Mass., Quincy, Ill.,\nCleveland, O., St. Louis, Mo., and Berkeley, Calif. At least 35 of his\nhymns have come into more or less use in this country and in England.\nThe _Hymnary_ includes thirteen, a larger number than of any other\nwriter except Wesley and Watts.\n\n_MUSIC._ DORKING, an English folk tune of anonymous composition, as all\nfolk tunes are, has characteristic grace of melody and strength of\nrhythm.\n\n\n73-74. While shepherds watched their flocks _Nahum Tate_, 1652-1715\n\nThis carol is the work of Nahum Tate, poet laureate and co-author with\nNicholas Brady of the _New Version_ of the psalms in meter, to which was\nadded a supplement in 1770 containing this hymn. The quaint and\npicturesque paraphrase of Luke 2:9-11, closing with the doxology, was\none of the few hymns permitted to be sung in the English churches along\nwith the metrical psalms. It became very popular and has been translated\ninto the Latin and nearly all the living languages. The words have been\nset to many tunes.\n\nFor comments on Nahum Tate, see Hymn 18.\n\n_MUSIC._ CHRISTMAS is an adaptation of a melody from Handel\u2019s opera,\n_Siroe_. Geo. F. Handel was born in Prussia in 1685 (the same year as J.\nS. Bach) and died in 1759. He lived in England 50 years and became a\nnaturalized English citizen. He wrote many forms of music but is chiefly\nknown and loved for his oratorio, _The Messiah_.\n\n_MUSIC._ ST. MARTIN\u2019S (74), by William Tans\u2019ur, is less joyful than\n\u201cChristmas,\u201d but the tune fits the words perfectly. Its quiet, mystic\nmelody suggests the serenity of the Judean hillside where shepherds\nwatched their flocks.\n\nWilliam Tans\u2019ur, 1706-85, was the son of a laborer, whose name is\nspelled \u201cTanzer\u201d in the church register. He became a teacher of\npsalmody, moved from town to town to conduct singing classes, and did\nmuch to improve psalm-singing in the Church of England. He published a\nnumber of books on music. An eccentric man, given to self-advertisement,\nhe described his first volume _The Harmony of Sion_, 1734, as \u201cThe most\ncuriosest Book that ever was published.\u201d\n\n\n75. It came upon a midnight clear _Edmund H. Sears_, 1810-76\n\nPublished by the _Christian Register_ in 1860, the hymn quickly attained\nwide popularity. Edmund H. Sears was minister of a Unitarian Church at\nWayland, Mass. He wrote, \u201cThough I was educated in the Unitarian\ndenomination, I believe and preach the divinity of Christ.\u201d A careful\nreading of the hymn reveals a fine social message. The author was\nwriting at a time of extraordinary unrest throughout the world, caused\nin America by the passing of the Fugitive Slave Law, the great\nforty-niner gold rush to California, and in Europe by the aftermath of\nthe revolution in France and Germany. In the stillness of the first\nChristmas night, the author finds a message of healing for our\nrestlessness, and with Isaiah looks forward to a golden age when peace\nshall reign on earth. But when will that time come? The Civil War,\ntragic irony, followed in ten years! The hope, however, abides and is\nvalid, for peace is in the ultimate plan of God.\n\n_MUSIC._ CAROL was composed by Richard Storrs Willis, brother of the\nAmerican poet, N. P. Willis. It is a graceful, popular tune, and is\noften set to \u201cWhile shepherds watched their flock by night,\u201d for which\nit is admirably adapted.\n\n\n76. The first Noel the angel did say _Traditional_\n\n\u201cNoel\u201d is a French word which came to mean several things\u2014a \u201csong of the\nBirthday,\u201d or \u201cChristmas,\u201d or \u201cCarol.\u201d A carol is a religious song\ntelling the story of a place or person or event. It is less formal and\nsolemn than an ordinary church hymn and was originally intended to be\nsung outside rather than within the church walls. The words and music of\nthis carol are traditional, which means that no one knows who composed\nthem or when. They are known to have existed as early as the 17th\ncentury. It is a very popular carol even though not quite true to the\ngospel account in verse 2, for it was the wise men, not the shepherds,\nthat saw the star. Since most of the words have to do with the coming of\nthe wise men, the carol is fully as suitable for Epiphany as for\nChristmas.\n\n_MUSIC._ The tune THE FIRST NOEL is one of the best-known of all English\ncarol airs, especially in the west of England.\n\n\n77. The stars were silent and the hills _E. Royce_\n\nThe poem was published in the _Presbyterian_ about 1939. No specific\ninformation is at hand concerning the author. Bixel, composer of the\nmusic, is under the impression that E. Royce was a missionary to China\nwho sent this poem to her church paper for publication.\n\n_MUSIC._ SILENT was composed for this carol by James W. Bixel, who was\nborn at Bluffton, Ohio, November 7, 1913. After graduating from Bluffton\nCollege, Bixel studied music in Cincinnati Conservatory of Music, where\nhe received his Master of Music degree in composition. He taught music\nin the public schools of Mt. Gilead, Ohio, and then spent nearly four\nyears in Civilian Public Service. In the fall of 1947 he became a\nteacher of harmony and piano in the music department of Bethel College.\nThe tune, begun and completed in one evening, has the distinction of\nbeing the only one in the _Hymnary_ composed by a Mennonite. Which leads\none to observe that our hymns and tunes, like many other elements in our\nculture, are \u201cours\u201d by appreciation and use rather than by invention or\ncreation. It may be the future will find us less \u201cpractical\u201d minded than\nheretofore and that poetic and musical gifts will yet come to fruition\nto make our contribution to the stream of hymns and tunes that have\nenriched the worship of the Visible Church of all places and ages.\n\n\n78. What child is this _William C. Dix_, 1837-98\n\nOne of numerous carols written by William Dix about 1865.\n\nWilliam Chatterton Dix was the son of a Bristol surgeon. He was educated\nfor a business career and became the manager of a marine insurance\ncompany in Glasgow. He maintained, however, his literary interests and\nwrote the _Life of Chatterton_, the poet; a book of _Pen Pictures of\nPopular English Preachers_; and other works, including several volumes\nof devotional poetry. He had been ill in bed on Epiphany Day, and after\nreading the Gospel for the day, he wrote this hymn, finishing it by\nevening. It became very popular and is found in nearly all English\nhymnals. The accuracy of the second verse may be questioned\u2014\u201cTo that\nlowly manger bed.\u201d For it is not likely that the babe Jesus was still in\nthe manger when the wise men appeared.\n\n_MUSIC._ CHRIST THE KING, known in many hymnals as \u201cGreensleeves,\u201d is an\nold English melody of the 17th century, mentioned somewhere by\nShakespeare. It is a joyous tune which may be sung as a solo, or with\nthe sopranos singing the words of the stanzas, while the other parts hum\nthe accompaniment, then all parts singing the refrain in harmony or in\nunison.\n\n\n79. Come, all ye shepherds _Traditional_\n\nA shepherd carol from Bohemia.\n\nThe words and music are traditional.\n\n_MUSIC._ The tune was arranged by Edward Shippen Barnes, b. 1887,\nAmerican organist and composer who received his musical education at\nYale and in Paris. He now lives at Santa Monica, California. His\npersonal counsel was solicited and secured in the compilation and\nediting of the _Hymnary_.\n\n\n80. O come, all ye faithful _Latin_\n\n Adeste, fideles,\n Laeti triumphantes;\n Venite, venite in Bethlehem;\n Natum videte\n Regem Angelorum:\n Venite, adoremus Dominum.\n\n Deum de Deo;\n Lumen de Lumine,\n Gestant puellae viscera\n Deum Verum,\n Genitum, non factum:\n Venite, adoremus Dominum.\n\n Ergo Qui natus\n Die hodierna,\n Iesu, Tibi sit gloria:\n Patris Aeterni\n Verbum Caro factum!\n Venite, adoremus Dominum.\n\nA priceless legacy from the Latin Church and one of the most popular of\nChristmas hymns. It has been translated into at least 125 languages. The\norigin of the text and tune is obscure. The original poem may have been\nGerman or French of the 17th or 18th century.\n\nFrom the lengthy (and on the whole profitless) discussions of the\npossible origins of the hymn, it may be concluded that the hymn and tune\ncame into use together, in the services of the Roman Church, during the\nfirst part of the 18th century; that they were circulated first in\nmanuscript form and later appeared in print, the earliest known book\ncontaining them being a small volume, _An Essay on the Church Plain\nChant_, published in London, 1782. Nothing definite can be stated as to\nthe authors of either words or music.\n\nThe translation was made in 1841 by Frederick Oakeley, 1802-80, Church\nof England minister who later joined the Roman Catholics.\n\n_MUSIC._ ADESTE FIDELES belongs by long association to this hymn, its\nname being derived from the first words of the Latin. It is also widely\nused with \u201cHow firm a foundation.\u201d The present arrangement is credited\nto Vincent Novello, organist in the Portuguese Chapel in London about\n1785.\n\n\n81. Angels from the realms of glory _James Montgomery_, 1771-1854\n\nA graceful lyric presenting to the imagination a series of pictures\u2014the\nAngels, the Shepherds, the Wise Men, and the Saints who like Simeon and\nAnna, were waiting for the consolation of Israel. The fourth verse is\nreminiscent of the prophetic words of Malachi: \u201cThe Lord whom ye seek\nshall suddenly come to his temple, even the messenger of the covenant\nwhom ye delight in: behold he shall come, saith the Lord of Hosts\u201d\n(3:1).\n\nIt is widely used for the Christmas season.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ REGENT SQUARE is a jubilant, vigorous tune, composed for the\nEnglish _Presbyterian Hymnal_ of 1867 in which it was set to Bonar\u2019s\nhymn, \u201cGlory be to God the Father.\u201d\n\nThe composer, Henry Smart, 1813-79, studied law for four years and then\ndecided to become a musician. Though he had little formal musical\ntraining, he became a great organist, composer, and conductor. He became\ntotally blind by 1865, but, being a capable improviser, and possessing a\nkeen memory, he was able to continue as an organist. He did much for the\ncause of good music in the church.\n\nFor further comments on Smart see Hymn 46.\n\n\n82. Angels we have heard on high _Bishop Chadwick_\n\nA popular carol of French origin, sung first in England by the\nWestminster Abbey Choir and for that reason it is sometimes called the\n\u201cWestminster Carol.\u201d\n\nNo information has been traced concerning Bishop Chadwick.\n\n_MUSIC._ GLORIA is a traditional melody of anonymous composition. The\ntune has been variously harmonized. This version is found in the _St.\nBasil\u2019s Hymnal_, compiled by the Basilian Fathers, and published in\nChicago, 1918 (Revised Ed.).\n\n\n83. Silent night, holy night _Joseph Mohr_, 1792-1848\n\nThe most loved and most widely used of all Christmas carols.\n\nIt was composed December 24, 1818, by Joseph Mohr, 1792-1848, assistant\nCatholic priest in an obscure German village, Oberndorf, near Salzburg,\nAustria. At a Christmas celebration in the schoolhouse Mohr withdrew for\na time, then returned with a folded sheet of paper on which this carol\nwas written. He handed it to his friend, Franz Gruber, 1787-1863,\nschoolmaster, song writer, and organist, as a Christmas gift. Gruber\ncomposed the tune for it the same evening. The author and composer sang\nit together, the latter accompanying on the guitar, and a choir of girls\nfrom the village joining in the melody. The hymn and the tune became\nimmensely popular in Germany and Austria even before they appeared in\nprint, through their use by wandering Tyrolese singers. Today the carol\nis sung in all Christian lands. It was a favorite of the great opera\nsinger Madame Ernestine Schumann-Heink, and she sang it on many of her\nconcert appearances.\n\n_MUSIC._ STILLE NACHT. In keeping with German custom, the tune is named\nafter the first line of the hymn for which it was written.\n\nA plaque in the schoolhouse at Oberndorf bears the following\ninscription:\n\n Stille Nacht, heilige Nacht!\n Wer hat dich, O Lied, gemacht?\n Mohr hat dich so schoen erdacht,\n Gruber zu Gehoer gebracht,\n Priester und Lehrer vereint.\n\n\n84. O little town of Bethlehem _Phillips Brooks_, 1835-93\n\nThis carol was written for children, but it has become popular\neverywhere with adults as well.\n\nPhillips Brooks, one of America\u2019s greatest preachers, grew up in a\nmusical home where memorizing and reciting of hymns was a part of the\nchildren\u2019s education. By the time he was ready for college he had\ncommitted over 200 hymns to memory. He graduated from Harvard and from\nthe Episcopal Theological Seminary, Alexandria, Virginia, and served as\nrector at the Church of the Advent, Philadelphia, and at Trinity Church,\nBoston, where his preaching powers came to full and fruitful fruition.\nIn 1891, he became Bishop of Massachusetts. While in Philadelphia, he\nwas given a year\u2019s leave of absence to travel in Europe and the Near\nEast. In Christmas Week in 1865, he rode on horseback from Jerusalem to\nBethlehem. The view of the little town is thought to have inspired this\nhymn which he wrote several years later for the Christmas service of the\nSunday school in his church.\n\n_MUSIC._ ST. LOUIS. Brooks asked his church organist, Lewis Redner, who\nwas also Sunday school superintendent, to set the carol to music. This\nwas done in great haste on the Saturday night before Christmas, 1868.\nThe words and tune, printed on leaflets, were sung by six teachers and\n36 Sunday school children, and then practically forgotten until 1892\nwhen they were published in the _Hymnal of the Episcopal Church_. The\nhymn has become popular since, not only in America but also in England.\nThe tune generally used in England, however, is not \u201cSt. Louis,\u201d but\n\u201cForest Green.\u201d (See 290.)\n\n\n85. Hark the herald angels sing _Charles Wesley_, 1707-88\n\nOne of the most popular English hymns. Julian listed four hymns as\nstanding at the head of all in the English language: \u201cWhen I survey\u201d\n(105-6), \u201cRock of Ages\u201d (148), \u201cAwake my soul\u201d (25), and this one.\n\nIt is taken from Wesley\u2019s _Hymns and Sacred Poems_, 1739. The original\nhad 10 four-line stanzas and no refrain. The hymn has been altered in\nvarious ways and improved. For example, the lines,\n\n With the angelic host proclaim,\n Christ is born in Bethlehem,\n\noriginally read\n\n Universal nature say\n Christ the Lord is born today.\n\nAnd for our familiar first lines,\n\n Hark! the herald angels sing!\n Glory to the new-born King,\n\nWesley had\n\n Hark! how all the welkin rings,\n Glory to the King of Kings.\n\nThese, and other changes, disprove the common assertion that hymns\nshould always be sung just as the authors left them. As a rule, however,\nit still remains true that \u201cthe _professional_ hymn mender is an odious\ncreature.\u201d\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ MENDELSSOHN, also called \u201cBethlehem\u201d and \u201cSt. Vincent,\u201d is from\nMendelssohn\u2019s _Festgesang_ for Male Chorus and Orchestra, composed in\n1840 to celebrate the invention of printing. The tune is adapted from\nchorus No. 2 of that work. Dr. W. H. Cummings, organist at Waltham\nAbbey, set the tune to the words of this hymn and had it sung by the\nAbbey Choir. It was so well received that he published it in 1856 and it\nhas since found its way into the hymn books of all denominations.\n\nIt is interesting to note Mendelssohn\u2019s own estimate of the tune, as he\nexpressed it in a letter to his English publishers.\n\n I am sure that piece will be liked very much by the singers and\n hearers, but it will never do to sacred words. There must be a\n national and merry subject found out, something to which the\n soldier-like and buxom motion of the piece has some relation, and the\n words must express something gay and popular as the music tries to do.\n\n\n86. O holy night\n\nThe night of the Saviour\u2019s birth is the subject of Christmas carols in\nevery land, of which this and \u201cSilent Night\u201d are outstanding examples.\nThe words are anonymous.\n\nThe omitted third stanza reads as follows:\n\n Truly He taught us to love one another;\n His law is love and His gospel is peace.\n Chains shall he break for the slave is our brother,\n And in His name all oppression shall cease.\n Sweet hymn of joy in grateful chorus raise we,\n Let all within us praise His holy name;\n Christ is the Lord, Oh, praise His name forever!\n His power and glory evermore proclaim.\n His power and glory evermore proclaim.\n\n_MUSIC._ The tune, HOLY NIGHT, is by Adolphe Adam, 1803-56,\ndistinguished French composer of comic operas and teacher of\ncomposition. He became a professor in the Conservatory of Music in Paris\nin 1849.\n\n\n HIS EPIPHANY\n\n\n87. What star is this _C. Coffin_, 1676-1749\n\nA Latin hymn, _Quae stella sole pulchrior_, was included in the _Paris\nBreviary_, 1736, and, again, in Coffin\u2019s _Hymni Sacri_, 1736. Charles\nCoffin, rector of the University of Paris, wrote a large number of\nhymns, \u201cnot so much,\u201d he says, \u201cto gratify the poetic Spirit as to\nachieve elegance and piety.\u201d\n\nThe translation is by John Chandler, 1806-76, in his _Hymns of the\nPrimitive Church_, 1837. Chandler was educated at Oxford and became a\nminister in the Church of England. Besides making a collection of hymns,\nhe is the author of several biographies and volumes of devotional\nliterature. His translation of this hymn has passed into many English\nhymn books but invariably with some alterations.\n\n_MUSIC._ PUER NOBIS is an arrangement of a German folk tune published by\nthe German composer, Michael Praetorius, 1571-1621, which he wrote in\n1609. It was harmonized in 1904 by G. R. Woodward, an English musician.\nIt is a spirited tune and should be sung briskly and merrily.\n\n\n88. Bethlehem, of noblest cities _Prudentius_, 348-_c._ 413\n _Tr. E. Caswall_, 1814-78\n\nBased on Matt. 2:6: \u201cAnd thou, Bethlehem, in the land of Judah, art not\nthe least among the princes of Judah: for out of thee shall come a\ngovernor, that shall rule my people Israel,\u201d and the story of the three\nwise men bringing their gifts to Jesus.\n\nThe author, Prudentius, 348-c. 413, a Spaniard, was one of the best and\nmost prolific of early Latin Christian poets. He received legal training\nand served as lawyer and judge in several cities. At the age of 57 he\nentered a monastery and for the rest of his life was a writer of poetry\nin defense of and in praise of the Christian faith. He is regarded by\nsome as the first really great Christian poet and was widely read in\nEurope throughout the Middle Ages, Erasmus being one of his admirers.\n\nThe translation is by Edward Caswall who shortly before had left the\nChurch of England to become a priest in the Roman Catholic Church.\nCaswall was a Latin scholar and did much translating of Latin hymns. For\nfurther comments on Caswall see Hymn 19.\n\n_MUSIC._ STUTTGART is adapted from a melody by Christian F. Witt in his\n_Psalmodia Sacra_, published in Gotha, 1715, where it is set to the\nhymn, \u201c_Sollt es gleich bisweilen scheinen_.\u201d It is a stately,\nstraightforward tune of simple, rhythmic pattern and is singable by any\naverage congregation.\n\nChristian F. Witt, 1660-1716, was a court organist and later\n_Kapellmeister_ at Gotha. He composed a number of hymn tunes.\n\n\n89. From the eastern mountains _Godfrey Thring_, 1823-1903\n\nBased on Matt. 2:2: \u201cWe have seen his star in the east and are come to\nworship Him.\u201d Its reference to the guiding star and its missionary\nemphasis fit it ideally for the Epiphany season, but the hymn may be\nused appropriately on more general occasions.\n\nGodfrey Thring was educated at Shrewsbury and Balliol College, Oxford,\nand held various positions as minister in the Church of England. In\n1859, he succeeded his father as rector of Alford-with-Hornblotton and\nin 1876, became prebendary of East Harptree in Wells Cathedral. He\npublished various hymn books of a high literary standard.\n\n_MUSIC._ PRINCETHORPE. This tune, by William Pitts, 1824-1903, was taken\nfrom _The Hymnary_ of the United Church of Canada. No information is at\nhand concerning the composer or the origin of the tune.\n\n\n90. We three kings of Orient are _John H. Hopkins, Jr._, 1820-91\n\nA popular carol giving the story of the wise men seeing the star and\nbringing gifts to the Christ child.\n\nJohn Henry Hopkins, Jr., was born at Pittsburgh, Pa. His father was an\nEpiscopalian minister who became the Bishop of Vermont. John was\neducated at the University of Vermont and later was minister at\nWilliamsport, Pa. He is the author of several books of poems.\n\n_MUSIC._ KINGS OF ORIENT was composed for this hymn by the author.\n\n\n91. Brightest and best of the sons _Reginald Heber_, 1783-1826\n\nA lovely hymn of great beauty and simplicity of form and characterized\nby robust faith\u2014\u201cricher by far is the heart\u2019s adoration.\u201d It was written\nfor the feast of Epiphany and was entitled, \u201cStar of the East.\u201d The hymn\nwas first published in the _Christian Observer_, 1811.\n\nHeber, a hymnist of the first order, ranking with Wesley and Watts, was\ngoverned by three ideas in his hymn writing: (1) the hymn is liturgical\nand should follow the church year; (2) the hymn should follow and\nsupplement the sermon; (3) the hymn should be literary art.\n\nFor further comments on Reginald Heber see Hymn 1.\n\n_MUSIC._ BRIGHTEST AND BEST was composed by Rev. Joseph Francis Thrupp,\n1827-67, fellow of Cambridge College and minister in the Church of\nEngland. He is the author of several books on Biblical subjects and\nwrote a number of hymns of merit, none of which have come into general\nuse.\n\n\n HIS LIFE AND MINISTRY\n\n\n92. O sing a song of Bethlehem _Louis F. Benson_, 1855-1930\n\nWritten as a Christmas carol but sings also of the later life of Jesus\nin Nazareth, Galilee, and at Calvary. It was contributed to _The School\nHymnal_ (Presbyterian), edited by Dr. Benson in 1899.\n\nLouis Fitzgerald Benson was born in Philadelphia and educated for the\nbar. After seven years of practice, he gave up law to enter Princeton\nTheological Seminary and was ordained a Presbyterian minister. He became\nminister of the Church of the Redeemer, Germantown, Pa., but resigned\nhis charge after six years, to begin his great work as editor of hymn\nbooks and writer and lecturer on hymnology. His book, _The English\nHymn_, unfortunately out of print, has no rival as a source of accurate\ninformation about the development and use of English and American hymns.\nHis _Studies in Familiar Hymns_ (2 vols.) is unexcelled. For forty years\nDr. Benson rendered outstanding service to all students of hymnology\nthrough his writings and lectures on the subject. He composed 32\noriginal hymns and made 16 translations from the Latin which were\npublished as _Hymns, Original and Translated_, Philadelphia, 1925, in\nwhich the present hymn appears.\n\n_MUSIC._ BETHLEHEM, also called \u201cEvangel,\u201d was composed by Gottfried W.\nFink, 1783-1846, German minister, musician, music critic, and editor,\nwho was appointed in 1842 to a Professorship of Music at Leipzig. It is\na joyful tune in popular style, especially suitable for large choruses\nor congregations.\n\n\n93. O Master Workman of the race _Jay T. Stocking_, 1870-1936\n\nA hymn entitled, \u201cThe Carpenter of Nazareth,\u201d written for young people\nwhile the author was watching some carpenters at work in an Adirondack\nCamp. It is one of a number of excellent modern hymns concerned with the\nearthly life of Jesus and connecting Him with our daily life and labor.\nOthers are \u201cO Master let me walk with Thee\u201d (223), \u201cWhere cross the\ncrowded ways\u201d (222), and \u201cO Son of Man, Thou madest known\u201d (373).\n\nJay T. Stocking was educated at Amherst, Yale Divinity School, and at\nthe University of Berlin. He was ordained in 1901, held a number of\nprominent pastorates in the Congregational Church, and was made\nmoderator of the Congregational Council in 1934. He is the author of\nseveral books and was a member of the Commission on International\nJustice and Good Will of the Federal Council of Churches.\n\n_MUSIC._ ST. MICHEL\u2019S appeared in a collection of _Psalms and Hymns_,\ncompiled by William Gawler, and published in London around 1784 to 1789,\nfor use of the children of an orphan asylum at Lambeth. It was set to\n\u201cCreator Spirit, by whose aid,\u201d a long-meter hymn. Later the tune was\nchanged to common meter double. It is also known by the names \u201cSt.\nMaria,\u201d \u201cBeulah,\u201d and \u201cWoolrich Common.\u201d The composer of the tune is not\nknown. _The Hymnary_ of the United Church of Canada attributes it to\nHaydn. At No. 125 of the _Hymnary_ it appears as \u201cJerusalem, Jerusalem,\u201d\nwhere it is erroneously attributed, in the earlier editions, to Thomas\nHastings\u2014an error carried over from the _Gesangbuch mit Noten_. Hastings\nwas born at about the same time the tune was already in print! It is\npossible, of course, that he made an arrangement of the tune, and\nthereby getting his name associated, inadvertently, with its\ncomposition.\n\nWm. Gawler, c. 1750-1809, was a London musician and music publisher. In\n1785, while organist at the Lambeth \u201cAsylum,\u201d a home, the first of its\nkind in England, for fatherless girls, he published the book _Psalms and\nHymns_, referred to, later adding a supplement. Gawler made other\ncompilations of music books and also did some composing.\n\n\n94. Ye fair green hills of Galilee _Eustace R. Conder_, 1820-92\n\nA fine hymn, setting forth obedience to duty and love to God and man as\nthe marks of Christ\u2019s followers. It was contributed by the author to the\n_Congregational Church Hymnal_, London, 1887.\n\nEustace Rogers Conder studied for the Congregational ministry in\nBirmingham and later graduated with high honors in philosophy at London\nUniversity. For 17 years, he was minister of a Congregational Church at\nPoole, where he trained students for missionary work, besides attending\nto his regular duties as pastor. In 1873, he was elected chairman of the\nCongregational Union of England and Wales. He wrote several books,\nincluding _Outlines of the Life of Christ_ and _Sleepy Forest_, a book\nof fairy tales for children.\n\n_MUSIC._ STELLA is from an old English melody in 6-8 time which the\nchildren sang to \u201cSweet Mary, sweet Mary, my age is sixteen.\u201d About\n1850, it was arranged by Henri F. Hemy, 1818-88, English organist, for\nuse in Catholic churches as an easy choir number. In 1875, the tune\nappeared (almost note for note as in the _Hymnary_) in the Appendix of\n_St. Alban\u2019s Tune Book_, a book of pre-Reformation hymns set to\nplainsong melodies. The Appendix of the book is a treasure house of\narrangements and adaptations of singable tunes from sacred and secular\nsources.\n\n\n95. Thine arm, O Lord, in days of old _Edward H. Plumptre_, 1821-91\n\nA hymn on the healing ministry of Christ, written in 1864 for use in the\nChapel of King\u2019s College Hospital, London. Suitable for Hospital Day and\nother occasions.\n\nEdward Hayes Plumptre, an English scholar and church man, was educated\nat King\u2019s College, London, and at Oxford. He was minister in various\nchurches (Anglican) and became Professor of New Testament Exegesis at\nKing\u2019s College. He wrote many excellent books, including the standard\n_Life of Bishop Ken_, and several volumes of poems. He was appointed a\nmember of the Old Testament Company of Revisers of the Bible. This hymn\nwas included in the 2d edition of his _Lazarus, and other Poems_, from\nwhich it made its way into the hymnals.\n\n_MUSIC._ ST. MATTHEW, a psalm tune, appeared in the 6th ed. (1708) of _A\nSupplement to the New Version of Psalms_, by Tate and Brady, where it\nwas set, in two parts, treble and bass, to Psalm 33. In slightly altered\nform, it became one of the great hymn tunes but is more popular in\nEngland than in America.\n\nFor comments on William Croft, 1678-1727, an important name in English\nchurch music, see Hymn 6.\n\n\n96. Who is he in yonder stall _Benj. R. Hanby_, 1833-67\n\nA hymn on the birth, ministry, passion, resurrection, and exaltation of\nChrist, the refrain answering the question asked in each stanza. It may\nbe used effectively for antiphonal singing between choir and\ncongregation.\n\nThe author, Benjamin Russel Hanby, was a minister in the United Brethren\nChurch but was strongly inclined to music and decided to make that his\nlife work. An interesting and talented man, he became associated with\nGeorge F. Root in the publication of sacred and secular song books in\nChicago. He was the author of a number of Sunday school songs and of\n\u201cDarling Nellie Gray,\u201d \u201cOld Shady,\u201d and other popular numbers. His\nuntimely death ended his career almost before it was well begun. His\nfather, the Rev. William Hanby, was a bishop in the church of the United\nBrethren in Christ and editor, for a number of years, of _The\nTelescope_, the church\u2019s official paper published at Circleville, Ohio.\n\n_MUSIC._ LOWLINESSS was composed by the author of the words.\n\n\n97. Fairest Lord Jesus _M\u00fcnster_, 1677\n _Translated_, _c._ 1850\n\nCalled the \u201cCrusader\u2019s Hymn,\u201d but there is no foundation for the\ntradition that it was sung by the German knights of the 12th century on\ntheir way to Jerusalem. The text and tune are modern. The German text\nwas published in _M\u00fcnster Gesangbuch_, 1677 (Catholic). Our translation,\nthe oldest English version, is by an unknown author, about 1850. A later\ntranslation, beginning \u201cBeautiful Savior,\u201d was made by J. A. Seiss in\n1873. The original is as follows:\n\n Sch\u00f6nster Herr Jesu,\n Herrscher aller Herren,\n Gottes und Mari\u00e4 Sohn!\n Dich will ich lieben,\n Dich will ich ehren.\n Meiner Seelen Freund\u2019 und Kron\u2019.\n\n Sch\u00f6n leucht\u2019t der Monden,\n Sch\u00f6ner die Sonne\n Als die Sternlein allzumal.\n Jesus leucht\u2019t sch\u00f6ner,\n Jesus leucht\u2019t reiner,\n Als all die Engel im Himmelssaal.\n\n Sch\u00f6n sind die W\u00e4lder,\n Sch\u00f6ner die Felder\n In der sch\u00f6nen Fr\u00fchlingszeit.\n Jesus ist sch\u00f6ner,\n Jesus ist reiner,\n Der unser traurigs Herz erfreut.\n\n Alle die Sch\u00f6nheit\n Himmels und der Erde\n Ist nur gegen ihn als Schein.\n Keiner soll nimmer\n Lieber uns werden\n Als er, der sch\u00f6nste Jesus mein!\n\n_MUSIC._ CRUSADER\u2019S HYMN, also known as _Sch\u00f6nster Herr Jesu_, appeared\nin a book of Silesian folk songs, _Schlesische Volkslieder_, Leipzig,\n1842. The hymn with this tune was first published in America in _Church\nCarols and Choir Studies_ by the American composer Richard Storrs\nWillis, 1850. F. Melius Christiansen, director of the St. Olaf Choir,\nhas arranged an exquisite anthem on this melody with the words\n\u201cBeautiful Savior.\u201d\n\nIt is a useful and charming melody. Its popularity in Germany ranks with\nPaul Gerhardt\u2019s \u201c_Befiehl du deine Wege_.\u201d\n\n\n98. Not always on the mount _Frederick L. Hosmer_, 1840-1929\n\nBased on the story of the transfiguration in Matthew 17, the lesson\nenforced by the hymn is that the mount is necessary for vision; we\ncannot abide there, yet our work in the valley will be nobler for the\npattern shown us on the mount.\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\nThe hymn, written in 1882, was first published in _Unity_, Chicago,\nApril 1, 1884. A year later it was included, in revised form, in the\nauthor\u2019s first series of _The Thought of God_.\n\n_MUSIC._ TRANSYLVANIA is from a 16th century Hungarian chorale, arranged\nby Robert L. Sanders, F. A. A. R., Chicago, for _Hymns of the Spirit_,\nBeacon Press, 1938.\n\n\n99. I know not how that Bethlehem\u2019s Babe _Harry W. Farrington_,\n 1880-1931\n\nA Christmas song written in 1910, while the author was a graduate\nstudent at Harvard University. It was awarded the prize which had been\noffered for the best Christmas hymn written by a student. Though simple\nand unpretentious, Professor George Herbert Palmer declared it \u201ca\nperfect poem.\u201d The few lines encompass a vast body of Christian truth.\n\nThe author, Harry W. Farrington, 1880-1931 (date of death printed\nerroneously as 1911 in earlier editions of the _Hymnary_), was educated\nat Harvard and then became a Methodist minister. He was greatly\ninterested in work among children and inaugurated the Week Day Church\nSchool at Gary, Ind., in 1914. After returning from service in World War\nI, he became widely known as a speaker for children and it is estimated\nthat he addressed more than two million children in the public schools\nof America. He is the author of several volumes of poems and has written\nbooks on Franklin, Washington, Lincoln, and Theodore Roosevelt.\n\n_MUSIC._ ES IST EIN BORN, also named \u201cI Do Believe,\u201d and \u201cCamp-meeting,\u201d\nis an early American camp-meeting chorus sung to:\n\n I do believe, I now believe,\n I can hold out no more;\n I sink by dying love compelled\n And own Thee Conqueror.\n\nIt is used in the _Gesangbuch mit Noten_ to the words \u201c_Es ist ein Born,\nd\u2019raus heil\u2019ges Blut_.\u201d\n\n\n HIS TRIUMPHAL ENTRY\n\n\n100. All glory laud and honor _St. Theodulph of Orleans_, _c._ 820\n _Tr. John M. Neale_, 1854\n\nFrom a long Latin hymn of 39 couplets, based on Psalm 24:7-10; Psalm\n118:25-26; Matthew 21:1-17; and Luke 19:37-38.\n\n Gloria, laus et honor tibi sit, rex, Christe, redemptor,\n cui puerile decus prompsit hosanna pium.\n\n Israel tu rex, Davidis et inclyta proles,\n nomine qui in Domini, rex benedicte, venis.\n\n Coetus in excelsis te laudat caelicus omnis\n et mortalis homo, cuncta creata simul.\n\n Plebs Hebraea tibi cum palmis obvia venit;\n cum prece, voto, hymnis adsumus ecce tibi.\n\n Hi tibi passuro solvebant munia laudis;\n nos tibi regnanti pangimus ecce melos.\n\n Hi placuere tibi; placeat devotio nostra,\n rex pie, rex clemens, cui bona cuncta placent. Amen.\n\nThe hymn was used as the processional in the Palm Sunday service of the\nmedieval church.\n\nSt. Theodulph of Orleans composed the words about A.D. 820. He was\nprobably born in Italy, though neither the date nor place of his birth\nare definitely known. Theodulph became the abbot of a monastery in\nFlorence but was later brought to France and made bishop of Orleans.\nEmperor Louis the Pious imprisoned him on a false charge of conspiracy\nin 818. There is a legend, but only a legend, that this hymn was\ncomposed during the author\u2019s confinement, and that St. Theodulph sang it\nat the window of his cell as the King passed the prison on the way to\nchurch and that the latter was so moved by it that he ordered the\nrelease of Theodulph and his restoration to his office as bishop.\n\nThe translation was made by the learned John M. Neale (See 67) who wrote\nthat \u201canother verse was usually sung, until the 17th century, at the\npious quaintness of which we can scarcely avoid a smile:\n\n \u201cBe thou, O Lord, the rider,\n And we the little ass;\n That to God\u2019s holy city\n Together we may pass.\u201d\n\n_MUSIC._ ST. THEODULPH was composed by Melchior Teschner (c. 1615), a\nLutheran pastor and musician. It was originally sung to the German\nchorale, _Valet will ich dir geben_ (\u201cFarewell, I gladly bid thee\u201d), a\nhymn for the dying. That the same tune is used to carry a cheerful,\nfestive hymn, as well as a hymn for the dying, illustrates the\nplasticity of hymn tunes. Bach used the tune in his _St. John\u2019s\nPassion_, and it is also associated with Gerhardt\u2019s \u201c_Wie soll ich dich\nempfangen_.\u201d It is widely used as a Palm Sunday processional with St.\nTheodulph\u2019s words. The refrain may be sung by the congregation,\nanswering to the verses sung by the choir. Processional hymns were\nalmost invariably sung that way in the medieval church and Canon\nDouglass suggests that \u201cwe should put this plan into far wider practice\nif we really desire to improve our congregational singing.\u201d\n\n\n101. Ride on, ride on in majesty _Henry H. Milman_, 1791-1868\n\nA popular Palm Sunday hymn and incidentally one of the finest poems in\nour hymn books. It was written by Henry H. Milman at the age of 30, the\nyear he was elected Professor of Poetry at Oxford University\u20141821.\n\nHenry H. Milman was born in London, the son of Sir Francis Milman,\nphysician to the King. After a brilliant career at Oxford, he was\nordained at 25, appointed Professor of Poetry at Oxford at 30. Later he\nbecame canon of Westminster and finally dean of St. Paul\u2019s Cathedral in\nLondon, which high office he filled with distinction. He is the author\nof thirteen hymns. Milman was interested, too, in drama and wrote\nseveral plays and translated Greek plays. He is best known, however, as\na historian, having published _The History of the Jews_ in 1829, and the\n_History of Latin Christianity_ in 1855, both of them classics.\n\n_MUSIC._ ST. DROSTANE was written for the words \u201cRide on, ride on\u201d for\nthe _Congregational Hymn and Tune Book_, London, 1862. It has since come\ninto wide use with this hymn. Other tunes also used with this text are\n\u201cWinchester New\u201d (369) and \u201cPark Street\u201d (272).\n\nFor comments on the composer, J. B. Dykes, see Hymn 1.\n\n\n HIS PASSION\n\n\n102. When my love to God grows weak _John R. Wreford_, 1800-81\n\nA useful hymn, true to the Gospel record, and free from the emotional\nmorbidity that is found in many passion hymns.\n\nJohn Wreford, an Englishman trained for the Unitarian ministry, was\ncompelled to give up his ministry on account of a failing voice. He then\nopened a school at Edgbaston. The later years of his life were spent in\nretirement at Bristol. The original of this hymn written in 1837,\nreceived little notice until it was rewritten and improved by Samuel\nLongfellow, brother of the more famous Henry Wadsworth. In this revised\nform it has been included in a number of the best English hymnals.\n\n_MUSIC._ ORIENTIS PARTIBUS, the so-called \u201cDonkey Festival Tune,\u201d has a\nmost peculiar origin. During the Middle Ages, the church in some parts\nof France celebrated January 14 as the \u201cFeast of the Ass,\u201d to\ncommemorate the flight into Egypt. A beautiful young woman holding a\nchild in her arms rode a donkey through the streets of the town and then\ninto the principal church. The donkey, with its burden, stood beside the\nhigh altar while mass was celebrated, during which the hymn beginning\nwith the line \u201c_Orientis partibus adventatis asinus_\u201d was sung. The\nmelody of this hymn is the basis for our tune which was adapted by\nRichard Redhead and published in his _Church Hymn Tunes_, 1853. The\noriginal was the work of Pierre De Corbeil, Archbishop of Sens, who died\nin 1222. It is a virile tune worthy of its increasing place in modern\nhymn books.\n\nFor Richard Redhead see Hymn 109.\n\n\n103. \u2019Tis midnight and on Olive\u2019s brow _William Bingham Tappan_,\n 1794-1849\n\nA midnight hymn, depicting the darkness and sadness of Gethsemane. It is\noften sung at communion services held on Thursday evening before Good\nFriday.\n\nWilliam Bingham Tappan, a clock maker, was an influential leader in\nSunday school work in the Congregational Church in America. In early\nmanhood he taught school in Philadelphia, and then from 1826 until his\ndeath he was in the employ of the American Sunday School Union as\nmanager and superintendent at Philadelphia, Cincinnati, and Boston. He\nwrote and published eight or ten volumes of poetry of no special\nsignificance.\n\n_MUSIC._ OLIVET\u2019S BROW was composed for this hymn and was first\npublished in _The Shawm_, 1853, by Bradbury and Root.\n\nWilliam Batchelder Bradbury, 1816-68, was born in York, Maine. After\nmany struggles, due to poverty, he learned music from Lowell Mason and\nG. J. Webb and began conducting singing classes. He did outstanding work\nin New York City in teaching music to children. His Juvenile Music\nFestivals at the Baptist Tabernacle became an important feature of New\nYork\u2019s musical life and gave a powerful stimulus to the introduction of\nmusic into the public schools. In 1847, he went abroad for further study\nin music. Upon returning to America, he became associated with Geo. F.\nRoot, Thos. Hastings, and Lowell Mason in musical Normal Institute work.\nThe group collaborated in the production of a new type of church music,\nknown as gospel songs, which swept the country during the revivalistic\nwork of Moody and Sankey.\n\n\n104. There is a green hill far away _Mrs. Cecil Frances Alexander_,\n 1823-95\n\nA popular hymn on the atonement, written for children but appropriated\nfor general use with all ages. It was first published in the author\u2019s\n_Hymns for Little Children_, 1848, her most famous book which ran into\n100 editions. The accuracy of the first line may well be questioned for\nthe Gospels do not state that Jesus was crucified on a hill, only that\nit was a place called \u201cthe skull\u201d (Lk. 23:33). In any case, the\nsun-baked Judean hills are seldom green.\n\nCecil Frances Humphrey, daughter of Major John Humphrey, was a native of\nIreland. Her father was an Englishman who, as a landowner and government\nagent, went to reside in Ireland. In 1850, she married the Rev. Wm.\nAlexander who, after spending many years in obscure parish work, was\nelected Archbishop of Armagh and later Primate of all Ireland. Mrs.\nAlexander was pre\u00ebminently a writer for little children, her verses\nbeing characterized by simplicity and tenderness and poetic beauty; but\nshe also contributed some notable church songs, e.g., \u201cJesus calls us\no\u2019er the tumult\u201d (140).\n\nTo make the truths of the church catechism interesting and intelligible\nto little children, Mrs. Alexander wrote a series of poems to illustrate\nthe Apostle\u2019s Creed. This hymn is on the clause \u201csuffered under Pontius\nPilate, was crucified, dead, and buried.\u201d \u201cAll things bright and\nbeautiful\u201d (410) was written for the first clause, \u201cI believe in God the\nFather Almighty, maker of heaven and earth.\u201d For the second clause, \u201cAnd\nin Jesus Christ His Son, born of the virgin Mary\u201d she wrote \u201cOnce in\nroyal David\u2019s city\u201d (412).\n\n_MUSIC._ MEDITATION appeared in _Original Tunes_, 1890, by John H.\nGower, where it is set to \u201cThere is a land of pure delight.\u201d The tune\nhas since become closely associated with Mrs. Alexander\u2019s hymn for which\nit forms an appropriate setting.\n\nJohn Henry Gower, 1855-1922, English organist and concert artist, became\nprofessor of music at Trent College, Nottingham. Later he came to\nAmerica on account of mining interests in Colorado but maintained his\nactivity in music. He served as organist and choirmaster of St. John\u2019s\nCathedral, Denver, and during the World\u2019s Fair in Chicago, 1893, became\norganist of the Church of the Epiphany in that city.\n\n\n105-106. When I survey the wondrous cross _Isaac Watts_, 1674-1748\n\nOne of the twenty-five hymns prepared by Watts to be sung at the Lord\u2019s\nSupper. Matthew Arnold, the famous literary critic, called it the \u201cmost\nmajestic hymn in the English language.\u201d It is one of four hymns which\nhave been printed in more collections, translated into more tongues, and\nused in more congregations, than any other. The three hymns classed with\nthis in popularity are \u201cRock of Ages,\u201d \u201cJesus, Lover of my soul,\u201d and\n\u201cAll hail the power of Jesus\u2019 name.\u201d\n\nWatts gave this hymn the title \u201cCrucifixion to the World by the Cross of\nChrist.\u201d It is based on Galatians 6:14: \u201cGod forbid that I should glory\nsave in the Cross of our Lord Jesus Christ, by whom the world is\ncrucified to me, and I unto the world.\u201d In the first stanza there is a\nreference to Phil. 3:7: \u201cHowbeit what things were gain to me, these have\nI counted loss for Christ.\u201d The whole hymn, and especially the closing\nstanza, reflects the thought of Galatians 2:20: \u201cI have been crucified\nwith Christ ... who loved me and gave himself for me.\u201d The third stanza,\na sublime picture of the suffering Saviour, should always be sung\nsoftly.\n\nFor comments on Isaac Watts, see Hymn 11.\n\n_MUSIC._ ROCKINGHAM OLD is a famous tune always used with this hymn in\nEngland. It was named after the Marquis of Rockingham, a Whig statesman\nwho was thrice prime minister of England, and a friend of the composer.\n\nEdward Miller, 1731-1807, was born at Norwich, England, the son of a\nstone mason. He was a man of great literary attainments and considerable\nmusical ability. For 56 years he was organist of the parish church at\nDoncaster, receiving the appointment in 1751 and retaining the post\nuntil his death in 1807. Miller played the flute in Handel\u2019s orchestra\nin London and had many a story to tell of the great composer\u2019s\neccentricities. Dissatisfied with the church music of his time, he was\nled to publish a book, _Psalms of David_, which turned out to be a great\nsuccess. The book contained such tunes as \u201cBurford\u201d (228), \u201cSt. Magnes\u201d\n(582), \u201cSt. Anne\u201d (61), \u201cSurrey\u201d (44), and others of a similar style\nfrom the early part of the 18th century. It also contained some of his\noriginal tunes, including ROCKINGHAM OLD, destined to become one of the\nmost popular English tunes ever written. This tune was not identified at\nfirst with any particular words. Miller had set it to 9 different\npsalms, using 3 keys\u2014F, E flat, and E. It became associated with Watts\u2019\n\u201cWhen I survey the wondrous cross,\u201d in 1854, the combination appearing\nin _Mercer\u2019s Church Psalter_, and again in 1861, in _Hymns Ancient and\nModern_. The words and tune have now become inseparable in England.\n\nHAMBURG (106), an arrangement by Lowell Mason from a Gregorian Chant,\nillustrates the greatness of simplicity. The tune employs only five\ntones of the scale and yet breathes the dignity and solemnity of the\ngreat hymn to which it is set.\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n107. Go to dark Gethsemane _James Montgomery_, 1771-1854\n\nA song of the sufferings and death of Christ.\n\nGethsemane, the Judgment Hall, and Calvary are successively brought to\nmind and at each stage there is found in the example of Christ a lesson\nfor his disciples to learn.\n\nThe fourth verse in the original poem reads:\n\n Early hasten to the tomb\n Where they laid his breathless clay;\n All is solitude and gloom;\n Who hath taken him away?\n Christ is risen! he meets our eyes:\n Saviour, teach us so to rise.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ GETHSEMANE is a dignified tune in the minor mode, well adapted\nto carry the words of this hymn. It was composed by Christopher Tye (c.\n1508-72), a musician and minister in the Anglican Church, of whom a\ncontemporary document says that he is \u201ca doctor of music but not skilful\nat preaching.\u201d He has been called the \u201cfather of the anthem,\u201d having\ngiven it a model for others to follow.\n\nFor comments on W. H. Monk, who adapted the tune, see Hymn 40.\n\n\n108. Alas! and did my Savior bleed _Isaac Watts_, 1674-1748\n\nA fine hymn of consecration, published by Watts in his _Hymns and\nSpiritual Songs_, 1707, under the title \u201cGodly Sorrow Arising from the\nSufferings of Christ.\u201d Dr. Charles S. Robinson states that \u201cmore\nconversions in Christian biography are credited to this hymn than to any\nother.\u201d Fanny Crosby, the blind poet, ten of whose lyrics are found in\nthe _Hymnary_, credits this hymn with a share in her conversion. In\ntelling the story she says that during a revival in the old Thirtieth\nStreet Church, New York, in 1850, several times she sought the Saviour\nat the altar; but not until one evening, November 20, did the light\ncome. \u201cAfter a prayer was offered they began to sing the good old\nconsecration hymn, \u2018Alas! and did my Saviour bleed,\u2019 and when they had\nreached the third line of the fourth stanza, \u2018Here, Lord, I give myself\naway,\u2019 my very soul flooded with celestial light.\u201d\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ MARTYRDOM. The original form of this melody is in common time\n(4/4). It appeared in triple time in R. A. Smith\u2019s _Sacred Music sung in\nSt. George\u2019s Church_, Edinburgh, 1825, where it was designated \u201cOld\nScottish Melody.\u201d In 1827, it appeared in _The Seraph, Selection of\nPsalms and Hymns_, edited by J. Robertson and published at Glasgow. In a\nfootnote to the tune it is stated that \u201cthe above tune \u2018Fennich,\u2019 or\n\u2018Martyrdom,\u2019 and by some called \u2018Drumclog,\u2019 was composed by Hugh Wilson,\na native of Fennick.\u201d A legal dispute arose between Smith and Wilson\nover the ownership of the tune. The evidence was abundant to show that\nWilson composed it. It is an effective tune. When it was first sung in\nSt. George\u2019s, Edinburgh, the minister, Dr. Thomson, said, \u201cO man! I\ncould not sing for weeping.\u201d\n\nHugh Wilson, 1766-1824, the composer of the tune, learned his father\u2019s\ntrade of shoemaking, studied and taught mathematics, and made sun-dials\nas a hobby. He then held positions of responsibility in certain mills\nand afterwards became a draftsman. He was interested in Sunday school\nwork and wrote a number of psalm tunes but MARTYRDOM is the only one\nfound in modern hymnals.\n\n\n109. Throned upon the awful tree _John Ellerton_, 1826-93\n\nA solemn dirge of the Passion, written in 1875 in the seclusion of a\nquiet rural parish and regarded as the author\u2019s best composition. It\nappeared in _Hymns Ancient and Modern_, 1875.\n\nFor comments on John Ellerton see Hymn 43.\n\n_MUSIC._ REDHEAD NO. 76, also called \u201cPetra,\u201d and \u201cGethsemane,\u201d was\ncomposed by Richard Redhead, 1820-1901, English chorister and organist,\nand proponent of the Oxford Movement (not to be confused with the modern\nOxford movement headed by Buchman). The tune, without name, appeared in\nhis _Church Hymns and Tunes, Ancient and Modern_, 1853, as No. 76. In\nEngland it has long been sung to the hymn \u201cRock of Ages, cleft for me.\u201d\n\n\n110. In the Cross of Christ I glory _John Bowring_, 1792-1872\n\nThe most popular of John Bowring\u2019s _Hymns_, published in 1825, and a\nclassic among the hymns of the cross. It is based on Gal. 6:14: \u201cBut God\nforbid that I should glory save in the cross of our Lord Jesus Christ,\nby whom the world is crucified unto me, and I unto the world.\u201d Bowring\ndied on November 23, 1872, and the words, \u201cIn the cross of Christ I\nglory,\u201d were placed on his tombstone.\n\nIt is remarkable that so great a hymn on the cross should be written by\na Unitarian, a communion which denies the deity of Jesus and the\nevangelical doctrine of the atonement. Yet the hymn can be sung\nwhole-heartedly by every evangelical Christian for it magnifies the\ncross and makes it the center of the Christian faith. Bowring, in spite\nof his Unitarian connection, was a devout, evangelical believer.\n\nFor further comments on John Bowring see Hymn 55.\n\n_MUSIC._ RATHBUN was composed by Ithamar Conkey, 1815-67, an organist\nand prominent bass soloist who took part in many oratorio performances\nin New York City. The tune was composed one Sunday afternoon after the\nminister, Dr. Hiscox, of the Central Baptist Church, Norwich, Conn., had\npreached one of a series of sermons on the \u201cWords of the Cross.\u201d Conkey\nnamed the tune after the leading soprano in his choir, Mrs. Beriah S.\nRathbun.\n\n\n111. Cross of Jesus, Cross of sorrow _William J. Sparrow Simpson_\n\nFrom Stainer\u2019s oratorio, _The Crucifixion_, where it appears as No. 4\nunder the title, \u201cThe Mystery of Divine Humiliation.\u201d The original has\n10 stanzas.\n\nThe libretto of _The Crucifixion_ was written by Wm. J. Sparrow Simpson,\nChurch of England clergyman. He was educated at Cambridge, ordained in\n1882, and became chaplain of St. Mary\u2019s Hospital, Great Alford. His\ntheological works include the _Catholic Conception of the Church_ and\nthe _History of the Anglo-Catholic Movement_.\n\n_MUSIC._ CROSS OF JESUS in Stainer\u2019s _Crucifixion_ is intended among\nother numbers in the oratorio, \u201cto be sung by the congregation.\u201d Its\ndepth of feeling is best realized if sung in rather slow tempo.\n\nJohn Stainer, 1840-1901, began his career as a choir boy at St. Paul\u2019s\nCathedral, London, at the age of seven, continuing there for nine years.\nHe early became acquainted with Arthur Sullivan and the two remained\nfast friends throughout life. Stainer became one of England\u2019s greatest\norganists and succeeded Sir John Goss, at St. Paul\u2019s Cathedral. He was\none of the most prolific and best-loved of the Victorian composers. A\nbronze tablet, installed in his honor in St. Paul\u2019s, was dedicated by a\nservice in which parts of his cantatas were sung, and closed with his\n\u201csevenfold Amen\u201d (623).\n\n\n112. Beneath the Cross of Jesus _Elizabeth Cecilia Clephane_, 1830-69\n\nA hymn of Scottish origin, especially appropriate for use in Good Friday\nservices, but it can also be used on more general occasions.\n\nElizabeth Cecilia Douglas Clephane, daughter of the Sheriff of Fife and\nKinross, was born in Edinburgh. She was a member of the Free Church of\nScotland. Her hymn, \u201cThere were ninety and nine,\u201d became widely known\nthrough its use by Moody and Sankey in their famous evangelistic\nmeetings.\n\nThe hymn, \u201cBeneath the Cross of Jesus,\u201d appeared in Scotland, three\nyears after the death of Miss Clephane, in _The Family Treasure_, a home\nmagazine, with this explanatory note by the editor:\n\n These lines express the experiences, the hopes, and the longings of a\n young Christian lately released. Written on the very edge of this\n life, with the better land fully in view of faith, they seem to us\n footsteps printed on the sands of Time, where those sands touch the\n ocean of Eternity. These footprints of one whom the Good Shepherd led\n through the wilderness into rest, may, with God\u2019s blessing, contribute\n to comfort and direct succeeding pilgrims.\n\n_MUSIC._ ST. CHRISTOPHER was composed for this hymn by Frederick C.\nMaker, 1844-1927, an English organist and composer of numerous hymn\ntunes. Maker spent all his life in Bristol, England, thirty years of\nwhich were devoted to the position of organist at the Redland Park\nCongregational Church.\n\n\n HIS RESURRECTION\n\n\n113. Come ye faithful, raise the strain _John of Damascus_, _c._ 700\n _Tr. John M. Neale_\n\nA Greek hymn based on the Song of Moses, Exodus 15.\n\n \u0391\u1f34\u03c3\u03c9\u00b5\u03b5\u03bd, \u03c0\u03ac\u03bd\u03c4\u03b5\u03c2 \u03bb\u03b1\u03bf\u03af,\n \u03c4\u1ff6 \u1f10\u03ba \u03c0\u03b9\u03ba\u03c1\u1fb6\u03c2 \u03b4\u03bf\u03c5\u03bb\u03b5\u03af\u03b1\u03c2\n \u03a6\u03b1\u03c1\u03b1\u1f7c \u03c4\u1f78\u03bd \u1f38\u03c3\u03c1\u03b1\u1f74\u03bb \u1f00\u03c0\u03b1\u03bb\u03bb\u03ac\u03be\u03b1\u03bd\u03c4\u03b9\n \u03ba\u03b1\u1f76 \u1f10\u03bd \u03b2\u03c5\u03b8\u1ff7 \u03c6\u03b1\u03bb\u03ac\u03c3\u03c3\u03b7\u03c2\n \u03c0\u03bf\u03b4\u1f76 \u1f00\u03b2\u03c1\u03cc\u03c7\u03c9\u03c2 \u1f41\u03b4\u03b7\u03b3\u03ae\u03c3\u03b1\u03bd\u03c4\u03b9\n \u1fa0\u03b4\u1f74\u03bd \u1f10\u03c0\u03b9\u03bd\u03af\u03ba\u03b9\u03bf\u03bd,\n \u1f45\u03c4\u03b9 \u03b4\u03b5\u03b4\u03cc\u03be\u03b1\u03c3\u03c4\u03b1\u03b9.\n\n \u03a3\u03ae\u00b5\u03b5\u03c1\u03bf\u03bd \u1f14\u03b1\u03c1 \u03c8\u03c5\u03c7\u1ff6\u03bd,\n \u1f45\u03c4\u03b9 \u03a7\u03c1\u03b9\u03c3\u03c4\u1f78\u03c2 \u1f10\u03ba \u03c4\u03ac\u03c6\u03bf\u03c5,\n \u1f65\u03c3\u03c0\u03b5\u03c1 \u1f25\u03bb\u03b9\u03bf\u03c2, \u1f10\u03ba\u03bb\u03ac\u00b5\u03c8\u03b1\u03c2 \u03c4\u03c1\u03b9\u03ae\u00b5\u03b5\u03c1\u03bf\u03c2\n \u03c4\u03bf\u03bd \u03b6\u03bf\u03c6\u03b5\u03c1\u1f78\u03bd \u03c7\u03b5\u03b9\u00b5\u1ff6\u03bd\u03b1\n \u1f00\u03c0\u03ae\u03bb\u03b1\u03c3\u03b5 \u03c4\u1fc6\u03c2 \u1f01\u00b5\u03b1\u03c1\u03c4\u03af\u03b1\u03c2 \u1f21\u00b5\u1ff6\u03bd,\n \u03b1\u1f50\u03c4\u1f78\u03bd \u1f00\u03bd\u03c5\u00b5\u03bd\u03ae\u03c3\u03c9\u00b5\u03b5\u03bd,\n \u1f45\u03c4\u03b9 \u03b4\u03b5\u03b4\u03cc\u03be\u03b1\u03c3\u03c4\u03b1\u03b9.\n\n \u1f29 \u03b2\u03b1\u03c3\u03b9\u03bb\u1f76\u03c2 \u03c4\u1ff6\u03bd \u1f61\u03c1\u1ff6\u03bd\n \u03c4\u1fc6 \u03bb\u03b1\u00b5\u03c0\u03c1\u03bf\u03c6\u03cc\u03c1\u1ff3 \u1f21\u00b5\u03ad\u03c1\u1fb3\n \u1f21\u00b5\u03b5\u03c1\u1ff6\u03bd \u03c4\u03b5 \u03b2\u03b1\u03c3\u03b9\u03bb\u03af\u03b4\u03b9 \u03c6\u03b1\u03bd\u03cc\u03c4\u03b1\u03c4\u03b1\n \u03b4\u03c9\u03c1\u03bf\u03c6\u03bf\u03c1\u03bf\u1fe6\u03c3\u03b1, \u03c4\u03ad\u03c1\u03c0\u03b5\u03b9\n \u03c4\u1f78\u03bd \u1f14\u03b3\u03ba\u03c1\u03b9\u03c4\u03bf\u03bd \u03c4\u1fc6\u03c2 \u1f10\u03ba\u03ba\u03bb\u03b7\u03c3\u03af\u03b1\u03c2 \u03bb\u03b1\u03cc\u03bd,\n \u1f00\u03c0\u03b1\u03cd\u03c3\u03c4\u03c9\u03c2 \u1f00\u03bd\u03c5\u00b5\u03bd\u03bf\u1fe6\u03c3\u03b1\n \u03c4\u1f78\u03bd \u1f00\u03bd\u03b1\u03c3\u03c4\u03ac\u03c4\u03b1 \u03a7\u03c1\u03b9\u03c3\u03c4\u03cc\u03bd.\n\n \u03a0\u03cd\u03bb\u03b1\u03b9 \u03b8\u03b1\u03bd\u03ac\u03c4\u03bf\u03c5, \u03a7\u03c1\u03b9\u03c3\u03c4\u03ad,\n \u03bf\u1f50\u03b4\u1f72 \u03c4\u03bf\u1fe6 \u03c4\u03ac\u03c6\u03bf\u03c5 \u03c3\u03c6\u03c1\u03b1\u03b3\u1fd6\u03b4\u03b5\u03c2,\n \u03bf\u1f50\u03b4\u1f72 \u03ba\u03bb\u03b5\u1fd6\u03b8\u03c1\u03b1 \u03c4\u1ff6\u03bd \u03b8\u03c5\u03c1\u1ff6\u03bd \u03a3\u03bf\u03b9 \u1f00\u03bd\u03c4\u03ad\u03c3\u03c4\u03b7\u03c3\u03b1\u03bd,\n \u1f00\u03bb\u03bb\u2019 \u1f00\u03bd\u03b1\u03c3\u03c4\u1f70\u03c2 \u1f10\u03c0\u03ad\u03c3\u03c4\u03b7\u03c2\n \u03c4\u03bf\u1fd6\u03c2 \u03c6\u03af\u03bb\u03bf\u03b9\u03c2 \u03c3\u03bf\u03c5 \u03b5\u1f30\u03c1\u03ae\u03bd\u03b7\u03bd, \u0394\u03ad\u03c3\u03c0\u03bf\u03c4\u03b1,\n \u03b4\u03c9\u03c1\u03bf\u03cd\u00b5\u03b5\u03bd\u03bf\u03c2 \u03c4\u1f74\u03bd \u03c0\u03ac\u03bd\u03c4\u03b1\n \u03bd\u03bf\u1fe6\u03bd \u1f51\u03c0\u03b5\u03c1\u03ad\u03c7\u03bf\u03c5\u03c3\u03b1\u03bd.\n\nIt was written by John of Damascus about the middle of the 8th century.\n\nJohn of Damascus, Greek theologian and distinguished hymnist, as well as\nthe greatest scholar and poet of his time, was born in Damascus of a\nprominent family, about A.D. 700. He was educated by an Italian monk\nnamed Cosmas, and retired to the monastery of St. Sabas in the Holy\nLand. He died between 754 and 787. He wrote a number of canons. A canon\nin Greek hymnology was a series of odes, usually eight or nine, threaded\non an acrostic. This hymn is from his canon for the Sunday after Easter.\n\nFor comments on the translator, John M. Neale, see Hymn 67.\n\n_MUSIC._ ST. KEVIN. The composer, Arthur Sullivan, 1842-1900, was born\nin London, the son of an Irish band-master. He received a thorough\nmusical education in London and on the continent and became a famous\nchoir leader, hymn book editor, conductor, and composer. In\ncollaboration with W. S. Gilbert, he composed light operas for which he\nis best known.\n\n\n114. Jesus Christ is ris\u2019n today _Latin_\n _Charles Wesley_, 1707-88\n\nThis hymn, which Percy Dearmer called \u201cthe Easter hymn par excellence,\u201d\nis based upon some Latin verses of an Easter carol of the 14th century,\nexcept verse 4, which is attributed to Charles Wesley. It is of unknown\nauthorship, appearing with the tune \u201cEaster Hymn\u201d in a now rare book,\n_Lyra Davidica_.\n\n\u201cAllelujah\u201d is \u201cHallelujah\u201d with the \u201cH\u201d omitted to soften it.\n\nFor comments on Wesley see Hymn 6.\n\n_MUSIC._ EASTER HYMN, one of the most famous of all hymn tunes, is from\n_Lyra Davidica, or a Collection of Divine Songs and Hymns, partly New\nComposed, partly Translated from the High German and Latin Hymns; and\nset to easy and pleasant Tunes_, published in London, 1708. The composer\nis unknown. The hymn and tune were headed, \u201cThe Resurrection.\u201d\n\n\n115. The day of Resurrection _John of Damascus_, _c._ 700\n _Tr. John M. Neale_\n\n \u1f08\u03bd\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03c9\u03c2 \u1f21\u00b5\u03ad\u03c1\u03b1,\n \u03bb\u03b1\u00b5\u03c0\u03c1\u03c5\u03bd\u03b8\u1ff6\u00b5\u03b5\u03bd \u03bb\u03b1\u03bf\u03af.\n \u03a0\u03ac\u03c3\u03c7\u03b1 \u039a\u03c5\u03c1\u03af\u03bf\u03c5, \u03c0\u03ac\u03c3\u03c7\u03b1.\n \u1f18\u03ba \u03b3\u1f70\u03c1 \u03b8\u03b1\u03bd\u03ac\u03c4\u03bf\u03c5 \u03c0\u03c1\u1f78\u03c2 \u03b6\u03c9\u03ae\u03bd,\n \u03ba\u03b1\u1f76 \u1f10\u03ba \u03b3\u1fc6\u03c2 \u03c0\u03c1\u1f78\u03c2 \u03bf\u1f50\u03c1\u03b1\u03bd\u03cc\u03bd,\n \u03a7\u03c1\u03b9\u03c3\u03c4\u1f78\u03c2 \u1f41 \u03b8\u03b5\u1f78\u03c2\n \u1f21\u00b5\u1fb6\u03c2 \u03b4\u03b9\u03b5\u03b2\u03af\u03b2\u03b1\u03c3\u03b5\u03bd,\n \u1f10\u03c0\u03b9\u03bd\u03af\u03ba\u03b9\u03bf\u03bd \u1f84\u03b4\u03bf\u03bd\u03c4\u03b1\u03c2.\n\nAnother resurrection hymn from the Eastern Church by John of Damascus.\n(See 113.) It is sung after midnight on Easter morning to set forth the\nfact of the resurrection. Julian describes the service in his\n_Dictionary of Hymnology_ (p. 62). The people assemble in the church\nwith unlighted tapers in their hands. While the priest chants in a half\nwhisper, they await the signal that Easter Day has begun. A cannon is\nfired when the moment comes, the Cross is raised, and the people cry,\n\u201c_Christos anesti_\u201d (Christ is risen.) The tapers are lighted and the\nchurch is set ablaze with light. Outside there is the sound of drums and\ntrumpets, the people embrace and congratulate each other, and salute one\nanother with \u201c_Christos anesti_.\u201d\n\nThe reference in stanza 2 is to Matt. 28:9: \u201cJesus met them, saying,\n\u2018All Hail!\u2019\u201d\n\nFor comments on the translator, John M. Neale, see Hymn 67.\n\n_MUSIC._ LANCASHIRE, a thrilling tune of steady swing, was composed for\n\u201cFrom Greenland\u2019s icy mountains,\u201d to be used at a missionary meeting at\nBlackburn, England. It is also, in some hymn books, used with \u201cLead on,\nO King Eternal\u201d (399).\n\nFor comments on the composer, Henry Smart, 1813-79, see Hymn 46.\n\n\n116. The strife is o\u2019er, the battle done _Latin_\n _Tr. Francis Pott_, 1832-1909\n\n Alleluia, Alleluia, Alleluia.\n Finita iam sunt praelia,\n Est parta iam victoria;\n Gaudeamus et canamus:\n Alleluia!\n\n Post fata mortis barbara\n Devicit Iesus tartara;\n Applaudamus et psallamus:\n Alleluia!\n\n Surrexit die tertia\n Caelesti clarus gratia\n Insonemus et cantemus:\n Alleluia!\n\n Sunt clausa stygis ostia.\n Et caeli patent atria;\n Gaudeamus et canamus:\n Alleluia!\n\n Per tua, Iesu, vulnera\n Nos mala morte libera,\n Ut vivamus et canamus:\n Alleluia! Amen.\n\nOne of the most celebrated of Easter hymns. It comes from an anonymous\nmedieval Latin poem which appeared in the Jesuit _Symphonia Sirenum_,\nCologne, 1695.\n\nThe translation is by Francis Pott, an Englishman. He was educated at\nOxford University and after serving a long number of years as curate and\nrector in various churches, he retired on account of increasing\ndeafness. Pott published several volumes of hymns and wrote a book on\nthe \u201c_Te Deum_.\u201d He was a member of the original committee which\nproduced _Hymns Ancient and Modern_.\n\n_MUSIC._ VICTORY, also called \u201cPalestrina,\u201d is an adaptation from the\n\u201cGloria Patri\u201d of a work called, _Magnificat Tertii Toni_, 1591, by the\neminent Italian composer, Giovanni Pierluigi Sante Da Palestrina,\n1525-94.\n\nThe present arrangement was made by Wm. H. Monk for this hymn.\n\nPalestrina, foremost composer of the Roman Catholic Church and supreme\nmaster of polyphonic music, was born at Palestrina, Italy, the son of a\nwealthy peasant, Pierluigi Sante. He was named \u201cDa Palestrina\u201d after his\nbirthplace, a common custom in his time. He received his musical\ntraining at Rome where he came under the powerful influence of Orlando\ndi Lasso, the great master from the Netherlands. Palestrina served as\nchapelmaster in his home town, master of the boys in the Julian Chapel\nin Rome, and in 1555 was appointed one of the pontifical singers in the\nSistine Chapel but was dismissed a few months later when he became\nguilty of the \u201ccrime\u201d of matrimony. He then became chapelmaster at St.\nJohn Lateran and later of the Liberian Chapel of Santa Maria Maggiore,\nduring which time he became known as \u201cthe saviour of church music.\u201d Many\nabuses had crept into the music of the church, particularly in the use\nof secular airs grafted on stately church themes, and improvizations by\nthe singers who sometimes departed from the solemn words of the service\nand substituted profane and lewd words in Italian and French. To correct\nthis scandal, the Ecumenical Council of Trent, in 1552, asked Palestrina\nto prepare a mass free from the admixture of alien words and secular\nmelodies, and suitable for church use. The result was the composition of\nthree 6-part services, one of which, _Missa Papae Marcelli_, has been\nregarded as one of the most sublime creations of all music and the model\nof what church music should be. As a reward for this service, Palestrina\nwas granted a stipend by papal decree which was not large but gave him a\nsufficient income. In 1571 he was re-elected to his old post as\nChapelmaster of St. Peter\u2019s, where he remained for life. His fame as\nteacher and composer extended throughout Europe, but his happiness was\nclouded by the loss of two sons and the death of his wife in 1580, while\nthe remaining son, Igino, became a source of grief to him. Palestrina\u2019s\ncompositions were many and of great variety, including 93 masses, 179\nmotets, hymns, prayers, responses, madrigals, etc.\n\nFor comments on Monk see Hymn 40.\n\n\n HIS ASCENSION\n\n\n117. Hail the day that sees Him rise _Charles Wesley_, 1707-88\n\nThis hymn, originally in ten stanzas, appeared in Wesley\u2019s _Hymns and\nSacred Poems_, 1739, under the caption \u201cFor Ascension Day.\u201d The\nHallelujah was added later in White\u2019s _Introits and Hymns_, 1852.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ LLANFAIR, also named \u201cBethel,\u201d is a Welsh hymn tune by Robert\nWilliams, c. 1781-1821, a basket maker. He was born blind, but became a\nskilled craftsman and a musician of considerable ability.\n\n\n118. Crown Him with many crowns _Matthew Bridges_, 1800-94\n\nBased on Rev. 19:12: \u201cOn his head were many crowns.\u201d The hymn mentions a\nfour-fold crowning of Christ, as: (1) Lamb upon His throne; (2) Son of\nGod; (3) Lord of life; (4) Lord of heaven. Two omitted stanzas mention\n\u201cLord of peace,\u201d and \u201cLord of years.\u201d\n\nMatthew Bridges was brought up in the church of England but became\ninterested in the Oxford Movement and entered the Roman Catholic Church\nin 1848. He was a student of history and wrote _The Roman Empire under\nConstantine the Great_. He is also the author of several books of poems.\nThe latter part of his life was spent in the Province of Quebec, Canada.\n\nThe hymn was recast by Godfrey Thring to eliminate several obvious Roman\ntendencies in it.\n\n_MUSIC._ DIADEMATA, a solid, dignified tune which organists like to play\nand congregations enjoy singing, was written for this hymn and named\nafter the Latin title given the hymn.\n\nThe composer, George Job Elvey, 1816-93, was a gifted organist and\ncomposer and a devout Christian. He received the Bachelor of Music and\nDoctorate in Music from Oxford University and was organist of St.\nGeorge\u2019s Chapel, Windsor, for 47 years.\n\n\n119. Look, ye saints, the sight is glorious _Thomas Kelly_, 1769-1854\n\nA majestic coronation hymn ranking with the best hymns of Watts and\nWesley. It is based on Rev. 11:15: \u201cThe kingdoms of this world are\nbecome the kingdoms of our Lord and of his Christ. And he shall reign\nforever and ever.\u201d\n\nThomas Kelly was born in Dublin, the son of an Irish judge. He at first\nintended to follow his father into the legal profession, but his\nprofound religious convictions led him to train for the ministry. As a\nyoung clergyman, he was summoned, with others, to appear before the\nArchbishop of Dublin to answer for his evangelistic zeal. He was rebuked\nand prohibited from preaching in Dublin pulpits. He then withdrew from\nthe Church of England and started a number of independent churches. He\nwas much interested in the hymnody of the church and wrote 736 hymns in\nall. They are characterized by loyalty to Jesus Christ and a deep\nevangelical glow.\n\n_MUSIC._ CORONAE is a virile tune, written in 1871, and well adapted by\nits voice range for congregational singing.\n\nFor comments on the composer, Wm. H. Monk, see Hymn 40.\n\n\n120. Majestic sweetness sits enthroned _Samuel Stennett_, _c._ 1727-95\n\nThis hymn was published in John Rippon\u2019s _Selection_, 1787, with the\ntitle, \u201cChief among Ten Thousand: or the Excellencies of Christ.\u201d It is\nbased on Song of Solomon 5:10-16. The original has 9 stanzas.\n\nThe author, Samuel Stennett, prominent non-conformist and champion of\nreligious freedom, was a Baptist clergyman who in 1741 became his\nfather\u2019s assistant in Little Wild Street Church, London, and then\nsucceeded his father in 1758, continuing in the pastorate of the church\nuntil his death in 1795.\n\n_MUSIC._ ORTONVILLE has been a favorite hymn tune for over a century. It\nis associated with these words now, but at first it was set to \u201cO for a\ncloser walk with God.\u201d Among Hastings\u2019 tunes, this is second in\npopularity to \u201cToplady\u201d (148), the tune he made for \u201cRock of Ages.\u201d\n\nThos. Hastings, 1784-1872, was born in Connecticut, moved to New York\nstate to farm but left the farm at the age of 33 to devote himself to\nmusic. In 1831 he moved to New York City to serve the musical interests\nof a group of churches. He wrote 600 hymns and about 1,000 hymn tunes.\nHe published 50 books of music and collaborated with Lowell Mason in\n_Spiritual Songs for Social Worship_. The University of the City of New\nYork gave him the degree of Doctor of Music in 1858.\n\n\n121. Rejoice, the Lord is King _Charles Wesley_, 1707-88\n\nA jubilant song of Christ\u2019s exaltation and coming in power, based on\nPhil. 4:4: \u201cRejoice in the Lord alway, and again I say, rejoice.\u201d\n\nThe hymn, in seven stanzas, appeared first in John Wesley\u2019s _Sacred and\nMoral Poems_, 1744, and later in Wesley\u2019s _Hymns for our Lord\u2019s\nResurrection_, 1746. Though the resurrection note is in the hymn, it is\nappropriate also for general occasions.\n\nCharles Wesley wrote four great festival hymns: (1) \u201cHark! the herald\nangels sing\u201d for Christmas; (2) \u201cChrist the Lord is risen today\u201d for\nEaster; (3) \u201cHail the day that sees Him rise\u201d for Ascension; and (4)\n\u201cRejoice, the Lord is king\u201d for Whitsuntide.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ ARTHUR\u2019S SEAT appeared in _Hymns and Songs of Praise_ 1874, by\nJohn K. Paine and Uzziah C. Burnap. The tune is believed to be an\narrangement by Burnap from a melody composed by Sir John Goss, 1800-80,\nEnglish organist and composer of church choir music. Handel composed a\ntune, \u201cGopsal,\u201d especially for this hymn, but it is not well known and\nhas not found its way into many of the hymn books.\n\nFor comments on Paine and Burnap see Hymn 134.\n\n\n122. Hail, Thou once despis\u00e8d Jesus! _John Bakewell_, 1721-1819\n\nA worshipful and strongly doctrinal hymn, bringing out plainly the\ndoctrine of the atonement as well as the Saviour\u2019s enthronement and\nglorification.\n\nThe authorship is traditionally assigned to John Bakewell, one of John\nWesley\u2019s lay preachers. But it is not clear that he wrote all of it. It\nappeared in 1760 in a collection by M. Madan, and later, in 1776, it was\nincluded in _Psalms and Hymns_ by Augustus M. Toplady. Both editors\napparently made some changes and omissions in the hymn, resulting in our\npresent version.\n\n_MUSIC._ IN BABILONE is a Dutch traditional melody, its present\narrangement having been made by Professor Julius R\u00f6ntgen, 1855-1933, of\nAmsterdam. It appeared in _The English Hymnal_ in 1906 and has since won\nits way into many American hymn books. It is a joyous, robust melody\nwell suited to carry this hymn.\n\n\n123. Hark, ten thousand harps and voices _Thomas Kelly_, 1769-1854\n\nBased on Heb. 1:6: \u201cLet all the angels of God worship Him.\u201d\n\nThe original poem has 7 stanzas. Lowell Mason added the \u201cHallelujahs\u201d\nand the \u201cAmen\u201d when he set the hymn to music. Some hymn books have\nsoftened the \u201cHallelujah\u201d to \u201cAllelujah.\u201d The last stanza is a prayer\nfor the hastening of the day when heaven and earth shall pass away,\nwhich some may not be able to sing heartily and sincerely.\n\nFor comments on Thomas Kelly see Hymn 119.\n\n_MUSIC._ HARWELL was written for this hymn in 1840. The original version\nhad the men\u2019s voices introduce lines 5 and 6 with a dotted eighth and a\nsixteenth note, in unison, while the soprano and altos observed a\nquarter rest. Later editing changed the tune so all the parts observed\nthe quarter rest.\n\nFor comments on the composer, Lowell Mason, see Hymn 12.\n\n\n124. Alleluia! sing to Jesus! _William C. Dix_, 1837-98\n\nBased on Rev. 5:9: \u201cThou hast redeemed us to God by thy blood out of\nevery nation.\u201d\n\nThe original poem of five stanzas appeared in Dix\u2019s _Altar Songs_, 1867,\nand was entitled \u201cRedemption by the Precious Blood.\u201d The hymn was linked\nto the sacrament of the Lord\u2019s Supper. The third and fourth stanzas,\nomitted here, are as follows:\n\n Alleluia! Bread of Heaven,\n Thou on earth our food, our stay!\n Alleluia! here the sinful\n Flee to thee from day to day:\n Intercessor, friend of sinners,\n Earth\u2019s Redeemer, plead for me,\n Where the songs of all the sinless,\n Sweep across the crystal sea.\n\n Alleluia! King eternal,\n Thee the Lord of lords we own:\n Alleluia! born of Mary,\n Earth thy footstool, heav\u2019n thy throne:\n Thou within the veil hast entered,\n Robed in flesh, our great High Priest:\n Thou on earth both Priest and Victim\n In the eucharistic feast.\n\nFor comments on William C. Dix see Hymn 78.\n\n_MUSIC._ The tune was taken from _St. Basil\u2019s Hymnal_, Chicago, 1918,\nwhere it appears unnamed. It is a traditional Dutch melody. The present\narrangement of it is anonymous.\n\n\n HIS COMING AGAIN\n\n\n125. The King shall come when morning dawns _From the Greek_\n _Tr. by John Brownlie_, 1859-1925\n\nThis hymn, setting forth the hope of Christ\u2019s Second Coming in triumph,\ncomes from the Greek, but no information is at hand concerning the\noriginal poem. It is not included in Julian\u2019s _Dictionary_.\n\nThe translation is by John Brownlie, a Scottish minister, born in\nGlasgow. He published several books of original hymns and translations\nfrom the Greek.\n\n_MUSIC._ JERUSALEM, JERUSALEM is wrongly attributed here to Thomas\nHastings though it is possible that the arrangement is his. The same\ntune, named \u201cSt. Michel\u2019s,\u201d appears at No. 93, which see for comments.\n\nFor comments on Thomas Hastings see Hymn 120.\n\n\n126. Thou art coming, O my Savior _Frances R. Havergal_, 1836-79\n\nThe first hymn Miss Havergal wrote after Advent Sunday, December 2,\n1873, when she \u201cfirst saw clearly the blessedness of true consecration.\u201d\n\nFrances Ridley Havergal was the daughter of Rev. Wm. H. Havergal, an\nAnglican clergyman who was greatly interested in the hymns and music of\nthe church and composed a number of tunes still in use. His tune,\n\u201cEvan,\u201d is used in the _Hymnary_ (153 and 253). Frances thus grew up in\na cultured religious environment in which hymns and church music held a\nprominent place. She was handicapped by a frail body and died at the\nearly age of forty-three. But throughout her short life, from the time\nof her confirmation at seventeen until the end, she had an unbounded joy\nin Christian service. No suffering could diminish her faith in the grace\nof God through Jesus Christ. Despite her poor health, she was a devoted\nstudent of the Bible and was able to repeat from memory the four\nGospels, the Epistles, Revelations, all the Psalms, Isaiah, and the\nMinor Prophets. Besides writing many letters counselling those who\nsought her advice, she wrote devotional books and composed sacred hymns\nand poems, always emphasizing consecration and service. She made a\nconsiderable contribution to the hymnody of the church. Six of her\ncompositions are to be found in the _Hymnary_ (126, 190, 215, 219, 296,\n380).\n\n_MUSIC._ BEVERLEY was composed for this hymn for use in _Hymns Ancient\nand Modern_, Rev. ed., 1875.\n\nFor comments on W. H. Monk see Hymn 40.\n\n\n127. Christ is coming, let creation _John R. Macduff_, 1818-95\n\nA Scottish hymn setting forth the glowing hope and expectation of the\ncoming of Christ in glory. It is based on Rev. 22:20: \u201cHe which\ntestifieth these things saith, Surely, I come quickly. Amen. Even so,\ncome, Lord Jesus.\u201d\n\nJohn R. Macduff was minister of the Sandyford Parish, Glasgow. He is the\nauthor of several books of devotions and wrote numerous hymns. His\nministry at Sandyford was singularly fruitful. George Mattheson, blind\nScottish preacher, then a boy in Macduff\u2019s congregation, afterwards said\nof him: \u201cDr. Macduff gave me my first real conviction of the beauty of\nChristianity.\u201d Macduff held strongly to the premillennial view of the\ncoming of Christ.\n\n_MUSIC._ NEANDER. This famous tune has been associated with various\nwords. The composer first published it in 1680 set to the hymn, \u201c_Unser\nHerrscher, unser K\u00f6nig_.\u201d It is also used with Schmolk\u2019s \u201cOpen now the\ngates of beauty\u201d (505), and in England it is almost invariably\nassociated with \u201cCome, ye saints, and raise an anthem,\u201d by J. Hupton and\nothers.\n\nJoachim Neander, 1650-80, whose real name was Neumann, was born at\nBremen, where he spent most of his life. As a youth he was somewhat wild\nbut in time became converted and associated himself with the Pietists of\nGermany. He was a friend of Spener, the leader of the Pietists. His\nunconventional zeal brought him into conflict with the authorities of\nthe Reformed Church of which he was a member, and he was dismissed for a\ntime from his office as teacher in the D\u00fcsseldorf schools. Being obliged\nto leave town, he lived for some months in a cave in the region of the\nRhine, where he composed many of his hymns. He is the foremost hymn\nwriter of the German Reformed Church and is called \u201cthe Paul Gerhardt of\nthe Calvinists.\u201d Neander, like Luther, was a man of scholarship and\naccomplishment in poetry and music, as well as theology. He wrote more\nthan 60 hymns and composed tunes for them.\n\n\n128. Ye servants of the Lord _Philip Doddridge_, 1702-51\n\n\u201cThe Active Christian\u201d is the author\u2019s title of this hymn. It appeared\nfirst in Job Orton\u2019s posthumous edition of _Hymns founded on Various\nTexts_, 1755. It is founded on Luke 12:35-37:\n\n Let your loins be girded about, and your lights burning;\n\n And ye yourselves like unto men that wait for their lord, when he will\n return from the wedding; that when he cometh and knocketh, they may\n open unto him immediately.\n\n Blessed are those servants, whom the lord when he cometh shall find\n watching: verily I say unto you, that he shall gird himself, and make\n them to sit down to meat, and will come forth and serve them.\n\nDoddridge, known for his sound learning and genuine Christian character,\nwas a first-rate hymn writer. He taught Hebrew, Greek, algebra,\ntrigonometry, logic, philosophy, and theology to classes of candidates\nfor the Congregational ministry.\n\nFor further comments on Doddridge see Hymn 56.\n\n_MUSIC._ OLD 134TH (ST. MICHAEL) is one of the greatest of short-meter\ntunes, derived from the tune composed by L. Bourgeois for Psalm 101 in\nthe _Genevan Psalter_ of 1551.\n\nFor comments on L. Bourgeois see Hymn 34.\n\n\n129. Come, Lord, and tarry not _Horatius Bonar_, 1808-89\n\nA plaintive, sad hymn bordering almost on pessimism, by an able, pious\nauthor who held the doctrine of the premillenarian coming of Christ. All\nhis life, Bonar\u2019s mind was occupied with the subject of the second\nadvent, an interest which inspired much of his writing.\n\nHoratius Bonar, born in Edinburgh, was the prince of Scottish hymn\nwriters. Educated at the University of Edinburgh, he was ordained in\n1837 and became a minister in the Established Church of Scotland at\nKelso. At the Disruption in 1843, Bonar \u201ccame out\u201d and was one of the\nfounders of the Free Church of Scotland (Presbyterian). Leaving Kelso,\nhe became the minister of Chalmer\u2019s Memorial Church in Edinburgh, where\nhe served, a greatly beloved man, until his death. He was known as a man\nof wide scholarship and culture. His mind was saturated with Scripture\nand his heart possessed by a broad and generous faith.\n\nHis son, Rev. H. N. Bonar, wrote his father\u2019s _Life_ which gives some\ninteresting information concerning his hymn writing. Bonar carried\nnotebooks with him in which he jotted thoughts, verses, and hymns as\nthey came to his mind.\n\n\u201cThese notebooks,\u201d writes the son, \u201ccontain most of the better-known\nhymns, hastily written down in pencil in his spare moments. They are\nfull of contractions, with an occasional word or phrase in shorthand;\nsometimes a line is struck out and another substituted, yet in nearly\nevery case the complete hymn, almost as it was afterwards published, can\nbe gleaned from this rough draft.\u201d\n\n_MUSIC._ SHIRLAND was composed by Samuel Stanley, 1767-1822, English\ncomposer and precentor of Carr\u2019s Lane Congregational Chapel, in\nBirmingham. Through his skilled leadership the music of this church\nbecame famous. The hymn singing attracted attention and resulted in a\ngreat growth in the congregation.\n\nFor further comments on Stanley see Hymn 20.\n\n\n130. Lo, He comes, with clouds descending _John Cennick_, 1718-55\n\nA hymn on the Second Advent, based on Rev. 1:7: \u201cBehold He cometh with\nclouds; and every eye shall see him, and they also which pierced him:\nand all kindreds of the earth shall wail because of him. Even so, Amen.\u201d\n\nThe author, John Cennick, came from a Quaker family though he grew up in\nthe Church of England. For some years his religious convictions were\nunsettled. Then while engaged in land surveying, he came under the\ninfluence of Wesley and became one of his lay preachers. Later he became\na follower of George Whitefield, and finally he joined the Moravians.\nWhile limited in culture and outlook, he possessed genuine lyric fire;\nand his name is of note among the hymnists, even though only a few of\nhis many hymns survive.\n\nThis hymn has been much revised. It owes not a little to Charles Wesley\nwho changed Cennick\u2019s first line, \u201cLo! he cometh; countless trumpets,\u201d\nto the familiar \u201cLo, He comes with clouds descending.\u201d Martin Madan, who\nissued the hymn in his _Collection of Psalms and Hymns_, also gave it\ncertain finishing touches. The hymn possesses a scriptural vividness and\nimpressive treatment of theme which have carried it throughout the\nEnglish speaking world, despite the apocalyptic form of the description\nit sets forth.\n\n_MUSIC._ HOLYWOOD is attributed to Samuel Webbe, probably the elder,\n1740-1816, a London organist and composer and a member of the Roman\nCatholic Church. His son, Samuel Webbe, Jr., 1770-1843, following his\nfather in the musical profession, likewise became an organist and\ncomposer.\n\nIts solidity and triumphant note give this tune a worthy place in the\nmusic of the church.\n\n\n THE HOLY SPIRIT\n\n\n131. Come, Holy Ghost, in love _Ray Palmer_, 1808-87\n _Tr. from the Latin_\n\n Veni, Sancte Spiritus,\n Et emitte caelitus\n Lucis tuae radium:\n Veni, Pater pauperum;\n Veni, Dator munerum;\n Veni, Lumen cordium.\n\n Consolator optime,\n Dulcis Hospes animae,\n Duce Refrigerium,\n In labore Requies,\n In aestu Temperies,\n In fletu Solacium.\n\n O Lux beatissima,\n Reple cordis intima\n Tuorum fidelium.\n Sine tuo numine\n Nihil est in homine.\n Nihil est innoxium.\n\n Lava, quod est sordidum,\n Riga, quod est aridum,\n Rege, quod est devium,\n Fove, quod est languidum,\n Flecte, quod est rigidum,\n Sana, quod est saucium.\n\n Da tuis fidelibus\n In te confidentibus\n Sacrum septenarium;\n Da virtutis meritum,\n Da salutis exitum,\n Da perenne gaudium. Amen.\n\nThis truly great Latin hymn, addressed to the Holy Spirit, comes from\nthe 12th or 13th century. Its authorship is uncertain. Archbishop Trench\ncharacterized it as \u201cthe loveliest of all the hymns in the whole cycle\nof Sacred Latin Poetry.\u201d Many translations have been made of it, this\none by Ray Palmer.\n\nRay Palmer, who held pastorates at Bath, Me., and Albany, N. Y., was for\na time corresponding secretary for the American Congregational Union.\nHis name remains the greatest among hymnists and translators in the\nAmerican Congregational church. His hymn, \u201cMy faith looks up to Thee\u201d\n(150), is known all over the world.\n\n_MUSIC._ MALVERN is from _The Hallelujah_, a series of compilations of\ntunes, edited by J. J. Waite and H. J. Gauntlett, first published in\n1842. The work was intended to encourage the congregation to sing in\nparts, an altogether novel principle in the English churches of that\ntime. To make the music easy to read, the notes were numbered, the tonic\nsol-fa system having, as yet, not been developed. The present\narrangement is by John Roberts, 1822-77, Welsh Methodist pastor and\nmusician of extraordinary ability. He did much to improve congregational\nsinging in the church and was an eminent conductor of school music\nfestivals. Roberts wrote a number of tunes that are high in favor\nthroughout Wales and was incomparable as an arranger of congregational\nhymn tunes.\n\n\n132. Lord God, the Holy Ghost _James Montgomery_, 1771-1854\n\nOne of the few hymns which deals distinctively with the Day of\nPentecost. For this reason, as well as for its inherent quality, it is\nespecially valuable.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ OLD 134TH. For comments on this tune see Hymn 128.\n\n\n133. Spirit of God, descend upon my heart _George Croly_, 1780-1860\n\nBased on Gal. 5:25: \u201cIf we live in the Spirit, let us also walk in the\nSpirit.\u201d\n\nGeorge Croly was educated at Trinity College, Dublin. After ministering\nin Ireland for a number of years, he went to London to engage in\nliterary pursuits. He had varied talents and became well known for his\npoetry, fiction, plays, and contributed articles to magazines. In 1835,\nhe entered parish work in London, where he was greatly admired and\nloved. His outspoken utterances attracted large congregations of all\nranks to his church. He prepared, at the request of his people, a\ncollection of _Psalms and Hymns for Public Worship_, of which only one\nedition was printed. Dr. Croly dropped dead while walking one day on\nHolborn Street. A man of scholarship and culture, and author of many\nvolumes, he is remembered chiefly through this hymn.\n\n_MUSIC._ MORECAMBE, originally called \u201cHellespont,\u201d was written to be\nsung with \u201cAbide with me,\u201d for use in the church at Mannington, England,\nwhere its composer was serving as organist.\n\nFrederick Cook Atkinson, 1841-97, was an English organist and\nchoirmaster, having received his musical education at Cambridge.\n\n\n134. Holy Ghost, dispel our sadness _Paul Gerhardt_, 1607-76\n\nA hymn of entreaty for the indwelling of the Holy Spirit.\n\nThe original is as follows:\n\n O Du allers\u00fcsste Freude,\n O Du allersch\u00f6nstes Licht,\n Der Du uns in Lieb und Leide\n Unbesuchet l\u00e4ssest nicht;\n Geist des H\u00f6chsten, h\u00f6chster F\u00fcrst\n Der Du h\u00e4ltst und halten wirst\n Ohn\u2019 Aufh\u00f6ren alle Dinge\n H\u00f6re, h\u00f6re, was ich singe.\n\n Du bist ja die beste Gabe\n Die ein Mensch nur nennen kann;\n Wenn ich Dich erw\u00fcnsch\u2019 und habe,\n Geb\u2019 ich alles W\u00fcnschen d\u2019ran.\n Ach, ergib Dich, komm zu mir,\n In mein Herze, das Du Dir,\n Eh ich in die Welt geboren\n Selbst zum Tempel auserkoren.\n\n Sei mein Retter, f\u00fchr\u2019 mich eben;\n Wenn ich sink\u2019, mein Stab sei Du;\n Wenn ich sterbe, sei mein Leben;\n Wenn ich lieg\u2019, sei meine Ruh;\n Wenn ich wieder aufersteh\u2019,\n O so hilf mir, dass ich geh\n Hin, da Du in ew\u2019gen Freuden\n Wirst die Auserw\u00e4hlten weiden.\n\nThe first translation was made by John Christian Jacobi, 1670-1750, for\nhis _Psalmodia Germanica_. His rendering began\n\n \u201cO Thou sweetest source of gladness\u201d\n\nwhich Augustus Montague Toplady recast into the familiar\n\n \u201cHoly Ghost, dispel our sadness.\u201d\n\nFor comments on Toplady see Hymn 148.\n\nPaul Gerhardt, next to Martin Luther, is the most noteworthy hymn writer\nof the Evangelical Church in Germany. Even the hymns of Luther are not\nas widely used today in the English speaking world as those of Gerhardt.\nHe was born March 12, 1607, in Gr\u00e4fenhynichen, a village near the\ncelebrated Wittenberg. At 21 he began the study of theology in\nWittenberg, but he received no church position until 45, when he was\nordained and appointed provost at Mittenwalde, a small village. During\nhis six years there, his hymns were published and he became widely\nknown. In 1657, he was appointed third assistant pastor of the famous\nChurch of St. Nicholas in Berlin. From this position he was deposed\nbecause he refused to sign a document promising that all clergymen would\nabstain from any references in their sermons to doctrinal differences\nbetween the Lutherans and Calvinists. Though he felt the blow keenly, he\nmet it with Christian patience and fortitude. \u201cThis,\u201d he said, \u201cis only\na small Berlin affliction; but I am also willing and ready to seal with\nmy blood the evangelical truth, and, like my namesake, St. Paul, to\noffer my neck to the sword.\u201d Additional sorrows came into his life with\nthe death of his wife and four of his children. He was left with a\nsingle child, a boy of six, when he was called to the church at L\u00fcbden,\nwhere he labored faithfully and successfully until his death on June 7,\n1676. Most of his life being spent in the distractions and disasters of\nthe Thirty Years War, which left Germany in misery and ruins, Gerhardt\nknew the depths of human sorrow. Out of the depths came his hymns of\ncomfort and hope which have been a source of strength to a multitude of\nbelievers.\n\n_MUSIC._ INVOCATION was composed by Uzziah C. Burnap, 1834-1900,\norganist at the Church of the Heights, Brooklyn, and co-editor with John\nK. Paine, Professor of Music at Harvard, of _Hymns and Songs of Praise_.\n\n\n135. Breathe on me, breath of God _Edwin Hatch_, 1835-89\n\nAn earnest prayer for an inbreathing of the Holy Spirit and a greater\nconsecration of life. The hymn was first published in a privately\nprinted leaflet called, _Between Doubt and Prayer_, 1878. It is based on\nJohn 20:22: \u201cHe breathed on them and saith unto them, Receive ye the\nHoly Ghost.\u201d\n\nEdwin Hatch, Church of England clergyman and University Reader of\nEcclesiastical History at Oxford, was a scholar of world reputation. His\nBampton Lectures, _The Organization of the Early Christian Church_,\n1881, were translated into German by Prof. Adolph Harnack, who wrote of\nHatch: \u201cIn his learning that of England\u2019s great old theologians, Ussher\nand Pearson, lived to me again. He was a glorious man, whose loss I\nshall never cease to mourn.\u201d Though a man of profound learning, his\nfaith was as simple and unaffected as that of a child.\n\n_MUSIC._ TRENTHAM is a tune of great beauty, well fitted for these words\nof devotion. The tenor part is especially melodious.\n\nRobert Jackson, 1840-1914, English composer of many anthems, hymn tunes,\nsongs and part songs, succeeded his father as organist and choirmaster\nat St. Peter\u2019s church, Oldham, the father and son together having a\nrecord of continuous service at the same church for 92 years. His whole\nlife was devoted to music. He was a member of Sir Charles Halle\u2019s\norchestra and conductor of the Oldham Musical Society.\n\n\n136. Holy Spirit, Truth divine _Samuel Longfellow_, 1819-92\n\nEntitled a \u201cPrayer for Inspiration,\u201d this superb hymn of the Holy Spirit\nappeared in _Hymns of the Spirit_, 1864, edited by Samuel Johnson and\nthe author. Stanzas 5 and 6 are omitted.\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ MERCY is an arrangement of a piano composition called, \u201cThe\nLast Hope,\u201d by Louis Gottschalk, 1829-69, American composer, conductor,\nand popular concert pianist. Among Gottschalk\u2019s works are two operas,\ntwo symphonies, and some piano pieces and songs\u2014most of which are\nforgotten today. The arrangement of the tune is the work of Dr. Edwin P.\nParker, 1836-1925, hymnologist and distinguished Congregationalist\nminister at Hartford, Conn.\n\n\n137. Holy Spirit, faithful Guide _Marcus M. Wells_, 1815-95\n\nThe hymn and tune were written by Marcus M. Wells, a farmer and maker of\nfarm implements who lived all his life in New York State. Born at\nOtsego, N. Y., he was converted in a mission at Buffalo. Regarding the\norigin of the hymn and tune he wrote:\n\n On a Saturday afternoon, Oct. 1858, while at work in my cornfield, the\n sentiment of the hymn came to me. The next day, Sunday, being a very\n stormy day, I finished the hymn and wrote a tune for it and sent it to\n Prof. I. B. Woodbury.\n\nThe hymn sets forth God as a Presence, near the Christian\u2019s side,\nfriendly and helpful and true, guiding him through the storms and floods\nand desert wastes of his pilgrimage from earth to his heavenly home. It\nwas first published in the _New York Musical Pioneer_, edited by Isaac\nB. Woodbury.\n\n\n138. Our blest Redeemer, ere He breathed _Harriet Auber_, 1773-1862\n\nOne of the finest of our hymns on the Holy Spirit. It was written for\nWhitsunday and published in the author\u2019s _The Spirit of the Psalms_,\n1829, in seven stanzas, the second and third being omitted here. The\nhymn appears in most modern hymnals and has been translated into several\nlanguages.\n\nHarriet Auber, whose grandfather went from Normandy to England in 1685\nas a Huguenot refugee, was born in London. She was a woman of refinement\nand culture who spent most of her life in the quiet villages of\nBroxbourne and Hoddesdon, Hertfordshire. She wrote numerous poems and\nhymns, but her name survives as the author of this exquisite lyric.\n\n_MUSIC._ ST. CUTHBERT was composed for these words by J. B. Dykes for\nthe original edition of _Hymns Ancient and Modern_, 1861.\n\nFor comments on Dykes see Hymn 1.\n\n\n139. Spirit divine, attend our prayer _Andrew Reed_, 1787-1862\n _Samuel Longfellow_, 1819-92\n\nThis is a revision by Samuel Longfellow of a hymn written by Andrew\nReed, an English Congregational minister. Reed, a philanthropist and\ngreat organizer, and founder of six asylums and orphanages, wrote 21\nhymns and published several hymn books. He was an ardent supporter of\nmissionary work at home and abroad. Writing to his son who suggested\nthat the father should write his autobiography, Dr. Reed summed up his\nown life in these words:\n\n I was born yesterday, I shall die tomorrow, and I must not spend today\n in telling what I have done, but in doing what I may for HIM who has\n done all for me. I sprang from the people, I have lived for the\n people\u2014the most for the most unhappy; and the people when they know it\n will not suffer me to die out of loving remembrance.\n\n_MUSIC._ BRECON. The origin of this tune has not been traced. It is a\nuseful tune as a choir response after the prayer.\n\n\n THE CHRISTIAN LIFE\u2014THE CALL OF CHRIST\n\n\n140. Jesus calls us o\u2019er the tumult _Cecil Frances Alexander_, 1823-95\n\nA hymn of consecration which has had far-reaching influence especially\nover young people. It is based on Matt. 4:18, 19: \u201cAnd Jesus, walking by\nthe sea of Galilee, saw two brethren, Simon, called Peter, and Andrew,\nhis brother, casting a net into the sea: for they were fishers. And he\nsaith unto them, Follow me, and I will make you fishers of men.\u201d There\nis also a reference to the incident by the lake recorded in John 21:15:\n\u201cSo when they had dined, Jesus saith to Simon Peter, son of Jonas,\nlovest thou me more than these?\u201d\n\nThe hymn appeared first in _Hymns_, 1852, published by the Society for\nthe Promotion of Christian Knowledge. In the Episcopal Church in the\nUnited States and Canada, it has been adopted as the hymn of the\nBrotherhood of St. Andrew.\n\nMrs. Alexander is known principally as a writer of children\u2019s hymns (410\nand 412), but she also contributed excellent church songs for adults.\n\nFor comments on Mrs. Alexander see Hymn 104.\n\n_MUSIC._ GALILEE was written for this hymn by William H. Jude,\n1852-1922, English organist, composer, and lecturer on musical subjects.\nThe tune becomes waltz-like when sung in quick tempo. Recognizing this\ndanger, some hymn books are using other tunes with this hymn.\n\n\n141. Behold a stranger at the door _Joseph Grigg_, 1720-68\n\nA lyric revealing in a remarkable manner the tenderness and love of\nChrist. It is based on Rev. 3:20: \u201cBehold, I stand at the door and\nknock.\u201d Bishop How\u2019s hymn, \u201cO Jesus Thou art standing\u201d (144), with which\nthis may be compared, is based on the same passage.\n\nJoseph Grigg, an English Presbyterian minister, began writing hymns when\nonly ten years old. After a brief pastorate, he retired from the active\nministry to devote himself to literary work. He published about 40\nvolumes, including several collections of hymns. Only two of his 43\nhymns are found in modern hymnals, this one and \u201cJesus, and shall it\never be\u201d (192), the latter written when he was only ten years of age.\n\n_MUSIC._ BERA, a very useful tune, was composed by John Edgar Gould,\n1822-75, an American musical editor, dealer in musical instruments,\nchoral conductor, and publisher of music books. He was born in Maine,\nbut spent most of his adult life in New York City and Philadelphia.\n\n\n142. I heard the voice of Jesus say _Horatius Bonar_, 1808-89\n\nBased on John 1:16: \u201cOf his fulness have all we received, and grace for\ngrace,\u201d and originally published with the title, \u201cThe Voice from\nGalilee.\u201d\n\nThe hymn is constructed on three sayings of Jesus: (1) \u201cCome unto me,\nall ye that labor and are heavy laden, and I will give you rest,\u201d Mt.\n11:28; (2) \u201cWhosoever drinketh of the water that I shall give shall\nnever thirst,\u201d John 4:14; (3) \u201cI am the light of the world; he that\nfolloweth me shall not walk in darkness, but shall have the light of\nlife.\u201d John 8:12. In the hymn, these three sayings, blended into a\nperfect unity, have sounded down the ages by the \u201cVoice from Galilee.\u201d\n\nThe hymn, as C. S. Robinson reminds us, employs the personal pronoun to\nemphasize the intimate relationship between Christ and the individual.\n\u201cChrist says, \u2018Come to _me_,\u2019 and the Christian says, \u2018_I_ come.\u2019 Christ\nsays, \u2018_I_ give the living water\u2019; and the listener answers, \u2018_My_\nthirst was quenched\u2019; Christ says, \u2018I am the light\u2019; and the child of\nGod replies, \u2018I found in him _my_ Star, _my_ Sun.\u2019\u201d\n\nFor comments on Horatius Bonar see Hymn 129.\n\n_MUSIC._ VOX DELECTI was composed by J. B. Dykes for this hymn in _Hymns\nAncient and Modern_, Appendix, 1868. The musical difficulties of the\ntune are more apparent than real. They can be overcome and its\npossibilities appreciated by careful study and practice. The first half\nis written in the minor key to carry the quiet, invitational words of\nJesus. The second part, the glad acceptance of the invitation, is\nwritten in the strongly contrasting major key.\n\nFor comments on J. B. Dykes see Hymn 1.\n\n\n143. Art thou weary, heavy laden _Stephen the Sabaite_, 725-94\n _Tr. John M. Neale_, 1818-66\n\nA restful, appealing lyric on the theme, \u201cCome unto me, all ye that\nlabor and are heavy laden, and I will give you rest\u201d Matt. 11:28.\n\nIt is one of the few dialog hymns. [Others are \u201cWatchman, tell us of the\nnight\u201d (66), and \u201cWho is He in yonder stall?\u201d (96)]. It may be sung\nantiphonally, the choir singing the questions and the congregation the\nanswers.\n\nNeale published this hymn in his _Hymns of the Eastern Church_, 1862, as\na translation of a Greek hymn by Stephen the Sabaite. It is a\nparaphrase, however, rather than a translation.\n\nFor comments on John Neale see Hymn 67.\n\nHymnody in the Eastern Church reached its height in the 8th century.\nStephen was a nephew of John of Damascus. At the age of 10 he was placed\nby his uncle in the monastery of Saint Sabas, located on a lofty cliff\noverhanging the ravine of the Kidron, between Jerusalem and the Dead\nSea. Here he lived for more than half a century, known as Stephen the\nSabaite. The monastery, many of the cells cut out of solid rock, still\nstands. The monks have been subjected to persecution, at various times,\nat the hands of Persians, Moslems, and Bedouin Arabs, and the monastery\nlooks much like a fortress.\n\n_MUSIC._ STEPHANOS was composed for this hymn by Henry W. Baker, and was\nfirst published in the appendix of the original edition of _Hymns\nAncient and Modern_, 1868. The tune was harmonized by W. H. Monk (See\n40).\n\nHenry Williams Baker, 1821-77, was educated at Cambridge, ordained in\n1844, and served as vicar of Monkland, Herefordshire, from 1851 till his\ndeath in 1877. He was editor-in-chief of the epoch-making book, _Hymns\nAncient and Modern_, to which he contributed several of his own hymns\nand tunes. As a High Churchman, he held to the doctrine of the celibacy\nof the clergy and was never married.\n\n\n144. O Jesus, Thou art standing _William W. How_, 1823-97\n\nBased on Rev. 3:20: \u201cBehold, I stand at the door and knock: if any man\nhear my voice and open the door, I will come in to him, and sup with\nhim, and he with me.\u201d It was composed after the author had been reading\nthe beautiful poem by Jean Ingelow, entitled \u201cBrothers and a Sermon,\u201d\ndescribing two brothers listening to an old parson in a fishing-village\nchurch. A part of the poem is as follows:\n\n The parson knew that he had lost the eyes\n And ears of those before him for he made\n A pause ...\n ... then with a sigh\n Fronted the folk, lifted his grand gray head,\n And said, as one that pondered now the words\n He had been preaching on with new surprise,\n And found fresh marvel in their sound, \u201cBehold!\n Behold!\u201d saith He, \u201cI stand at the door and knock.\u201d\n\n Open the door with shame, if ye have sinned;\n If ye be sorry, open it with sighs.\n Albeit the place be bare for poverty,\n And comfortless for lack of plenishing,\n Be not abashed for that, but open it,\n And take Him in that comes to sup with thee;\n \u201cBehold!\u201d He saith, \u201cI stand at the door and knock!\u201d\n\n Speak, then, O rich and strong:\n Open, O happy young, ere yet the hand\n Of Him that knocks, wearied at last, forbear;\n The patient foot its thankless quest refrain.\n The wounded heart forevermore withdraw.\n\nHolman Hunt\u2019s picture, \u201cThe Light of the World,\u201d is an exquisite\nillustration of the spirit of this hymn.\n\nWilliam Walsham How was born at Shrewsbury, England, educated at Oxford,\nand ordained to the ministry in 1846. He served various churches as\npastor and declined offers of positions of more distinction. He refused\nthe bishopric of Durham, one of the most distinguished posts in the\nAnglican Church, with an income more than double what he then had. He\nwas a man of broad sympathies and apostolical zeal, and was a master of\nthe pastoral art. He collaborated with Thos. Baker Morrell in editing\n_Psalms and Hymns_, 1854, and in 1871 was joint editor of _Church\nHymns_, published by the Society for the Promotion of Christian\nKnowledge, the latter becoming the greatest rival of _Hymns Ancient and\nModern_ which that book had had to date. His poems are marked by\nsimplicity and beauty of diction and constitute some of the richest\ntreasures of modern hymnody.\n\n_MUSIC._ ST. HILDA, also known as \u201cSt. Edith,\u201d is an arrangement by Rev.\nEdward Husband of a tune published by Justin H. Knecht in _Vollst\u00e4ndige\nSammlung_, Stuttgart, 1799.\n\nFor comments on Knecht see Hymn 511.\n\nEdward Husband, 1843-1908, was an English clergyman with a great deal of\nmusical talent and interest and was a well-known lecturer on the subject\nof church music.\n\n\n PENITENCE AND CONFESSION\n\n\n145. Savior, when in dust to Thee _Robert Grant_, 1779-1838\n\nA hymn of penitence which has had a wide use. It was published in the\n_Christian Observer_, 1815, as a Lenten \u201cLitany.\u201d The last line of each\nstanza (five in the original) read, \u201cHear our solemn litany,\u201d here\nchanged to \u201cHear thy people when they cry.\u201d Stanzas 2 and 4 have been\nmuch altered by an unknown hand. Grant\u2019s original hymn of five stanzas\nreads as follows:\n\n 1.\n Savior, when in dust to Thee\n Low we bow the adoring knee,\n When, repentant, to the skies\n Scarce we lift our weeping eyes,\n Oh, by all Thy pains and woe\n Suffered once for man below,\n Bending from Thy throne on high,\n Hear our solemn litany!\n\n 2.\n By Thy helpless infant years,\n By Thy life of want and tears,\n By Thy days of sore distress\n In the savage wilderness,\n By the dread, mysterious hour\n Of the insulting Tempter\u2019s power,\n Turn, O turn, a favoring eye,\n Hear our solemn litany!\n\n 3.\n By the sacred griefs that wept\n O\u2019er the grave where Lazarus slept;\n By the boding tears that flowed\n Over Salem\u2019s loved abode;\n By the anguished sigh that told\n Treachery lurked within Thy fold;\n From Thy seat above the sky\n Hear our solemn litany!\n\n 4.\n By Thine hour of dire despair,\n By Thine agony of prayer,\n By the cross, the nail, the thorn,\n Piercing spear, and torturing scorn,\n By the gloom that veiled the skies\n O\u2019er the dreadful sacrifice,\n Listen to our humble cry,\n Hear our solemn litany!\n\n 5.\n By Thy deep expiring groan,\n By the sad sepulchral stone,\n By the vault whose dark abode\n Held in vain the rising God,\n Oh, from earth to heaven restored,\n Mighty, reascended Lord,\n Listen, listen, to the cry\n Of our solemn litany!\n\nFor comments on Robert Grant see Hymn 7.\n\n_MUSIC._ SPANISH HYMN, also called \u201cSpanish Chant,\u201d is from an old 17th\ncentury melody of unknown origin.\n\n\n146. Come, let us to the Lord our God _John Morison_, 1750-98\n _Scottish Paraphrase_, 1781\n\nA version, from the Scottish Presbyterian Church, of Hosea 6:1-4:\n\n Come, and let us return unto the Lord: for he hath torn, and he will\n heal us; he hath smitten, and he will bind us up. After two days will\n he revive us: in the third day he will raise us up, and we shall live\n in his sight. Then shall we know, if we follow on to know the Lord:\n his going forth is prepared as the morning: and he shall come unto us\n as the rain, as the latter and former rain unto the earth.\n\n O Ephraim, what shall I do unto thee? O Judah, what shall I do unto\n thee? for your goodness is as a morning cloud, and as the early dew it\n goeth away.\n\nOur hymn is one of the 67 \u201cTranslations and Paraphrases, in Verse, of\nSeveral Passages of Sacred Scriptures,\u201d together with five hymns, that\nare appended to the _Scottish Psalter_ for use in public worship in the\nScotch Presbyterian Church.\n\nJohn Morison was a Scotch scholar, teacher, and minister. He wrote a\nnumber of paraphrases of scriptural passages, seven of which were\naccepted into the authorized collection of _Scottish Paraphrases_, 1781.\n\n_MUSIC._ BALLERMA. For comments on this tune see Hymn 57.\n\n\n147. Lord, thy mercy now entreating _Mary Ann Sidebotham_, 1833-1913\n\nA hymn of penitence which was contributed to _The Children\u2019s Hymn Book_,\n1881, published by the Society for the Promotion of Christian Knowledge,\nLondon.\n\nThe author, Mary Ann Sidebotham, was an accomplished musician and a\nlifelong friend of Henry Smart, the eminent organist and composer. She\nspent much of her life in her brother\u2019s vicarage, St.\nThomas-on-the-Bourne, Surrey, England, where she served as organist. She\ncomposed numerous songs for children and was the music editor of the\nabove-mentioned _Children\u2019s Hymn Book_.\n\n_MUSIC._ RINGE RECHT. For comments on this tune see Hymn 563.\n\n\n FAITH AND VISION\n\n\n148. Rock of Ages, cleft for me _Augustus M. Toplady_, 1740-78\n\nFew hymns are more generally familiar or more treasured in the\naffections of all ranks of people than this. It appeared first in the\n_Gospel Magazine_, edited by Toplady, March, 1776, at the end of an\narticle entitled, \u201cA remarkable calculation Introduced here for the sake\nof the Spiritual Improvements subjoined. Questions and answers relating\nto the National Debt.\u201d The article points out that the national debt is\nso large that the government will never be able to pay it off. The\nauthor then proceeds to calculate the number of sins each human being\ncommits. Figuring the rate to be one per second, he arrives at this:\n\n Our dreadful account stands as follows: At ten years old each of us is\n chargeable with 315 millions and 360,000 sins. At twenty, with 630\n millions and 720,000. At thirty with 946 millions and 80,000.... At\n eighty, with 2,522 millions and 880,000.\n\nThe conclusion is that the debt can only be paid by the blood of Christ.\nThe hymn follows his \u201ccalculation,\u201d under the heading, \u201cA living and\ndying Prayer for the Holiest Believer in the World.\u201d\n\nFor 45 years after its publication, the hymn had little acceptance in\nEngland. Its merits then became recognized, and it became very popular.\nIn the last century and a quarter it has had world-wide use, in a form\naltered somewhat from the original. The hymn has been criticized for its\nmixed metaphors (\u201ccleft rock,\u201d \u201criven side,\u201d \u201cto thy cross I cling,\u201d \u201cto\nthe fountain fly\u201d), for its false rhymes, and its over-emphasis upon sin\nobsession; but it has certain heart-piercing qualities which override\nall its faults. Like other hymns of the first rank (e.g., \u201cJesus Lover\nof my soul,\u201d \u201cLead kindly light,\u201d and \u201cNearer my God to Thee\u201d) it voices\nthe universal need of divine help. Professor Saintsbury, a literary\ncritic, says of this hymn: \u201cEvery word, every syllable, in this really\ngreat poem has its place and meaning.\u201d\n\nThe central imagery of the hymn is found in the following Scripture\npassages: Ex. 33:22: \u201cWhile my glory passeth by, I will put thee in a\ncleft of the rock, and will cover thee with my hand while I pass by\u201d;\nIsa. 26:4: \u201cTrust ye in the Lord for ever: for in the Lord Jehovah is\nthe rock of ages\u201d (margin); I Cor. 10:4: \u201cand that Rock was Christ.\u201d\n\nA picturesque story, which originated about 1850, had it that Toplady\ncomposed the hymn while he was sheltering from a thunder storm in a\ngreat cleft of a limestone rock, some twelve years before the\npublication of the hymn. The story is without foundation. Toplady was\nfascinated by the thought of Christ as a rock and in a sermon on Isa.\n42:11: \u201cLet the inhabitants of the rock sing,\u201d he said: \u201cChiefly may\nthey sing who inhabit Christ the spiritual Rock of Ages. He is a Rock in\nthree ways: as a Foundation to support, a Shelter to screen, and a\nFortress to protect.\u201d\n\nThe hymn has had a wide use among German speaking people in a\ntranslation made by Ernst Gebhardt, 1832-99.\n\n Fels des Heils, ge\u00f6ffnet mir,\n Birg\u2019 mich, ew\u2019ger Hort in dir!\n Lass das Wasser und das Blut,\n Deiner Seite heil\u2019ge Flut,\n Mir das Heil sein, das frei macht\n Von der S\u00fcnden Schuld und Macht!\n\n Dem, was dein Gesetze spricht,\n Kann mein Werk gen\u00fcgen nicht.\n Mag ich ringen wie ich will,\n Fliessen auch der Tr\u00e4nen viel,\n Tilgt das doch nicht meine Schuld,\n Herr, mir hilft nur deine Huld.\n\n Da ich denn nichts bringen kann,\n Schmieg\u2019 ich an dein Kreuz mich an\n Nackt und bloss\u2014o kleid\u2019 mich doch.\n H\u00fclflos\u2014ach erbarm\u2019 dich noch.\n Unrein, Herr, flieh\u2019 ich zu dir.\n Wasche mich, sonst sterb\u2019 ich hier.\n\n Jetzt, da ich noch leb\u2019 im Licht,\n Wenn mein Aug\u2019 im Tode bricht,\n Wenn durch\u2019s finst\u2019re Tal ich geh\u2019,\n Wenn ich vor dem Richter steh\u2019,\n Fels des Heils, ge\u00f6ffnet mir,\n Birg\u2019 mich, ew\u2019ger Hort in dir!\n\nAugustus M. Toplady, born at Farnham, England, was educated at Trinity\nCollege, Dublin. His conversion occurred at the age of 16 while on a\nvisit in Ireland. The service was held in a barn and the text was Eph.\n2:13: \u201cBut now, in Christ Jesus, ye who sometimes were far off are made\nnigh by the blood of Christ.\u201d The preacher was an illiterate but\nwarm-hearted layman named Morris. Concerning his conversion Toplady\nwrote:\n\n Strange that I, who had so long sat under the means of grace in\n England, should be brought nigh unto God in an obscure part of\n Ireland, amidst a handful of God\u2019s people met together in a barn, and\n under the ministry of one who could hardly spell his name. Surely this\n is the Lord\u2019s doing, and it is marvelous.\n\nToplady was ordained to the ministry of the Church of England in 1762\nand in 1768 became vicar of Broadhembury. The last years of his life\nwere passed in London preaching in a chapel of French Calvinists. He was\na powerful preacher, and large congregations came to hear him. A strong\nCalvinist, and bitterly opposed to what he considered the reproach of\nArminianism, he became involved in unfortunate controversies with John\nWesley, during which neither disputant showed himself at his best. He\ndied of consumption at the early age of 38.\n\n_MUSIC._ TOPLADY was composed for this hymn by Thomas Hastings,\n1784-1872. It is a popular easily sung tune, and universally used in\nAmerica with this hymn. Hastings was not a great musician and this tune,\nwith its \u201csentimentality and rocking-chair rhythm,\u201d can hardly be\nconsidered great music. But it has been a blessing to millions of people\nand will doubtless continue to be sung for years to come. In England the\nhymn is invariably set to other tunes and some American hymn books have\nintroduced alternative tunes. The tune \u201cPetra\u201d (109) is used with this\nhymn, as is also _Grosser Gott wir loben Dich_ (519).\n\nFor comments on Thomas Hastings see Hymn 120.\n\n\n149. Strong Son of God, immortal love _Alfred Tennyson_, 1809-92\n\nFrom the prologue of Tennyson\u2019s great poem, \u201cIn Memoriam,\u201d 1850,\ncontaining eleven stanzas; these are 1, 4, 5, and 7, unaltered.\n\nThe story of \u201cIn Memoriam\u201d is familiar. At Cambridge University,\nTennyson and Arthur Hallam became intimate friends. Hallam became\nengaged to Tennyson\u2019s sister, and, after graduating from the University,\ntook a trip to the Continent. At Vienna, he became sick and died, which\nprompted Tennyson to write the following brief but beautiful words:\n\n \u201cIn Vienna\u2019s fatal walls,\n God\u2019s finger touched him, and he slept.\u201d\n\nIn 1850, seventeen years after Hallam\u2019s death, Tennyson published \u201cIn\nMemoriam,\u201d a memorial to Hallam, but also to himself as well. Among the\nindividual verses of the poem which have become immortal are the\nfamiliar lines beginning, \u201cRing out, wild bells, to the wild sky.\u201d (See\n379).\n\nAlfred Tennyson was the son of Rev. George C. Tennyson. He was educated\nat Cambridge and wrote poetry while an undergraduate. Upon the death of\nWordsworth in 1850, Tennyson was appointed Poet Laureate. He is regarded\nas one of England\u2019s greatest poets. He was not a hymn writer, yet\nseveral of his poems are used as hymns. Tennyson died October 6, 1892,\nand was buried in Westminster Abbey.\n\n_MUSIC._ ST. CRISPIN was composed for the hymn \u201cJust as I am, without\none plea.\u201d The tune was used at the funeral of the composer.\n\nFor comments on the composer, George Elvey, see Hymn 118.\n\n\n150. My faith looks up to Thee _Ray Palmer_, 1808-87\n\nThis hymn was written when the author had just left Yale at the age of\n21 and was looking forward to his lifework in the Congregational\nministry. The origin of the hymn is given in Duffield\u2019s _English Hymns_,\nas follows:\n\n The hymn was written in 1830, but not published (as a hymn) until\n 1882. The author was in New York City, \u201cBetween his college and\n theological studies,\u201d and was in poor health, and a teacher in a\n ladies\u2019 school. Dr. Palmer says: \u201cI gave form to what I felt by\n writing, with little effort, the stanzas. I recollect I wrote them\n with very tender emotion, and ended the last lines with tears.\u201d The\n manuscript was then placed in a pocket-book, where it remained for\n some time. Its true discoverer was Lowell Mason, the musician, who\n asked young Palmer if he had not some hymn or hymns to contribute to\n his new book. The pocket-book was produced and the little hymn, then\n between two and three years old, and never previously utilized, though\n it had been in print as a poem, was brought to light. Dr. Mason was\n attracted by it, and desired a copy. They stepped together into a\n store (it was in Boston), and the copy was made and taken away without\n further comment. On carefully reading the hymn at home, Dr. Mason was\n so interested that he wrote for it the tune \u201cOlivet,\u201d to which it is\n usually sung. Two or three days later, he again met the author in the\n street, and scarcely waiting to salute him, he said, \u201cMr. Palmer, you\n may live many years, and do many good things, but I think you will be\n best known to posterity as the author of \u2018My Faith looks up to Thee.\u2019\u201d\n\nThe hymn appeared first in _Spiritual Songs for Social Worship_, 1831,\nby Thomas Hastings and Lowell Mason. It has been translated into many\nlanguages on the mission fields.\n\n_MUSIC._ OLIVET. For comments on the composer, Lowell Mason, see Hymn\n12.\n\n\n151. How firm a foundation _\u201cK\u201d in Rippon\u2019s Selection_, 1787\n\nA great song of faith, calling to mind such scripture passages as Heb.\n13:5: \u201cI will never leave thee nor forsake thee\u201d; Isa. 43:1, 2: \u201cFear\nnot, for I have redeemed thee: I have called thee by thy name; thou art\nmine. When thou passest through the waters, I will be with thee; and\nthrough the rivers, they shall not overflow thee; when thou walkest\nthrough the fire, thou shalt not be burned; neither shall the flame\nkindle upon thee.\u201d\n\nThe authorship is uncertain. The hymn appeared in _A Selection of Hymns\nfrom the Best Authors_, 1787, edited by John Rippon, 1751-1836, pastor\nof the Baptist Church in Carter\u2019s Lane, London, where it was signed \u201cK.\u201d\nWho \u201cK\u201d was remains uncertain. The best guess seems to be that it refers\nto Robert Keene, precentor in Dr. Rippon\u2019s church. It is one more\nexample of a writer sending forth an immortal song to bless and\nstrengthen the faith of millions, and then hiding himself completely\nfrom public notice.\n\n_MUSIC._ ADESTE FIDELIS. For comments on this tune see Hymn 80.\n\n\n152. We walk by faith, and not by sight _Henry Alford_, 1810-71\n\nBased on the story of the incredulity of Thomas in John 20:25-29:\n\u201cExcept I shall see in his hands the print of the nails, and put my\nfinger into the print of the nails, and thrust my hand into his side, I\nwill not believe ... blessed are they that have not seen, and yet have\nbelieved.\u201d\n\nHenry Alford was educated at Cambridge for the Anglican ministry. After\nserving various churches, he finally, in 1857, became Dean of\nCanterbury, the highest post in the church. He was a renowned scholar\nand the author of numerous volumes. His _Greek Testament_ was his\ngreatest work and remained the standard critical commentary of the\nlatter 19th century. He was a member of the New Testament Revision\nCompany, whose work resulted in the revised version in 1881. Greatly\ninterested in hymnology, he himself wrote and translated many hymns, and\npublished several collections of hymns. Dean Alford was a strenuous\nworker, never idle, always broad-minded and throughout his life\nmaintained cordial relations with non-conformists. A lifelong desire to\nvisit the Holy Land remained unfilled; which fact suggested the\nbeautiful inscription on his tombstone: \u201c_Deversorium viatoris\nproficiscentis Hierosolymam_\u201d\u2014\u201cthe inn of a pilgrim travelling to\nJerusalem.\u201d\n\n_MUSIC._ ARLINGTON is a tune from Thos. A. Arne\u2019s opera _Artaxerxes_,\narranged by Rev. Ralph Harrison, 1748-1810, an English Presbyterian\nminister who published it in his _Sacred Harmony_, 1784.\n\nThos. A. Arne, 1710-1778, was educated for the legal profession. He\nturned away from law to become the foremost English composer of the 18th\ncentury. He received his degree of Doctor of Music from Oxford in 1759.\nArne wrote the patriotic air, \u201cRule Britannia,\u201d besides many other\npopular songs. His sister, a famous contralto, was chosen by Handel as\none of the soloists for the first performance of _The Messiah_ in\nDublin, April 13, 1742.\n\n\n153. O for a faith that will not shrink _Wm. Hiley Bathurst_,\n 1796-1877\n\nAn excellent hymn on \u201cThe Power of Faith,\u201d based on I John 5:4: \u201cAnd\nthis is the victory that overcometh the world, even our faith.\u201d It\nappeared in the author\u2019s _Psalms and Hymns for Public and Private Use_,\n1831.\n\nWilliam Hiley Bathurst graduated from Oxford in 1818. During 33 years of\nministry at Barwick-in-Elmet, he endeared himself to his people by his\n\u201ceminent piety, his great simplicity of character, his tender love, and\nhis abundant generosity.\u201d He was a shy and reserved man \u201cand had the\npeculiarity of becoming utterly silent if one asked the most trivial\nquestion.\u201d His father was Charles Bragge, a member of Parliament for\nBristol. The son assumed the name of Bathurst on succeeding to the\nestate of his uncle, Earl Bathurst, at Lydney Park, Gloucester.\n\n_MUSIC._ EVAN was originally a setting by Wm. H. Havergal for a poem by\nBurns, \u201cO Thou dread power who reign\u2019st above.\u201d Lowell Mason took a part\nof the melody and arranged it, as here, for a psalm tune, publishing it\nin _New Carmina Sacra_, 1850, under the name \u201cEva.\u201d It might be added\nthat Havergal disapproved of the arrangement as a \u201csad estrangement.\u201d In\nspite of this, Mason\u2019s arrangement has remained popular.\n\nRev. W. H. Havergal, 1793-1870, graduated from Oxford and was ordained\nin the Church of England. He became the rector of a church, but due to a\ncarriage accident which resulted in concussion of the brain and injury\nto his eyesight, he resigned his church and devoted himself to the study\nof church music. In this field, he made a significant contribution by\nhis compositions and his efforts at purifying and elevating the music\nused in the church. His daughter, Frances Ridley Havergal (see 126),\nwrote many hymns, six of which are found in the _Hymnary_.\n\n\n154. Faith of our fathers, living still _Frederick W. Faber_, 1814-63\n\nA stirring hymn of faith bringing to mind the story of the Christian\nmartyrs and pledging loyalty till death to the faith of our fathers. The\nlast stanza, suggesting the preaching of the faith through \u201ckindly words\nand virtuous life,\u201d is especially fine and Christian in spirit.\n\nBy \u201cfaith of our fathers\u201d we mean, as we sing the hymn, the truth\ncontained in the Gospels, taught by the Apostles, and brought again into\nclear light at the Reformation. But the hymn originally, written by a\nRoman Catholic, had reference to the Roman Catholic faith. The author,\nan Englishman, wrote one verse as follows:\n\n Faith of our fathers! Mary\u2019s prayers\n Shall win our country back to Thee!\n And through the truth that comes from God\n England indeed shall then be free.\n\nThe lines have been adapted for Protestant services to read:\n\n Faith of our fathers! God\u2019s great power\n Shall soon all nations win for thee;\n And through the truth that comes from God\n Mankind shall then be truly free.\n\nThe stanza, somewhat over-optimistic, is omitted from the _Hymnary_.\n\nFor comments on the author, F. W. Faber, see Hymn 44.\n\n_MUSIC._ ST. CATHERINE is of English origin. The composer, Henry F.\nHemy, 1818-88, was organist at St. Andrew\u2019s Roman Catholic Church in\nNewcastle-upon-Tyne, and a teacher of piano and singing. He wrote this\ntune for another hymn and published it in his _Crown of Jesus Music_,\n1864, a popular book in Catholic churches in England. The refrain was\nadded in an arrangement by James G. Walton, 1821-1905.\n\n\n PEACE AND JOY\n\n\n155. Jesus, the very thought of Thee _Ascribed to Bernard of\n Clairvaux_, 1091-1153\n _Tr. Edward Caswall_, 1814-78\n\n\u201cThis may well be called the sweetest and most evangelical hymn of the\nMiddle Ages.... It breathes the deepest love to Christ, as the fountain\nof all peace and comfort, and the sum of all that is pure and\nlovely.\u201d\u2014Philip Schaff.\n\nIt is from the famous medieval hymn \u201c_Jesu, dulcis memoria_,\u201d which\nDavid Livingstone used to repeat as he explored Africa: \u201cThat hymn of\nSt. Bernard, on the name of Christ, although in what might be termed\ndog-Latin, pleases me so: it rings in my ears as I wander across the\nwide, wide wilderness.\u201d Its beauty has charmed many others who are\nfamiliar with the Latin. The original poem has fifty quatrains, of which\nour hymn is a selection of the following five:\n\n Iesus dulcis memoria,\n Dans vera cordis gaudia;\n Sed super mel et omnia\n Dulcis eius praesentia.\n\n Nil canitur suavius,\n Auditur nil iucundius,\n Nil cogitatur dulcius,\n Quam Iesus, Dei Filius.\n\n Iesu, spes paenitentibus,\n Quem pius es pententibus,\n Quam bonus te quaerentibus!\n Sed quid invenientibus.\n\n Nec lingua potest dicere,\n Nec littera exprimere;\n Experto potes credere,\n Quid sit Iesum diligere.\n\n Tu esto nostrum gaudium,\n Qui es futurus praemium;\n Sit nostra in te gloria\n Per cuncta semper saecula.\n\nIt is usually attributed to Bernard of Clairvaux (See 539), but many\nauthorities now question the authorship. Percy Dearmer says in _Songs of\nPraise Discussed_ that \u201cit is not by St. Bernard.... St. Bernard of\nClairvaux was born 1091 and the poem itself has been found in a\nmanuscript of the 11th century.\u201d In further commenting on the authorship\nhe says, \u201cWe really know nothing and are not likely to know.\u201d\n\nThe translation here is by Edward Caswall.\n\nFor comments on Caswall see Hymn 19.\n\nA translation of a different _cento_ of the same hymn, by Ray Palmer, is\nfound at No. 171.\n\n_MUSIC._ ST. AGNES was written for this hymn in _A Hymnal for Use in the\nEnglish Church_, 1866, edited by Rev. J. Grey. In England it is called\n\u201cSt. Agnes, Durham,\u201d to distinguish it from the tune, \u201cLangran\u201d (303)\nwhich is known in England as \u201cSt. Agnes.\u201d\n\nFor comments on the composer, John B. Dykes, see Hymn 1.\n\n\n156. Rejoice, ye pure in heart _Edward H. Plumptre_, 1821-91\n\nA popular processional hymn written for that purpose in May, 1865, for a\nchoir festival in Peterborough Cathedral, one of the most important\nNorman churches now standing in England. It was published in the same\nyear in the author\u2019s _Lazarus, and Other Poems_. The refrain has been\nadded.\n\nFor comments on Edward H. Plumptre see Hymn 95.\n\n_MUSIC._ MARION was written in 1883 for this hymn. The tune is admirably\nadapted to the words and the combination has made this one of the\nchoicest of processional hymns. It is also effective for antiphonal\nsinging.\n\nArthur Henry Messiter, 1834-1916, born in Somersetshire, England, began\nthe serious study of music at the age of 17. Coming to America in 1863,\nhe sang for a time in the volunteer choir of Trinity Church, New York\nCity. Three years later this famous church appointed him their director\nof music and organist, a position he held with distinction for 31 years.\nHe is the author of several notable books on music and editor of\n_Episcopal Hymnal_ of 1893.\n\n\n157. Jesus, our Savior, grant us Thy peace _E. C. Poppe_\n _Tr. Amanda Hostettler_\n _and E. Shippen Barnes_\n\nA hymn of the peace of God, based on Col. 3:15: \u201cAnd let the peace of\nGod rule in your hearts, to which also ye are called\u201d; and John 14:27:\n\u201cPeace I leave with you, my peace I give unto you.\u201d\n\nThe original poem of five stanzas appears in the _Gesangbuch mit Noten_\nwhere it is attributed to E. C. Poppe. Erhard Christoph Poppe, 1804-78,\nthe son of a goldsmith, was born in Bremen. He was a colporteur for the\nMethodist church.\n\n Seliger Friede, k\u00f6stliche Gab\u2019\n Meines geliebten Heilands, mich lab\u2019;\n Tief in mein Inn\u2019res du dich ergiess\u2019,\n Dass ich dich, wie ich w\u00fcnsche geniess.\n O, wie schmeckst du dem Herzen so s\u00fcss!\n\n Seit mir mein Jesus Frieden geschenkt,\n Hat sich mein Alles in Ihn versenkt;\n Ach, wie war\u2019s Ihm am Kreuze so bang!\n O, wie Ihn dort die Liebe so drang!\n Frieden zu spenden, Er f\u00fcr mich rang.\n\n Jesu, verkl\u00e4r Dich in mir noch mehr,\n Dass solchen Frieden ferner nichts st\u00f6r\u2019;\n Wie ja ein Vater Gutes gern giebt,\n Schenkst Du auch Deinem Kind, das Dich liebt;\n Frieden, den keine Wolke mehr tr\u00fcbt.\n\n Nimm Du allein das Herze uns ein,\n Dass wir recht mild und sanftm\u00fcthig sein,\n Dass uns\u2019re Seelen, Dir nur geweiht,\n Ruhen in Deinem Blut allezeit;\n Friede vers\u00fcsst uns dann Kreuz und Leid.\n\n Gieb Deinen Frieden immer mir so,\n Dass ich in Leid bleib\u2019 ruhig und froh,\n Und wenn auch h\u00f6her steiget die Noth,\n Ja, wenn zuletzt mir nahet der Tod,\n Lass mich im Frieden eilen zu Gott.\n\nThis free translation, specially made for the _Hymnary_, is by Mrs.\nAmanda Hostettler, Upland, California, whose father, John Hirschler, was\na prominent minister in the General Conference of Mennonites. A few\nchanges in her work were made by E. Shippen Barnes.\n\nFor comments on Barnes see Hymn 48.\n\n_MUSIC._ SELIGER FRIEDE, named after the initial words of the German\ntext, appeared anonymously in the _Gesangbuch mit Noten_. Its quiet,\npensive phrases are well adapted to the sentiment of the words.\n\n\n158-9. Jesus, Lover of my soul _Charles Wesley_, 1707-88\n\nThe greatest hymn of all time.\n\nMany of the stories concerning the origin of this hymn, such as that of\nthe bird flying in time of storm to Wesley, or a dove pursued by a hawk\nfinding refuge in his room, or Wesley\u2019s own escape from a threatening\nmob, cannot be substantiated and must be dismissed as legendary, however\nplausible and fitting they may be.\n\nThe hymn first appeared in _Hymns and Sacred Poems_, 1740, with the\ntitle, \u201cIn time of Prayer and Temptation.\u201d The third stanza, omitted\nfrom all hymnals, reads:\n\n Wilt Thou not regard my call?\n Wilt Thou not accept my prayer?\n Lo, I sink, I faint, I fall,\n Lo, on Thee I cast my care.\n Reach me out Thy gracious hand,\n While I of Thy strength receive,\n Hoping against hope I stand,\n Dying, and behold, I live.\n\nThe simplicity and literacy art of the hymn are unsurpassed. Of the 188\nwords in the four stanzas of the hymn generally used, all but 31 are\nmonosyllables. The hymn has been translated into virtually every\nlanguage and uncounted millions have found it a source of help in time\nof need. Henry Ward Beecher once said: \u201cI would rather have written that\nhymn than to have the fame of all the kings that ever sat upon the\nearth.\u201d\n\nIn the annotated edition of the _Book of Common Praise_, 1909, the\nfollowing story is given:\n\n A party of Northern tourists were on the deck of an excursion steamer,\n on the Potomac, one summer evening in 1881. One of the party, who had\n a remarkable voice, began to sing hymns to the others. When he had\n sung two verses of \u201cJesu, lover of my soul,\u201d a stranger made his way\n from the outskirts of the crowd: \u201cBeg your pardon, sir, but were you\n actively engaged in the late war?\u201d \u201cYes, sir, I fought under General\n Grant.\u201d \u201cWell,\u201d the first speaker continued, \u201cI did my fighting on the\n other side, and I think I was very near you one bright night eighteen\n years ago this month. It was much such a night as this. If I am not\n mistaken, you were on guard-duty. We of the South had sharp business\n on hand. I crept near your post of duty, my weapon in my hand; the\n shadows hid me. Your beat led you into the clear light. As you paced\n back and forth you were singing that same hymn. I raised my gun and\n aimed at your heart\u2014and I had been selected for the work because I was\n a sure shot. Then out upon the night floated the words:\n\n Cover my defenceless head\n With the shadow of thy wing.\n\n Your prayer was answered. I couldn\u2019t fire after that. And there was no\n attack made upon your camp that night. I felt sure, when I heard you\n singing this evening, that you were the man whose life I was spared\n from taking.\u201d The singer grasped the hand of the Southerner and said:\n \u201cI remember the night very well, and the feeling of depression with\n which I went forth to my duty. I knew the post was one of great\n danger. I paced my lonely beat, thinking of home and friends and all\n that life holds dear. Then the thought of God\u2019s care came to me with\n peculiar force, and I sang the prayer of my heart and ceased to feel\n alone. How the prayer was answered I never knew until this evening.\u201d\n\nFor comments on Wesley see Hymn 6.\n\n_MUSIC._ MARTYN. The composer of this tune, Simeon B. Marsh, 1798-1875,\nspent many years teaching singing classes in and near Albany, N. Y.,\ntravelling constantly on horseback from town to town through Albany\nPresbytery. It was while enroute on his weekly circuit, one day during\nthe autumn of 1834, that the melody took form. He alighted from his\nhorse and wrote the music which he set to a hymn by John Newton, \u201cMary\nto her Saviour\u2019s tomb.\u201d Thomas Hastings later set the tune to \u201cJesus,\nLover of my soul,\u201d a combination now deeply imbedded in the affections\nof the American Church.\n\n_MUSIC._ HOLLINGSIDE (159) is the tune composed by John B. Dykes,\n1823-76, especially for this hymn. The tune has more of musical interest\nthan the better known \u201cMartyn,\u201d and many hymnals give it first place for\nuse with this hymn. Dykes was always particular about the naming of his\ntunes, often some incident in his life supplying the name. \u201cHollingside\u201d\nwas the name of the cottage he lived in, while precentor at Durham, when\nhe wrote this. Regarding its composition, one of his sisters wrote:\n\n Some scenes during that visit will live forever in my memory. As, for\n instance, one calm Sunday evening, when I sat in the verandah in the\n deepening twilight and heard, through the open window, my brother\n composing and playing over the tune \u201cHollingside,\u201d to the words \u201cJesu,\n Lover of my soul.\u201d\n\nFor comments on Dykes see Hymn 1.\n\n\n GUIDANCE AND PROTECTION\n\n\n160. Guide me, O Thou great Jehovah _William Williams_, 1717-91\n\nA superb hymn of guidance in which the analogies of the history of\nIsrael in the wilderness appear in every stanza and almost in every\nline. It was written in Welsh in 1745 and translated into English in\n1771 by Rev. Peter Williams, friend of the author and fellow-worker.\nSome think stanzas 2 and 3 were translated by the author himself or by\nhis son, the Rev. John Williams.\n\nThe hymn in Welsh, with its unpronounceable words, is as follows:\n\n Arglwydd, arwain trwy\u2019r anialwch\n Fi bererin gwael ei wedd,\n Nad oes ynof nerth na bywyd,\n Fel yn gorwedd yn y bedd:\n Hollalluog\n Ydyw\u2019r un a\u2019m cwyd i\u2019r lan.\n\n Agor y ffynnonau melus\n Sydd yn tarddu o\u2019r Graig i maes;\n \u2019Rhyd yr anial mawr canlyned\n Afon iachawdwriaeth gr\u00e2s:\n Rho imi hyny;\n Dim i mi ond dy fwynhau.\n\n Ymddiriedaf yn dy allu,\n Mawr yw\u2019r gwaith a wnest erioed:\n Ti gest angau, ti gest uffern,\n Ti gest Satan dan dy droed:\n Pen Calfaria,\n Nac aed hwnw byth o\u2019m cof.\n\nWilliam Williams was the chief hymn writer of Wales and one of her\ngreatest poets. He at first was in training for the medical profession\nbut after attending some revival services, decided to become a minister.\nOn account of his evangelical views (and his interest in evangelistic\nwork), he came in conflict with church dignitaries, resulting in his\nwithdrawal from the Established Church, and throwing himself into\nevangelistic work. His preaching itineraries took him throughout Wales.\nHe travelled an average of 3,000 miles per year for 50 years. He wrote\nmany hymns, stirring the nation, influencing its character, and\ndeepening its faith. Williams was to Wales what Paul Gerhardt was to\nGermany and Isaac Watts to England.\n\n_MUSIC._ DISMISSAL was composed for the hymn \u201cLord, dismiss us with Thy\nblessing\u201d (45).\n\nThe composer, William Letton Viner, 1790-1867, was a student of Charles\nWesley, Jr. He was organist at St. Michael\u2019s Church, Bath, for 18 years\nand at St. Mary\u2019s Penzance for 21 years. In 1859, he came to the United\nStates. He composed organ and church music and songs, and edited several\nhymnals.\n\n\n161. Jesus, Savior, pilot me _Edward Hopper_, 1818-88\n\nA beautiful hymn suggested by the seafaring life. It was published\nanonymously in _Sailors\u2019 Magazine_, 1871, and again in the _Baptist\nPraise Book_, 1871, and in C. S. Robinson\u2019s collection of _Spiritual\nSongs_, 1878. The author of the hymn, unknown for several years, was\ndiscovered at the anniversary of the Seamen\u2019s Friend Society, held at\nthe Broadway Tabernacle, New York City, May 10, 1880. Dr. Edward Hopper,\npopular pastor of the Church of the Sea and Land in New York, having\nbeen asked to write a special hymn for the occasion, brought instead,\n\u201cJesus Savior, pilot me,\u201d not aware that the hymn had already been\npublished in several church hymnals. The public learned then for the\nfirst time the real authorship of the hymn. The original has six\nstanzas, this being a selection of 1, 5, and 6.\n\nEdward Hopper was born in New York City. He graduated from New York\nUniversity and then prepared himself at Union Theological Seminary, New\nYork, for the Presbyterian ministry. For many years he was pastor of the\nChurch of the Sea and Land in New York, which sailors attended in large\nnumbers.\n\n_MUSIC._ PILOT, universally sung and beautifully adapted to these words,\nwas written just before the composer sailed for Europe a short while\nbefore his death. He played the tune on the piano the night before he\nembarked on shipboard for his last earthly voyage.\n\nFor further comments on the composer, John E. Gould, see Hymn 141.\n\n\n162-3. Lead, kindly Light _John Henry Newman_, 1801-90\n\nA prayer for light and guidance, written on Sunday, June 16, 1833, while\nthe author, travelling for his health, was lying, sick in mind and body,\non the deck of a sail vessel that was becalmed for a whole week in the\nStraits of Bonifacio, in the Mediterranean Sea. Newman was going through\na period of great heart-searching because of the disturbed conditions in\nEngland, both in church and state. His depressed feelings were\naccentuated by the wretched state of his health. The hymn deserves its\nwide popularity, for it expresses the universal longing for divine help\nin time of deep depression. The meaning of \u201ckindly light\u201d was never\nexplained by the author. To some it represents the Inward Light of\nconscience; to others just the divine guidance; but to most people it\ndoubtless means Christ as the Light of the World.\n\nJohn Henry Newman was born in London, the son of a banker. His parents\nwere devout nonconformists and brought up their son in the evangelical\nfaith. After a distinguished career at Trinity College, Oxford, Newman\nwas ordained in the Church of England, and became the vicar of the\nOxford University Church, a post he filled with distinction from 1828 to\n1843. His charm of personality and pulpit eloquence made him a profound\ninfluence at the University. Newman became a leader in the Oxford\nMovement and finally, in 1845, after a period of much hesitation, he\nleft Anglicanism to unite with the Roman Catholic Church. His _Apologia\npro Vita Sua_, a masterpiece of autobiography, constitutes a powerful\ndefense of the Roman system of belief. In 1879, after some years of\nneglect by the church, he was made a cardinal. His fine Christian\ncharacter, and spiritual force, as well as his literary ability, were\nuniversally recognized. Newman was a great Englishman and a great saint\nthough referred to by some writers as an \u201cangel who lost his way.\u201d\n\n_MUSIC._ LUX BENIGNA was written for these words by J. B. Dykes. Dykes\ntold a friend that the tune came to him while walking through the Strand\nin London. The tune is also known as \u201cSt. Oswald.\u201d\n\nA friend visiting Cardinal Newman said to him of \u201cLead, Kindly Light\u201d:\n\u201cIt must be a great pleasure to you to know that you have written a hymn\ntreasured wherever English speaking Christians are to be found: and\nwhere are they not found?\u201d To which Newman, after thoughtful silence,\nreplied: \u201cYes, deeply thankful, and more than thankful: but you see it\nis not the hymn, but the tune, that has gained the popularity! The tune\nis Dykes\u2019, and Dr. Dykes was a great master.\u201d\n\nFor comments on J. B. Dykes see Hymn 1.\n\nSANDON was also written for this hymn. It appeared in _The Church and\nHome Metrical Psalter and Hymnal_, 1860, edited by Purday himself. It is\nsimpler in form than LUX BENIGNA and is an effective and desirable\nalternative tune.\n\nCharles Purday, 1799-1885, the composer, was at one time a noted singer\nin London. He became a publisher of music and was a popular lecturer on\nmusical subjects.\n\n\n164. Lead us, O Father, in the paths of peace _Wm. H. Burleigh_,\n 1812-71\n\nA hymn on the journey of life, entitled by the author, \u201cPrayer for\nGuidance.\u201d\n\nWilliam Henry Burleigh was brought up on a farm at Plainfield, Conn. At\nthe age of 25, he went to Pittsburgh, Pa., and learned the printing\ntrade and journalism. He later became editor of the _Christian Freeman_,\nan abolitionist journal, at Hartford, Conn. He was an ardent temperance\nreformer and advocate of the abolition of slavery. His last appointment\nwas harbour master at New York, a post he held for 15 years. Burleigh\nbelonged to a distinguished group of Unitarians who have contributed to\nAmerican hymnody. His wife, Celia Burleigh, was for some time minister\nof the Unitarian Church at Brooklyn, Conn., and wrote the _Life_ of her\nhusband.\n\n_MUSIC._ LONGWOOD was composed for John Ellerton\u2019s hymn, \u201cSavior, again\nto thy dear name we raise\u201d (43).\n\nFor comments on the composer, Joseph Barnby, see Hymn 21.\n\n\n165. O\u2019er the trackless ocean guided _Wm. H. Adams_, 1864\u2014\n\nA hymn on pioneer service, written probably with the Pilgrim Fathers in\nmind, but equally applicable to other groups of immigrants who came\n\u201co\u2019er the trackless ocean\u201d to build \u201crude homes\u201d in the \u201cnew land, wild\nand lonely.\u201d\n\nInformation concerning the author has not been traced. The hymn is not\nlisted in _Julian\u2019s Dictionary_.\n\n_MUSIC._ BEECHER. For comments on this tune and its composer see Hymn\n178.\n\n\n166. For them whose ways are in the height _Richard Roberts_, 1874\u2014\n\nThis hymn for travellers by air was created to meet the new day of\namazing development which has taken place in modern travel. It is a\nwelcome addition to the hymnody of travel.\n\nRichard Roberts, born in Wales, in 1874, is an eminent preacher. Before\ngoing to Canada where he became the first Moderator of the United Church\nof Canada, he occupied pulpits in Wales, London, and Brooklyn. He is one\nof the founders of the \u201cFellowship of Reconciliation.\u201d His views on the\nrelation of the church to war are well expressed in his own words:\n\n The world order in which war is inherent, the church exists to\n transform. When it supports the method of war, an end-product of the\n unredeemed world order, the church is not only proclaiming its own\n failure, but is hauling down its own flag and hoisting instead the\n flag of the world.\n\n_MUSIC._ MORWELLHAM was composed by Charles Steggall, 1826-1905, an\nEnglish musician who was educated at the Royal Academy of Music in\nLondon and then for half a century was chief professor of the organ in\nthe same institution. He is said to have trained more organists than any\nteacher in England. Steggall was an enthusiast for the music of Bach and\nserved as honorary secretary of the Bach Society. He composed anthems\nand church music and had a lifelong interest in hymnology. He succeeded\nW. H. Monk as musical editor of _Hymns Ancient and Modern_.\n\n\n167. O God of Bethel, by whose hand _Philip Doddridge_, 1702-51\n _and others_\n\nA paraphrase of Genesis 28:20-22: \u201cAnd Jacob vowed a vow, saying, If God\nwill be with me, and will keep me in this way that I go, and will give\nme bread to eat, and raiment to put on, so that I come again to my\nfather\u2019s house in peace; then shall the Lord be my God: and this stone,\nwhich I have set for a pillar, shall be God\u2019s house: and of all that\nthou shalt give me I will surely give the tenth unto thee.\u201d\n\nThe hymn has undergone certain changes and additions so that it really\nis a composite production, the details of which need not be enumerated\nhere. Ours is the Scottish version found in the _Scottish Paraphrases_,\n1781. In Scotland it is the best-loved of the paraphrases as \u201cThe Lord\u2019s\nMy Shepherd\u201d is the best-loved of the psalms.\n\nFor comments on Philip Doddridge see Hymn 56.\n\n_MUSIC._ SALZBURG is an adaptation of an air in a movement of a Mass\ncomposed by J. M. Haydn \u201cfor the use of country choirs.\u201d It was\noriginally in 6-8 time. An entirely different tune by the same name is\nfound at Hymn 545.\n\nFor comments on Johann Michael Haydn see Hymn 7.\n\n\n168. Captain of Israel\u2019s host, and Guide _Charles Wesley_, 1707-88\n\nBased on the story of God\u2019s guidance of the Israelites during their\nexodus from Egypt and their journeyings in the wilderness, Exodus\n13:17-22.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ MIDDLESEX is an anonymous tune, the origin of which has not\nbeen traced. The hymn and tune were taken from _The Hymnary_, published\nin Toronto, 1930, by the United Church of Canada.\n\n\n169. Eternal Father! strong to save _William Whiting_, 1825-78\n\nA hymn for travellers by sea. This hymn and tune have long been used\nmore frequently than any other for that purpose. Sir Evelyn Wood wrote\nregarding this hymn: \u201cIt is much used by those at sea, and, when the\nwind blows hard, by those on land.\u201d The words, written in 1860, have\nbeen revised several times.\n\nIt was the favorite hymn of the late Franklin D. Roosevelt and was sung\nat his funeral at Hyde Park, New York, April 14, 1945.\n\nWilliam Whiting was a native of Kensington, London, and was for over\ntwenty years master of the Choristers\u2019 School at Winchester College.\n\n_MUSIC._ MELITA was written for this hymn. For comments on the composer,\nJ. B. Dykes, see Hymn 1.\n\n\n LOVE AND GRATITUDE\n\n\n170. Jesus, Thy boundless love to me _Paul Gerhardt_, 1607-76\n _Tr. John Wesley_\n\nA hymn of the love of Christ, suited especially well for the Communion\nService. This great hymn by Paul Gerhardt first appeared in Cr\u00fcger\u2019s\n_Praxis Pietatis Melica_, Berlin, 1653, in sixteen stanzas. John Wesley,\ngreat revivalist and eminent translator of German hymns, rendered the\nentire hymn into English, in a different meter, and published it in\n_Hymns and Sacred Poems_, 1739. Our hymn consists of the first three\nstanzas, the original of which are as follows:\n\n O Jesu Christ, mein sch\u00f6nstes Licht,\n Der du in deiner Seelen\n So hoch mich liebst, dass ich es nicht\n Aussprechen kann noch z\u00e4hlen:\n Gib, dass mein Herz dich wiederum\n Mit Lieben und Verlangen\n M\u00f6g\u2019 umfangen\n Und als dein Eigentum\n Nur einzig an dir hangen!\n\n Gib, dass sonst nichts in meiner Seel\u2019\n Als deine Liebe wohne;\n Gib, dass ich deine Lieb\u2019 erw\u00e4hl\u2019\n Als meinen Schatz und Krone!\n Stoss alles aus, nimm alles hin,\n Was dich und mich will trennen\n Und nicht g\u00f6nnen,\n Dass all mein Mut und Sinn\n In deiner Liebe brennen!\n\n Wie freundlich, selig, s\u00fcss und sch\u00f6n\n Ist, Jesu, deine Liebe!\n Wo diese steht, kann nichts bestehn,\n Das meinen Geist betr\u00fcbe;\n Drum lass nichts andres denken mich,\n Nichts sehen, f\u00fchlen, h\u00f6ren,\n Lieben, ehren\n Als deine Lieb\u2019 und dich,\n Der du sie kannst vermehren!\n\nThe prayer for the realization of the love of Christ was answered\nabundantly in Wesley\u2019s own life. In his _Plain Account of Christian\nPerfection_, he wrote:\n\n In the beginning of the year 1738, as I was returning from Savannah,\n the cry of my heart was\n\n \u201cO grant that nothing in my soul\n May dwell but Thy pure love alone.\u201d\n\nOn May 24 of the same year, in the Society Meeting in Aldersgate Street,\nabout a quarter before nine, during the reading of Luther\u2019s Preface to\nthe Epistle to the Romans, I felt my heart strangely warmed. I felt I\ndid trust in Christ, Christ alone, for Salvation; and an assurance was\ngiven me that He had taken away my sins, even _mine_, and saved _me_\nfrom the law of sin and death.\n\nWesley became interested in the German chorales through his contact with\nthe Moravians. In 1735, he and his brother Charles Wesley set sail for\nGeorgia. Among their fellow passengers on the boat were 26 Moravians who\nmade much of the singing of hymns and seemed to meet every storm and\ntrial with unfaltering faith. Wesley was so impressed that on the third\nday out he began the study of German and soon joined in the daily\nworship of the Moravians. The fervor and spontaneity of their singing\nmade an indelible impression on his mind. He later translated a number\nof chorales into English. (See 246, 508, 558.)\n\nFor comments on Paul Gerhardt see Hymn 134.\n\n_MUSIC._ STELLA. For comments on this tune see Hymn 94.\n\n\n171. Jesus, Thou Joy of loving hearts _Latin 11th Century_\n _Tr. Ray Palmer_\n\nA hymn of devotional meditation especially appropriate for the Communion\nService.\n\nFrom the same Latin hymn, \u201c_Jesu dulcis memoria_,\u201d as Hymn 155 (which\nsee) but using a different set of quatrains, Nos. 4, 3, 20, 28, and 10,\nwhich appear in the Latin as follows:\n\n Jesu, dulcedo cordium;\n Fons veri, lumen mentium,\n Excedit omne gaudium,\n Et omne desiderium.\n\n Jesus, spes poenitentibus,\n Quam pius es petentibus,\n Quam bonus te quaerentibus!\n Sed quid invenientibus?\n\n Qui te gustant, esuriunt;\n Qui bibunt, adhuc sitiunt:\n Desiderare nesciunt\n Nisi Jesum, quem diligunt.\n\n Quoconque loco fuero,\n Mecum Jesum desidero;\n Quam laetus, cum invenero!\n Quam felix, cum tenuero!\n\n Mane nobiscum, Domine,\n Et nos illustra lumine,\n Pulsa mentis caligine,\n Mundum replens dulcedine.\n\nFor comments on the translator, Ray Palmer, see Hymn 131.\n\n_MUSIC._ QUEBEC. This tune by Henry Baker was originally set to the\nhymn, \u201cSun of my soul.\u201d It is also called \u201cHesperus\u201d and \u201cWhitburn.\u201d\n\nHenry Baker (not to be confused with Henry W. Baker), 1835-1910, son of\nRev. James Baker, was educated as a civil engineer and spent many years\nin his profession on railroad work in India. He loved music, and,\nencouraged by John B. Dykes, proceeded in 1867 to his musical degree\n(Mus. Bac.) at Exeter College, Oxford.\n\n\n172. O love divine, that stooped to share _Oliver Wendell Holmes_,\n 1809-94\n\nOne of Holmes\u2019 best hymns to which he gave the title, \u201cHymn of Trust.\u201d\nIt is found in the author\u2019s _Poems_, 1862. It was first published as one\nof the poems in _The Professor at the Breakfast Table_, where it was\nrepresented as having been heard by the professor as he walked by a sick\nroom. The little refrain, \u201cThou art near,\u201d is based on Psalm 119:151:\n\u201cThou art near, O Lord; and all thy commandments are truth.\u201d\n\nOliver Wendell Holmes, American poet and man of letters, was the son of\nRev. Abiel Holmes, a Congregational minister. He graduated from Harvard\nin 1829, studied medicine at home and abroad, and became Professor of\nAnatomy and Physiology at Dartmouth in 1838. He was elected to the same\nchair at Harvard in 1847, a position he filled with distinction for 35\nyears. During all his years of teaching he was also engaged in literary\nwork and published many volumes. Holmes was chief founder of the\n_Atlantic Monthly_. He was a member of the Unitarian Church though in\nlater years he fell back for spiritual comfort on the great evangelical\nhymns of Watts and Wesley, finding in them a source of satisfaction and\npower which the hymns of his own denomination failed to supply. His son,\nOliver Wendell, Jr., became an eminent member of the Supreme Court of\nthe United States.\n\nFor further comments on Holmes see Hymn 53.\n\n_MUSIC._ QUEBEC. For comments on this tune see Hymn 171.\n\n\n173. Immortal Love, forever full _John Greenleaf Whittier_, 1807-92\n\nOne of the great hymns on the living presence and sympathy of Christ. It\nis taken from the poem, \u201cOur Master,\u201d of 38 stanzas, of which this hymn\nis a selection of stanzas 1, 5, 13, 14, and 16 of the original.\n\nJohn Greenleaf Whittier, the \u201cQuaker Poet,\u201d was born near Haverhill,\nMass., where he began life as a farm boy and village shoemaker. At the\nage of 20, with only a limited education, he entered the profession of\njournalism, largely as the result of becoming acquainted with William\nLloyd Garrison. He became editor of the _American Manufacturer_ in 1828,\nand of the _New England Review_ in 1830. In 1836 he became the secretary\nof the American Anti-Slavery Society and editor of its official organ,\nthe _Freeman_. Whittier was a staunch advocate of the freedom of slaves,\nand as a Quaker, he was just as strongly opposed to war. His poems are\ncharacterized by wide sympathy and a fervent love for God and man.\nThough a staunch Quaker, wearing the distinctive garb and using the\nQuaker mode of speech all his life, there was no narrow sectarianism in\nhis heart. A letter written to friends in Whittier, California, a city\nnamed after the poet, for the dedication of the Protestant Episcopal\nChurch at that place, illustrates his large-hearted religious views:\n\n I see the good in all denominations, and hope that all will be\n represented in the settlement; ... diligent in business and serving\n the Lord, not wasting strength and vitality in spasmodic emotions, not\n relying on creed and dogma, but upon faithful obedience to the voice\n of God in the soul. I see your town is spoken of as an orthodox Quaker\n colony. I hope there will be no sectarian fence about \u201cWhittier,\u201d but\n that good men, irrespective of their creeds, will find a home there.\n Nothing would be worse for it than to have the idea get abroad that\n anything like intolerance and self-righteousness was its foundation. I\n am gratified to know that the people of the town which bears my name\n will remember me on my birthday. I watch its growth with great\n interest. It has the reputation among all who have seen it that it\n occupies one of the loveliest sites in California, and that in a moral\n and religious and educational point of view it need\n\n Fear not the skeptic\u2019s puny hand\n While near the school the church will stand;\n Nor fear the blinded bigot\u2019s rule\n While near the church shall stand the school.\n\n_MUSIC._ SERENITY is taken from a larger work entitled, _Waft ye winds_.\nThough the tune is named \u201cSerenity,\u201d the composer\u2019s life was anything\nbut serene; he was the world\u2019s most restless and most picturesque\ncomposer. William Vincent Wallace, 1812-65, son of an Irish bandmaster,\nbecame a brilliant violinist. He loved adventure and travel and made\nsuccessful concert tours to Australia, the South Sea Islands, India,\nSouth America, Mexico, the United States, and elsewhere. Wallace spent\n14 years in Germany composing piano music chiefly, but also writing a\nnumber of operas. On account of failing health, he abandoned writing,\nand went to New York where he lost all his fortune through the failure\nof a piano factory. Undiscouraged by this disaster, he once more resumed\nhis career as composer, returned to London, and then on doctor\u2019s orders\nwent to the Pyrenees where he died at the age of 51.\n\n\n174. Gracious Spirit, Holy Ghost _Christopher Wordsworth_, 1807-85\n\nWritten for one of the pre-Lenten Sundays (_Quinquagesima_), the lesson\nfor the day being I Corinthians 13. It is a fine enough hymn, but no\npoet can render this great paean of praise of love into verse to equal\nin poetic beauty the English of the King James Version.\n\nChristopher Wordsworth was a nephew of the poet William Wordsworth. He\nwas a brilliant student and a good athlete. After graduation from\nCambridge, he became Head Master of Harrow for a time, then minister of\na church where he proved to be a model parish priest, and later was\nappointed Bishop of Lincoln. Among his writings are a _Commentary on the\nBible_, and a book of devotional poetry, _The Holy Year_, prepared for\nuse in public worship.\n\n_MUSIC._ CAPETOWN is an adaptation of a melody in \u201c_Vierstimmiges\nChoralbuch herausgegeben von Dr. F. Filitz_,\u201d Berlin, 1847. It was\noriginally set to the hymn, \u201c_Morgenglanz der Ewigkeit_\u201d (554).\n\nThe composer, Friedrich Filitz, 1804-76, was a musician and editor of\nGerman chorale books. He spent all his life in Munich except the years\n1843-47 in Berlin.\n\n\n175. O Love that wilt not let me go _George Matheson_, 1842-1906\n\nA song of joyful resignation, love, and trust, born out of the author\u2019s\nexperience of suffering. The story has been circulated that the hymn was\nwritten after the woman whom Matheson loved gave him up because of his\nbecoming blind\u2014a good story with one defect, _viz._, that it isn\u2019t true.\nIt could not be true because Matheson became blind at 15 and the hymn\nwas not written until he was 40 years old.\n\nThe author\u2019s own account of the composition of the hymn is as follows:\n\n My hymn was composed in the manse of Innellan, on the evening of June\n 6, 1882. I was at that time alone. It was the day of my sister\u2019s\n marriage, and the rest of the family were staying over night in\n Glasgow. Something had happened to me, which was known only to myself,\n and which caused me the most severe mental suffering. The hymn was the\n fruit of that suffering. It was the quickest bit of work I ever did in\n my life. I had the impression rather of having it dictated to me by\n some inward voice than of working it out myself. I am quite sure that\n the whole work was completed in five minutes, and equally sure that it\n never received at my hands any retouching or correction. The Hymnal\n Committee of the Church of Scotland desired the change of one word. I\n had written originally \u201cI climb the rainbow in the rain.\u201d They\n objected to the word \u201cclimb\u201d and I put in \u201ctrace.\u201d\n\nGeorge W. Matheson, son of a wealthy merchant in Glasgow, was an able\nand greatly honored minister in the Presbyterian Church of Scotland. He\nwas educated at Glasgow University and licensed to preach when 24 years\nold. During his University course, and all the rest of his life, he had\nto depend on the eyesight of others, which makes his accomplishments all\nthe more remarkable. He was a brilliant student and became a\ndistinguished preacher and pastor. At St. Bernard\u2019s Church, Edinburgh,\nhe served a membership of over 2,000, never neglecting his duties of\npastoral calling in which he was invariably accompanied by his devoted\nsister. He was a scholar of distinction and was the author of 25 books,\nincluding such well-known works as _Representative Men of the Bible_,\n_Representative Women of the Bible_, _The Spiritual Development of St.\nPaul_, and a book of _Sacred Songs_. Of the many hymns he wrote, several\nhave been used in hymn books but only this one has gained universal\npopularity.\n\n_MUSIC._ ST. MARGARET was written one summer day as the composer was\nsitting by the sea on the island of Arran and reading over Matheson\u2019s\nverses. The tune came to him suddenly and he hastened to the house where\nhe was staying where (in his own words): \u201cI wrote the music straight\noff, and I may say that the ink of the first note was hardly dry when I\nfinished the tune.\u201d\n\nThe composer, Albert Lister Peace, 1844-1912, was organist at Glasgow\nCathedral and at the time he wrote this tune, he was music editor of the\nrevised _Scottish Hymnal_ of 1885.\n\n\n176. For common gifts we bless Thee, Lord _Charlotte M. Packard_\n\nA hymn of gratitude for the common gifts too often taken for granted\u2014the\nphysical senses, the air, sun, darkness and sleep, the courtesies of\nfriendship, etc. The last stanza is a prayer for unforgetful gratitude.\n\nInformation regarding the author, Charlotte M. Packard, has not been\ntraced. The hymn was taken from _Hymns of the Spirit_, 1937, Boston.\n\n_MUSIC._ ILLSLEY appeared in _A Sett of New Psalm Tunes in Four Parts by\nJohn Bishop_, c. 1700, where it is set to Psalm 100.\n\nJohn Bishop, the composer, 1665-1737, was an English musician who became\norganist of Winchester College in 1695 and in 1729 was appointed\norganist of Winchester Chapel. He is buried in the Cloisters of the\nCollege with the following epitaph:\n\n Vir singulari probitate, integerrima vita, moribus innocuis,\n musicaeque scientiae bene peritus, qui, postquam huic Collegio per\n XLII, annos sedulo inserviisset, ad Caelestam Choram placide migravit,\n decimo nono die Decembris, anno Dom. 1737, Aetat. 72. (A man of\n unexampled honesty, purest life, blameless morals, and of excellent\n skill in music, who, after serving this College diligently for 42\n years, passed tranquilly to the Celestial Choir on the 19th of\n December A.D. 1737, aged 72.)\n\n\n177. My God, I thank Thee, who hast made _Adelaide Anne Proctor_,\n 1825-64\n\nA hymn of pure gratitude, expressing thankfulness even for the trials of\nlife. It is equally useful for the sick and the well.\n\nAdelaide Anne Proctor was born in London, the daughter of Bryan W.\nProctor, known in literary circles as \u201cBarry Cornwall.\u201d She possessed\nextraordinary intellectual power and was specially gifted in music and\nlanguage. Miss Proctor contributed lyrics to _Household Verses_, edited\nby Chas. Dickens, who wrote with admiration of her verse making, her\nmental resources, humor, and works of beneficence. At 38 years of age\nher physical strength weakened and then followed 15 weary months of\nhelplessness during which, however, she maintained her old cheerfulness\nwith never a trace of depression or regret. She was brought up in the\nChurch of England, but at the age of 26 united with the Roman Catholics.\nHer broad sympathies and deep religious convictions placed her above the\ndogmas of any one communion and enabled her to express the aspirations\nof all God\u2019s children. Besides her hymns, Miss Proctor is best known as\nthe author of the popular song, \u201cThe Lost Chord,\u201d set to music by Arthur\nSullivan.\n\n_MUSIC._ WENTWORTH was composed for this hymn in _The Bristol Tune\nBook_, 2d series; 1876. The middle section of the tune, lines 3 and 4,\npasses from the Key of C to A minor, D major and G major, making an\neffective contrast to the opening and closing lines, in the key of C.\n\nFor comments on the composer, Frederick C. Maker, see Hymn 112.\n\n\n178-9. Love divine, all loves excelling _Charles Wesley_, 1707-88\n\nThe hymn appeared in the curiously named collection, _Hymns for those\nthat seek and those that have Redemption in the Blood of Christ_, 1747,\nand was entitled \u201cJesu, show us Thy salvation.\u201d It dwells upon the\nthought of God as love, an idea not too common in the early hymns. The\nthought of the hymn is complete without stanza 2 and many hymnals omit\nit. Some have objected to this stanza because of the line, \u201cTake away\nour power of sinning.\u201d Literally interpreted this would be a prayer to\nhave taken away the power of free moral choice, which is hardly what\nWesley intended. To obviate this difficulty, the line has been changed\nto \u201cTake away the _love_ of sinning.\u201d\n\nFor comments on Wesley see Hymn 6.\n\n_MUSIC._ BEECHER was composed by John Zundel, 1815-82, German-American\norganist and composer who rendered distinguished service as minister of\nmusic in the Plymouth Congregation Church, Brooklyn, of which Henry Ward\nBeecher was pastor. He assisted Beecher in the production of the famous\n_Plymouth Collection_ of hymns published in 1855. The tune, now known\nthroughout the world, was named after the great pulpiteer.\n\nSONATA (179) is an adaptation of the theme-melody in Mozart\u2019s piano\nSonata No. 16, where it is marked, _Andantino grazioso_. Dudley Buck\nwrites:\n\n Wolfgang Amadeus Mozart, 1756-91, composed 972 pieces of which we\n know. He is considered the greatest composer the world has ever seen,\n judged by the versatility and power of his genius. In every sort and\n kind of composition he was equally excellent. Beside being a great\n composer he was also a great performer, being the most accomplished\n pianist of his day. He was also an excellent player on the violin.\n\n\n PRAYER AND COMMUNION\n\n\n180. Pray when the morn is breaking _Mrs. Jane Cross Simpson_, 1811-86\n _and others_\n\nA hymn setting forth the idea of prayer in a very simple way.\n\nJane Cross Simpson was the daughter of James Bell, a Glasgow attorney.\nIn 1837, she married her cousin J. B. Simpson, of Glasgow. At the age of\n20, she had written a poem, \u201cGo when the morning shineth,\u201d which, after\nsome revision, had become popular. When _Songs of Praise_, an important\nEnglish hymnbook, was in the making, this poem was again revised to make\nthe present hymn. The \u201cothers\u201d referred to are responsible for the\nrevision and according to _Songs of Praise Discussed_ consisted of Percy\nDearmer, Stephen Gwynn, Mabel Dearmer, and Jan Struther.\n\n_MUSIC._ MEIRIONYDD is a vigorous tune of easy rhythm, on the pattern of\nmany Welsh tunes except that the last two lines, instead of being simple\nrepeats of the first two lines, as in the majority of such melodies, are\nvaried imitations of them.\n\nThe composer, William Lloyd, 1786-1852, a Welshman, was a self-educated\nman. Though a cattle-dealing farmer, he possessed an excellent voice and\nhad a considerable knowledge of music. He held singing meetings and\nconducted music classes in Wales.\n\n\n181. Dear Lord and Father of mankind _John Greenleaf Whittier_,\n 1807-92\n\nA song of quietude and peace, reflecting the inner life of the \u201cQuaker\nPoet.\u201d\n\nThe verses are from a poem called, \u201cThe Brewing of Soma,\u201d in which\nWhittier tells of a certain sect of devotees in India who drank\nintoxicating liquor brewed from the Soma plant. The drinking of it\nbrought them to a state of intoxicated excitement in which they imagined\nthey were god-possessed. The poet then points out how among Christians\nemotional excitement is often mistaken for spiritual power.\n\n \u201cIn sensual transports, wild as vain,\n We brew in many a Christian fane,\n The heathen Soma still.\u201d\n\nThen follow the beautiful verses of our hymn in praise of the higher\nlife of restfulness in God. The poem was written in 1832, after a\nparticularly noisy and distasteful revival in Whittier\u2019s neighborhood.\n\nFor comments on John Greenleaf Whittier see Hymn 173.\n\n_MUSIC._ WHITTIER, also called \u201cRest\u201d and \u201cElton,\u201d was written for this\nhymn.\n\nFor comments on the composer, Frederick C. Maker, see Hymn 112.\n\n\n182. Sweet hour of prayer _William W. Walford_\n\nOne of the most popular of all modern prayer meeting hymns, sometimes\nerroneously ascribed to Fanny Crosby. It was composed in 1842 by Rev.\nWilliam W. Walford, a blind minister of England, of whom little is known\nexcept that he recited the words of this hymn to Rev. Thos. Salmon,\nCongregational minister at Coleshill, England, who wrote them down and\nlater sent them to the New York _Observer_, in which publication they\nwere printed September 13, 1845. The original has four stanzas, the last\ntwo being omitted here.\n\n_MUSIC._ CONSOLATION, a tune well suited to the words, was composed by\nWm. B. Bradbury in 1859. It is also known as \u201cSweet Hour\u201d and \u201cWalford.\u201d\n\nFor comments on the composer, Wm. B. Bradbury, see Hymn 103.\n\n\n183. Lord, what a change within us one short hour _Richard C.\n Trench_, 1807-86\n _Arr. W. P. Merrill_, 1867\u2014\n\nA hymn of the peace and power available through the practice of prayer.\nIt is an arrangement of Trench\u2019s sonnet on \u201cPrayer.\u201d\n\nRichard Chenevix Trench was born in Dublin, educated at Twyford School,\nHarrow, and Trinity College, Cambridge. He was preacher, poet, professor\nof divinity and later the Archbishop of Dublin. Trench, a scholar of\ndistinction, is the author of valuable books, including _Notes on the\nParables_, _Notes on the Miracles_, and _Study of Words_.\n\nThe poem came into the hymn books through the arrangement made of it by\nDr. W. P. Merrill who first became acquainted with the sonnet through\nhearing it read about 1907 by President Charles Cuthbert Hall, of Union\nTheological Seminary in the course of a lecture at the University of\nChicago. As sonnets each have fourteen lines, changes were necessary to\nmake the poem suitable for singing. Dr. Merrill omitted two lines and\narranged the rest to make three symmetrical four-line stanzas.\n\nWilliam Pearson Merrill was born in Orange, N. J., January 10, 1867.\nAfter graduating from Rutgers College, he trained for the Presbyterian\nministry at Union Theological Seminary, New York. He served churches in\nPhiladelphia and Chicago and then went, in 1911, to the Brick\nPresbyterian Church in New York City to begin a long and distinguished\npastorate which ended with his retirement in 1938. He was president of\nthe Church Peace Union, was long active in The American Hymn Society,\nand is the author of several books. His influence as preacher and\nreligious leader extends beyond his own denomination.\n\n_MUSIC._ FFIGYSBREN, known in Wales as \u201cClod\u201d (Praise), is a tune of\nsimple construction, but when sung rather slowly it is remarkably\npowerful and effective. It appeared in America in _The Harvard\nUniversity Hymn Book_, edited by Archibald T. Davidson in 1926. It is\none of an increasing number of Welsh tunes which are becoming available\nto enrich our hymnody with the element of unique beauty and fervor that\nis so characteristic of the singing of the Welsh people.\n\n\n184. Prayer is the soul\u2019s sincere desire _James Montgomery_, 1771-1854\n\nA classic poem on prayer, written in 1818 at the request of the Rev. E.\nBickersteth for his _Treatise on Prayer_. In 1825 it was published in\n_The Christian Psalmist_, headed, \u201cWhat is Prayer?\u201d The original has\neight stanzas of which our hymn is a selection of 1, 2, 4, 5. Prayer is\nmore, to be sure, than \u201cthe soul\u2019s sincere desire,\u201d for we sincerely\ndesire many things that are in conflict with God\u2019s will. But taken as a\nwhole, the poem is an elaborate description of the nature of prayer and\nteaches its principles and practice with truth and power. The last\nstanza, unfortunately omitted in the _Hymnary_, is itself a beautiful,\ndirect petition:\n\n O Thou by whom we come to God,\n The Life, the Truth, the Way,\n The path of prayer Thyself hast trod,\u2014\n Lord, teach us how to pray.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ ST. AGNES. For comments on this tune see Hymn 155. In some\nbooks the hymn is set to the tune \u201c_Es Ist Ein Born_\u201d (241).\n\n\n185. Thou art the Way, to Thee alone _George W. Doane_, 1799-1859\n\nBased on John 14:6: \u201cI am the way, the truth, and the life; no man\ncometh unto the Father, but by me.\u201d\n\nThe hymn was written by one of the most able and influential men in the\nEpiscopal Church in America. It takes high rank among all the hymns\nAmerica has produced, and is one of the few hymns of American origin\nincluded in the famous English book, _Hymns Ancient and Modern_. It is\nwritten in simple style, employing only twelve words of more than one\nsyllable.\n\nFor further comments on Bishop Doane see Hymn 36.\n\n_MUSIC._ LAMBETH was composed in 1871 by Wilhelm A. F. Schulthes. No\ninformation is at hand concerning the composer. The tune was taken from\n_The Hymnal_ (Protestant Episcopal, 1916).\n\n\n186. What a friend we have in Jesus _Joseph Scriven_, 1820-86\n\nA spiritual song of comfort and hope and the most popular Canadian\ncontribution to the hymnody of the church.\n\nThe authorship of this hymn long remained a secret. In one publication\nit was erroneously attributed to Horatius Bonar. Scriven composed it for\nhis mother to comfort her in time of special sorrow, not intending that\nanyone else should see it. This information was revealed to a friend who\nsat up with the author in his last illness.\n\nJoseph Scriven, born in Dublin, came to Canada at the age of 25 and\nsettled first at Rice Lake and later at Port Hope, Ontario. He was\nunmarried and lived with several families in succession. An eccentric\nperson, he was always assisting others, and was known as \u201cthe man who\nsawed wood for widows and sick people who are unable to pay.\u201d He was\nfound drowned in a stream near Rice Lake. A monument to his memory was\nerected by the people who had been helped by him, and by others in the\ndistrict.\n\n_MUSIC._ ERIE was composed for this hymn by Charles Crozat Converse,\n1832-1918, an American, trained in Germany for the musical profession.\nOn returning to America, he studied law, graduating from Albany Law\nSchool in 1861, and from 1875 practicing the legal profession at Erie,\nPa. He maintained his interest in music and published several\ncompositions during his career as lawyer.\n\n\n187. I need Thee every hour _Annie Sherwood Hawks_, 1835-1918\n\nA song expressing the Christian believer\u2019s ever-present sense of divine\nhelp and guidance. It first appeared in a small collection of gospel\nsongs prepared for the National Baptist Sunday School Association which\nmet in Cincinnati, Ohio, November, 1872, and was sung there.\n\nMrs. Annie Sherwood Hawks was an active member of the Baptist Church in\nBrooklyn of which Rev. Robert Lowry, who wrote the music to the words\nand added the refrain, was the pastor. Concerning the hymn, Mrs. Hawks\nwrote:\n\n Whenever my attention is called to it I am conscious of great\n satisfaction in the thought that I was permitted to write the hymn, \u201cI\n need Thee every hour,\u201d and that it was wafted out to the world on the\n wings of love and joy, rather than under stress of a great personal\n sorrow, with which it has so often been associated in the minds of\n those who sing it.\n\n I remember well the morning ... when in the midst of the daily cares\n of my home ... I was so filled with the sense of nearness to the\n Master that, wondering how one could live without Him either in joy or\n pain, these words, \u201cI need Thee every hour,\u201d were ushered into my\n mind, the thought at once taking full possession of me....\n\n For myself the hymn was prophetic rather than expressive of my own\n experience at the time it was written, and I do not understand why it\n so touched the great throbbing heart of humanity. It was not until\n long years after, when the shadow fell over my way\u2014the shadow of a\n great loss\u2014that I understood something of the comforting in the words\n I had been permitted to write and give out to others in my hours of\n sweet security and peace.\n\n_MUSIC._ NEED. The tune was written for this hymn. The composer, Rev.\nRobert Lowry, 1826-99, was born in Philadelphia and educated at Bucknell\nUniversity. After a few years in the Baptist ministry he became\nProfessor of Rhetoric at his alma mater. The University gave him his\ndoctorate in 1875. He resigned his chair in 1875 and the following year\nresumed the work of the ministry at Plainfield, N. J., continuing until\nhis death. Though he had no serious training in music, Lowry wrote many\ntunes and edited several popular collections of hymns. He did much to\nencourage the gospel song movement in America.\n\n\n188. Father, in Thy mysterious presence kneeling _Samuel Johnson_,\n 1822-82\n\nA beautiful hymn of contrition, and prayer for the \u201cPresence.\u201d\n\nSamuel Johnson was born in Salem, Mass. After graduating from Harvard\nUniversity and Harvard Divinity School, he became minister of the\nIndependent Church at Lynn, Mass., where he served from 1853 to 1870. He\nwas a fellow-student and close friend of Samuel Longfellow, the two\n\u201cSams\u201d collaborating in the editing of _A Book of Hymns_ which passed\nthrough twelve editions and became the source of excellent hymnic\nmaterial not published before. He was a Unitarian by faith. A competent\nscholar, he published _Oriental Religions_, the first adequate study of\ncomparative religions by an American.\n\n_MUSIC._ HENLEY is one of Mason\u2019s most appreciated tunes. It appeared in\n_The Hallelujah_, 1854, by the composer, set to the hymn \u201cCome unto me,\nwhen shadows darkly gather.\u201d\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n189. Come, thou Fount of every blessing _Robert Robinson_, 1735-90\n\nAn old hymn that has been a \u201cfount of blessing\u201d itself to multitudes,\nwritten only three years after the author\u2019s conversion. It sounds a note\nof anxiety lest the paths of sin lure the soul away from God. The\nScripture reference in the second stanza is to I Sam. 7:12: \u201cThen Samuel\ntook a stone and set it between Mizpeh and Shen, and called the name of\nit Ebenezer, saying, Hitherto hath the Lord helped me.\u201d\n\nFor comments on the author, Robert Robinson, see Hymn 46.\n\n_MUSIC._ NETTLETON appeared in John Wyeth\u2019s _Repository_, 1813, arranged\nwith the melody in the treble. The authorship of the tune is unknown. It\nhas been attributed to Wyeth and to Asahel Nettleton, 1783-1844, a New\nEngland evangelist and compiler of _Village Hymns_. It has been\nsuggested that a friend of Nettleton composed the tune and named it in\nhis honor.\n\nJohn Wyeth was born in Cambridge, Mass., 1770, and followed the printing\nand publishing business all his life. He was postmaster at Harrisburg,\nPa., under President Washington but was removed by President Adams\nbecause of \u201cincompatibility of the office of post master and editor of a\nnewspaper.\u201d He died in Philadelphia, June 23, 1858.\n\n\n LOYALTY AND STEADFASTNESS\n\n\n190. Who is on the Lord\u2019s side _Frances R. Havergal_, 1836-79\n\nAn impressive call to Christian service. The hymn is based on the\nincident in the life of David in I Chron. 12:18: \u201cThen the spirit came\nupon Amasai who was the chief of the captains, and he said, \u2018Thine are\nwe, David, and on thy side\u2019.... Then David received them and made them\ncaptains of the band.\u201d\n\nFor comments on Frances Havergal see Hymn 126.\n\n_MUSIC._ ARMAGEDDON. This stirring tune was first used to \u201cOnward,\nChristian Soldiers,\u201d and later with the above hymn. It is an arrangement\nby John Goss of a tune by Louise Reichardt which appeared in _Kern des\nDeutschen Kirchengesangs_, 1853.\n\nLouise Reichardt, 1788-1826, was a teacher of vocal music in Berlin.\n\nFor comments on John Goss see Hymn 121.\n\n\n191. When courage fails, and faith burns low _Frederick L. Hosmer_,\n 1840-1929\n\nA triumphant song setting forth the ultimate victory of truth, and\nencouraging young people to stand loyally for the truth, even \u201cthough\nmen deride.\u201d\n\nFor comments on the author, Frederick L. Hosmer, see Hymn 72.\n\n_MUSIC._ WINCHESTER OLD. For comments on this tune see Hymn 588.\n\n\n192. Jesus, and shall it ever be _Joseph B. Grigg_, 1720-68\n\nEntitled by the author \u201cAshamed of Me.\u201d The hymn is based on Mark 8:38:\n\u201cWhosoever therefore shall be ashamed of me and of my words in this\nadulterous and sinful generation; of him also shall the Son of man be\nashamed, when he cometh in the glory of his Father with the holy\nangels.\u201d\n\nThe original poem, composed when the author was only ten years of age,\nhas been altered somewhat by Benjamin Francis, an English Baptist\npreacher who was born in Wales in 1734. Francis was an earnest and\npopular minister and received flattering calls to London and elsewhere\nbut chose to remain with his flock at the Baptist Church at Shortwood\nwhere he ministered from 1757 until his death in 1799.\n\nFor comments on Joseph B. Grigg see Hymn 141.\n\n_MUSIC._ FEDERAL STREET is the name of a street in Salem, Mass., where\nthe composer lived and where his wife was born, lived, and died. The\ntune was written in 1832 to a child\u2019s funeral hymn by Anne Steele, which\nbegan, \u201cSo fades the lovely, blooming flower.\u201d\n\nHenry Kemble Oliver, 1800-85, was a great lover of music even though his\nfather disapproved of music and forbade the son having anything to do\nwith it. After graduating from Dartmouth, he had a varied career as\nteacher, manager of cotton mills, adjutant-general of his state,\ntreasurer of the State of Massachusetts, and mayor of Salem. He had\nacquired some musical education and found time to compose and publish a\nconsiderable amount of sacred music.\n\n\n193. Stand up, stand up for Jesus _George Duffield, Jr._, 1818-88\n\nA hymn of the Christian warfare, widely known, and found in nearly all\nEnglish hymn books. The origin of it is best given in the author\u2019s own\nwords in a leaflet printed in Detroit, 1883, and quoted by his son,\nSamuel Duffield, in _English Hymns_, 1886:\n\n \u201cStand up for Jesus\u201d was the dying message of the Rev. Dudley A. Tyng,\n to the Young Men\u2019s Christian Association, and the ministers associated\n with them in the Noon-Day Prayer Meeting, during the great revival of\n 1858, usually known as \u201cThe Work of God in Philadelphia.\u201d\n\n A very dear personal friend, I knew young Tyng as one of the noblest,\n bravest, manliest men I ever met; not inferior in eloquence to his\n honored father, and the acknowledged leader of a campaign for Christ\n that has become historical. The Sabbath before his death he preached\n in the immense edifice known as Jaynes\u2019 Hall, one of the most\n successful sermons of modern times. Of the five thousand men there\n assembled, at least one thousand, it was believed, were \u201cthe slain of\n the Lord.\u201d His text was Exodus 10:11, and hence the allusion in the\n third verse of the hymn.\n\n The following Wednesday, leaving his study for a moment, he went to\n the barn floor, where a mule was at work on a horse-power, shelling\n corn. Patting him on the neck, the sleeve of his silk study gown\n caught in the cogs of the wheel, and his arm was torn out by the\n roots! His death occurred in a few hours. Never was there greater\n lamentation over a young man than over him, and when Gen. 50:26 was\n announced as the text for his funeral sermon, the place at once became\n a Bochim, and continued so for many minutes.\n\n The following Sunday the author of the hymn preached from Eph. 6:14,\n and the above verses were written simply as the concluding\n exhortation. The superintendent of the Sabbath-school had a fly-leaf\n printed for the children\u2014a stray copy found its way into a Baptist\n newspaper\u2014and from that paper it has gone in English, and in German\n and Latin translations all over the world. The first time the author\n heard it sung outside of his own denomination, was in 1864, as the\n favorite song of the Christian soldiers in the Army of the James.\n\n ... George Duffield\n\n Detroit, May 29, 1883.\n\nGeorge Duffield, Jr., 1818-88, son of Rev. George Duffield, was educated\nat Yale and Union Theological Seminary for the Presbyterian ministry and\nheld pastorates in Brooklyn, Philadelphia, Galesburg, Ill., Adrian and\nLansing, Michigan. His son, Samuel W. Duffield, was the author of\n_English Hymns_.\n\n_MUSIC._ WEBB. For comments on this tune see Hymn 65.\n\n\n194. God\u2019s trumpet wakes the slumb\u2019ring world _Samuel Longfellow_,\n 1819-92\n\nA stirring call to a loyal stand for truth and witness against wrong.\nThe hymn first appeared in _Hymns of the Spirit_, 1864.\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ ALL SAINTS NEW was written for Bishop Heber\u2019s hymn, \u201cThe Son of\nGod goes forth to war.\u201d\n\nThe composer, Henry Stephen Cutler, 1824-1902, received his education at\nBoston, his birthplace, and in Europe. He became a well-known organist\nand choir master, serving churches in Boston, New York, and other\ncities, and attracted attention by robing his choir members and seating\nthem in the chancel, innovations in his day.\n\n\n TRIALS AND TEMPTATIONS\n\n\n195. In the hour of trial _James Montgomery_, 1771-1854\n _Alt. Frances A. Hutton and Godfrey Thring_\n\nThe hymn is based on Luke 22:32: \u201cI have prayed for thee, that thy faith\nfail not.\u201d It was written October 13, 1834, with the title, \u201cIn trial\nand temptation,\u201d and published in 1853 in Montgomery\u2019s _Original Hymns_\nunder the title \u201cPrayers on Pilgrimage.\u201d The third and fourth stanzas\nhave been altered considerably, not entirely for the better. Montgomery\nbegan the second stanza:\n\n With its witching pleasures.\n\nIn the first stanza he had\n\n Jesus _pray_ for me;\n\nto which there was much objection on scriptural grounds, in spite of the\nwords of Christ, \u201cI pray for them\u201d (John 17:9).\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ PENITENCE was composed by Spencer Lane, 1843-1903, who received\nmusical training in the Boston Conservatory of Music and became a\nteacher of vocal and instrumental music. He was in charge of music in\nvarious churches in Rhode Island, Massachusetts, Virginia, and Maryland.\nWhile choirmaster at St. James Church, Woonsocket, R. I., he wrote this\ntune one Sunday while his wife was preparing dinner. It was used at a\nparish choir festival on \u201cEaster Tuesday, 1899, at 7:30 p.m.\u201d and at the\nsuggestion of the rector of the church, it was sent to Dr. Chas. L.\nHutchins, who included it in the _Episcopal Hymnal_ of 1879. Of the\nvarious tunes composed by Lane, this is the only one in general use\ntoday.\n\n\n196. Lord Jesus, think on me _Synesius_, _c._ 375-430\n _Tr. Allen W. Chatfield_, 1808-96\n\nA subjective and meditative hymn of trust, coming to us from the ancient\nEastern Church.\n\nSynesius, a native of Cyrene, came from an illustrious family. He\nstudied at Alexandria and became a Christian in 401. Against his own\nwishes, but in response to the will of the people, he was elected bishop\nof Ptolemais. He is described in Chas. Kingsley\u2019s _Hypatia_ as a\ndistinguished churchman, philosopher, statesman, and patriot.\n\nThe translator, Rev. A. W. Chatfield, was an Anglican clergyman who had\na distinguished career at Cambridge. He translated many of the hymns of\nthe early Greek poets into English.\n\nThe original poem, of which this is a paraphrase rather than an exact\ntranslation, is as follows:\n\n \u039c\u03bd\u03ce\u03b5\u03bf, \u03a7\u03c1\u03b9\u03c3\u03c4\u03ad,\n \u03c5\u1f31\u1f72 \u0398\u03b5\u03bf\u1fd6\u03bf\n \u1f51\u03c8\u03b9\u00b5\u03ad\u03b4\u03bf\u03bd\u03c4\u03bf\u03c2,\n \u03bf\u1f30\u03ba\u03ad\u03c4\u03c9 \u03a3\u03bf\u1fe6,\n \u039a\u1fc6\u03c1\u2019 \u1f00\u03bb\u03b9\u03c4\u03c1\u03bf\u1fd6\u03bf\n \u03a4\u03ac\u03b4\u03b5 \u03b3\u03c1\u03ac\u03c8\u03b1\u03bd\u03c4\u03bf\u03c2;\n \u039a\u03b1\u03af \u00b5\u03bf\u03b9 \u1f44\u03c1\u03b1\u03c3\u03c3\u03bf\u03bd\n \u03bb\u03cd\u03c3\u03b9\u03bd \u03c0\u03b1\u03b8\u03ad\u03c9\u03bd\n \u03ba\u03b7\u03c1\u03b9\u03c4\u03c1\u03b5\u03c6\u03ad\u03c9\u03bd\n \u03c4\u03ac \u00b5\u03bf\u03b9 \u1f10\u00b5\u03c6\u03c5\u1fc6\n \u03c8\u03c5\u03c7\u1fb7 \u1fe5\u03c5\u03c0\u03b1\u03c1\u1fb7;\n \u03b4\u1f78\u03c2 \u03b4\u1f72 \u1f30\u03b4\u03ad\u03c3\u03b8\u03b1\u03b9,\n \u03a3\u1ff6\u03c4\u03b5\u03c1 \u1f38\u03b7\u03c3\u03bf\u1fe6,\n \u03b6\u03b1\u03b8\u03ad\u03b1\u03bd \u03b1\u1f34\u03b3\u03bb\u03b1\u03bd\n \u03a3\u03ac\u03bd, \u1f14\u03bd\u03b8\u03b1 \u03c6\u03b1\u03bd\u03b5\u1f76\u03c2\n \u00b5\u03ad\u03bb\u03c8\u03c9 \u1f00\u03bf\u03b9\u03b4\u1f70\u03bd\n \u03c0\u03b1\u03af\u03bf\u03bd\u03b9 \u03c8\u03c5\u03c7\u1fb6\u03bd,\n \u03c0\u03b1\u03af\u03bf\u03bd\u03b9 \u03b3\u03c5\u03af\u03c9\u03bd,\n \u03a0\u03b1\u03c4\u03c1\u1f76 \u03c3\u1f7a\u03bd \u00b5\u03b5\u03b3\u03ac\u03bb\u1ff3\n \u03a0\u03bd\u03b5\u03cd\u00b5\u03b1\u03c4\u03af \u0398\u2019 \u1f09\u03b3\u03bd\u1ff7.\n\n_MUSIC._ SOUTHWELL, a characteristic psalm tune, was set to Psalm 45 in\n_Damon\u2019s Psalms of David_, 1579, and was named \u201cSouthwell\u201d in\nRavencroft\u2019s _Psalm Book_ of 1621. It was originally written in the\nDorian mode (the first \u201cauthentic\u201d Gregorian mode, D as keynote). A\nfuller explanation may be found in the _History of Music in the Western\nChurch_, by Dickinson, pp. 113 ff.\n\nFor comments on _Damon\u2019s Psalter_ see Hymn 589.\n\n\n197. O for a closer walk with God _William Cowper_, 1731-1800\n\nA tender, beautiful hymn, in use wherever English is spoken.\n\nIt was published in the _Olney Hymns_ (See 60) under the title \u201cWalking\nwith God.\u201d It is based on Genesis 5:24: \u201cEnoch walked with God.\u201d The\nhymn was written December 9, 1769, during the serious illness of the\npoet\u2019s dear friend, the wife of Rev. Morley Unwin, in whose home he\nstayed and found the tenderest of care during his own illness.\nConcerning her, Cowper wrote in a letter the day following the\ncomposition of this hymn:\n\n She is the chief of blessings I have met with in my journey since the\n Lord was pleased to call me.... Her illness has been a sharp trial to\n me. Oh, that it may have a sanctified effect, that I may rejoice to\n surrender up to the Lord my dearest comforts, the moment He may\n require them.... I began to compose the verses yesterday morning\n before daybreak but fell asleep at the end of the first two lines:\n when I awaked again, the third and fourth were whispered to my heart\n in a way which I have so often experienced.\n\nFor comments on William Cowper see Hymn 60.\n\n_MUSIC._ BELMONT is an adaptation from a melody in _Sacred Melodies ...\nadapted to the best English poets_, Vol. I; 1812, by William Gardiner.\nThe _Sacred Melodies_ appeared in six volumes containing tunes by the\nbest masters, adapted to English words.\n\nThe composer, William Gardiner, 1770-1853, was an English stocking\nmanufacturer who travelled extensively at home and abroad, principally\nin the interests of his business, but also making acquaintance with\nmusicians of all ranks and with their music. He published songs and\nduets of his own composition in his youth, over the _nom de plume_ of\n\u201cW. G. Leicester.\u201d His _Sacred Melodies_, referred to above, did\nvaluable service in drawing attention to many fine compositions\notherwise unknown.\n\n\n198. Soldiers of Christ, arise _Charles Wesley_, 1707-88\n\nFor comments on Charles Wesley see Hymn 6.\n\n\u201cThe Whole Armor of God\u201d is the title of this hymn in Wesley\u2019s _Hymns\nand Sacred Poems_, 1749. It is based on Ephesians 6:10-18: \u201cPut on the\nwhole armor of God, that ye may be able to stand against the wiles of\nthe devil,\u201d etc. The entire poem contains 16 double stanzas, of which\nour hymn is a selection of the first, second, and sixteenth.\n\n_MUSIC._ DIADEMATA. For comments on this tune see Hymn 118.\n\n\n ASPIRATION AND HOPE\n\n\n199. While Thee I seek, protecting Power _Helen M. Williams_,\n 1762-1827\n\nA hymn of faith and trust in God.\n\nHelen Maria Williams, an English Unitarian, lived for some years with\nher sister who had married a French Protestant. It was during the period\nof the Revolution and the reign of terror. Being an outspoken\nrepublican, she was imprisoned by Robespierre, and was released only\nafter his death in 1794. She was a woman of extraordinary intellectual\nstrength and published many volumes on politics, religion, and literary\nquestions, and finally her collected poems, entitled, _Poems on Various\nOccasions_. She lived in England and in France, and the closing years of\nher life were spent in Holland in the home of a nephew who was pastor of\na Reformed Church in Amsterdam.\n\n_MUSIC._ BRATTLE STREET. For comments on the composer of this tune,\nIgnace Pleyel, see Hymn 238.\n\n\n200. Rise, my soul, and stretch thy wings _Robert Seagrave_, 1693-c.\n 1759\n\nThis hymn, entitled \u201cThe Pilgrim\u2019s Song,\u201d first appeared in _Hymns for\nChristian Worship_, by Robert Seagrave, London, 1742.\n\nRobert Seagrave, son of Rev. Robert Seagrave, was educated at Cambridge\nand was ordained a clergyman in the Church of England. He became\ninterested in the Wesleys and Whitefield and published pamphlets and\nsermons designed to reform the clergy and Church of England. He wrote 50\noriginal hymns, of which this one is still in use. The exact year of\nSeagrave\u2019s death is not certain.\n\n_MUSIC._ AMSTERDAM is attributed to James Nares, 1715-1783, but most\nauthorities believe the tune to be much older. It appears in what is\nknown as the _Foundery Collection_, the first Methodist hymnal, by John\nWesley, 1742, and is said to be one of the German chorale tunes which\nJohn Wesley acquired from the Moravian Brethren.\n\n\n201. We would see Jesus _Anna B. Warner_, 1820-1915\n\nBased on John 12:20-23: \u201cThere were certain Greeks among them that came\nup to worship at the feast: the same came therefore to Philip, which was\nof Bethsaida of Galilee, and desired him, saying, Sir, we would see\nJesus.... And Jesus answered them saying, The hour is come, that the Son\nof man should be glorified.\u201d\n\nThe hymn first appeared in six stanzas in _Hymns of the Church\nMilitant_, compiled by Anna Warner, New York, 1858, and published in\n1861. It is another example of a fine hymn contributed by a woman.\n\nThe third and fourth stanzas, omitted here, are of the same excellent\nquality as the others:\n\n We would see Jesus: other lights are paling,\n Which for long years we have rejoiced to see;\n The blessings of our pilgrimage are failing;\n We would not mourn them for we go to Thee.\n\n We would see Jesus: yet the spirit lingers\n Round the dear objects it has loved so long,\n And earth from earth can scarce unclose its fingers;\n Our love to Thee makes not this love less strong.\n\nAnna Bartlett Warner, lived on Constitution Island in the Hudson River,\nnear West Point, where she and her more famous sister, Susan Warner,\nconducted a Bible class for nearly two generations for the cadets of the\nUnited States Military Academy. Because of this service, she was buried\nwith military honors upon her death in 1915. Miss Warner wrote novels\nunder the pseudonym of \u201cAmy Lothrop,\u201d but she is best known for this\nhymn and the song beloved of all little children, \u201cJesus loves me: this\nI know.\u201d\n\n_MUSIC._ HENLEY. For comments on this tune see Hymn 188.\n\n\n202. Nearer, my God, to Thee _Sarah Flower Adams_, 1805-48\n\nA hymn of high poetic quality which has preserved its popularity from\ngeneration to generation. It is based on the story of Jacob at Bethel in\nGen. 28:10-22:\n\n And Jacob went out from Beersheba, and went toward Haran. And he\n lighted upon a certain place, and tarried there all night, because the\n sun was set; and he took of the stones of that place, and put them for\n his pillows, and lay down in that place to sleep. And he dreamed, and\n behold a ladder set up on the earth, and the top of it reached to\n heaven: and behold the angels of God ascending and descending on\n it.... And Jacob rose up early in the morning, and took the stone that\n he had put for his pillows, and set it up for a pillar, and poured oil\n upon the top of it. And he called the name of that place Bethel.\n\nSarah Flower Adams was the daughter of Benjamin Flower, an editor; she\nmarried William B. Adams, an engineer and inventor, in 1834. She was a\nmember of a Unitarian congregation in London. A woman of fine intellect,\nshe wrote much prose and verse, and was a friend of Robert Browning. She\ndied of tuberculosis, contracting the disease while caring for her\nsister, Eliza, who had fallen victim to the same disease two years\nearlier.\n\n_MUSIC._ BETHANY was written by Lowell Mason for this hymn. Its\nresemblance to the tune of the well-known \u201cOft in the stilly night\u201d has\nbeen noted. The tune to this hymn was played by the ship\u2019s band on board\nthe \u201cTitanic\u201d as the vessel sank on its maiden voyage, Sunday, April 14,\n1912, after colliding with an iceberg in the Atlantic. 1635 passengers\nwere lost, ending life\u2019s voyage with the strains of the familiar and\nappropriate prayer resounding across the waters\u2014\u201cNearer, my God, to\nThee.\u201d\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n203. When the weary, seeking rest _Horatius Bonar_, 1808-89\n\nEntitled, \u201cIntercession for All Conditions of Men,\u201d in Bonar\u2019s _Hymns of\nFaith and Hope_, 3d series, 1867.\n\nThe history of this hymn is given by the author\u2019s son, Rev. H. N. Bonar,\nas follows:\n\n My father was asked to provide words to the music, and was especially\n requested to furnish a fitting refrain to the two lovely lines of\n Mendelssohn\u2019s with which Callcott\u2019s tune, \u201cIntercession,\u201d ends. In\n searching for a Scripture theme containing some reiterated phrase\n almost of the nature of a refrain, he was struck with Solomon\u2019s prayer\n at the dedication of the temple (2 Chron. 6) in which every separate\n petition concludes with substantially the same words.\n\n This idea was taken for his starting point, and Solomon\u2019s words, \u201cHear\n thou from heaven thy dwelling place and forgive,\u201d became the familiar\n couplet:\n\n \u201cHear then in love, O Lord, the cry\n In heaven, thy dwelling place on high.\u201d\n\n This foundation once provided, the rest of the hymn was built upon it.\n\nFor comments on Horatius Bonar see Hymn 129.\n\n_MUSIC._ INTERCESSION was composed by William H. Callcott, 1807-82, an\nEnglish musician. He was organist of Ely Chapel, Holborn, and afterwards\nof St. Barnabas\u2019 Church, Kensington, and composed anthems and songs.\n\nThe refrain is from Mendelssohn\u2019s oratorio, _Elijah_, part of the prayer\nfor rain by the prophet and the people. Bonar\u2019s hymn was written for\nthis tune.\n\n\n204. Lord, I hear of show\u2019rs of blessing _Elizabeth Codner_, 1824-1919\n\nBased on Gen. 27:34: \u201cBless me, even me also, O my Father,\u201d and Ezek.\n34:26: \u201cThere shall be showers of blessing.\u201d It is an especially useful\nhymn at revival meetings.\n\nElizabeth Codner was the wife of Rev. David Codner, a clergyman of the\nChurch of England. She engaged in some literary work and was much\ninterested in the Mildmay Protestant Mission in North London.\n\nThe author has given the origin of the hymn as follows:\n\n A party of young friends over whom I was watching with anxious hope\n attended a meeting in which details were given of a revival work in\n Ireland. They came back greatly impressed. My fear was lest they\n should be satisfied to let their own fleece remain dry, and I pressed\n upon them the privilege and responsibility of getting a share in the\n out-poured blessing. On the Sunday following, not being well enough to\n get out, I had a time of quiet communion. Those children were still on\n my heart, and I longed to press upon them an earnest individual\n appeal. Without effort words seemed to be given to me, and they took\n the form of a hymn. I had no thought of sending it beyond the limits\n of my own circle, but, passing it on to one and another, it became a\n word of power, and I then published it as a leaflet. Of its future\n history I can only say the Lord took it quite out of my own hands. It\n was read from pulpits, circulated by tens of thousands, and blessed in\n a remarkable degree. Every now and then some sweet token was sent to\n cheer me in a somewhat isolated life, of its influence upon souls. Now\n it would be tidings from afar of a young officer dying in India and\n sending home his Bible with the hymn pasted on the flyleaf as the\n precious memorial of that which brought him to the Lord. Then came the\n story of a poor outcast gathered into the fold by the same means. Then\n came to me a letter given me by Mr. E. P. Hammond, which he had\n received, and in which were the words: \u201cThank you for singing that\n hymn \u2018Even Me,\u2019 for it was the singing of that hymn that saved me. I\n was a lost woman, a wicked mother. I have stolen and lied and been so\n bad to my dear, innocent children. Friendless, I attended your inquiry\n meeting; but no one came to me because of the crowd. But on Saturday\n afternoon, at the First Presbyterian Church, when they all sang that\n hymn together, those beautiful words, \u2018Let some drops now fall on me,\u2019\n and also those, \u2018Blessing others, O bless me,\u2019 it seemed to reach my\n very soul. I thought, \u2018Jesus can accept me\u2014\u201ceven me\u201d\u2019 and it brought\n me to his feet, and I feel the burden of sin removed. Can you wonder\n that I love those words and I love to hear them sung?\u201d\n\n The original rendering has in a variety of instances been departed\n from. To some alterations I have consented, but always prefer that the\n words remain unchanged from the form in which God so richly blessed\n them. The point of the hymn, in its close and individual application,\n is in the \u201cEven me\u201d at the end of the verse. I thankfully commit them\n to whoever desires to use them in the services of our blessed Master.\n\n_MUSIC._ EVEN ME. For comments on the composer, Wm. B. Bradbury, see\nHymn 103.\n\n\n PURITY AND UPRIGHTNESS\n\n\n205. Blest are the pure in heart _J. Keble_, 1792-1866 _and others_\n\nA hymn of the simple, pure life. Purity of heart has a wider meaning\nthan the specific virtue of chastity. Stanzas 1 and 3 are from Keble\u2019s,\n_The Christian Year_, 1827. Stanzas 2 and 4 are from the _New Mitre Hymn\nBook_, 1836, and their authorship is uncertain. Some think they are from\nthe pen of the editor of the book, W. J. Hall, or of the co-editor,\nEdward Osler.\n\nFor comments on John Keble see Hymn 22.\n\n_MUSIC._ FRANCONIA is from a book compiled by Johann Balthasar K\u00f6nig,\n_Harmonischer Lieder-Schatz_, Frankfurt-am-Main, 1738, where it is set\nto the hymn, _Was ist, das mich betr\u00fcbt?_ The original melody may have\nbeen by K\u00f6nig himself.\n\nThe present tune, arranged by Rev. W. H. Havergal, has become one of the\nbest known Short-Meter (6.6.8.8.) tunes.\n\nFor comments on W. H. Havergal see Hymn 153.\n\n\n206. How blest are they whose hearts are pure _W. H. Bathurst_,\n 1796-1877\n\nBased on the beatitude in Matt. 5:8: \u201cBlessed are the pure in heart: for\nthey shall see God.\u201d\n\nFor comments on the author, W. H. Bathurst, see Hymn 153.\n\n_MUSIC._ GLENLUCE is one of the Common Tunes (See 20) in the _Scottish\nPsalter_ of 1635.\n\nFor comments on the _Scottish Psalter_ see Hymn 575.\n\n\n207. I would be true _Howard Arnold Walter_, 1884-1918\n\nA popular hymn at young people\u2019s summer conferences and other youth\ngatherings. The words have often been reprinted in trade journals and\nnewspapers and used on many a motto card. The ideals of youth\u2014truth,\npurity, strength, bravery, friendship, generosity, humility, laughter,\nlove, and helpfulness, encompassed in these few lines\u2014were all revealed\nin the author\u2019s brief life.\n\nHoward Arnold Walter was graduated _cum laude_ in 1905 from Princeton\nUniversity while Woodrow Wilson was president of the institution. He\nthen entered Hartford Theological Seminary to prepare himself for the\nministry, but after the first year went to Japan to teach English in\nWaseda University in Tokyo. After one year, he returned to Hartford\nwhere, upon graduation, he won the Two-Year Fellowship. In 1909 and 1910\nhe studied in Edinburgh and in German Universities. He chose the foreign\nmission field for life service but, owing to a weak heart, was unable to\npass the required physical examination. In spite of his handicap, he\nvolunteered for Y.M.C.A. work and was assigned by John R. Mott to India,\nwhere he worked among the Mohammedan students in Foreman Christian\nCollege, Lahore. He died there November 1, 1918, during the influenza\nepidemic, leaving a devoted wife and three small children. The words, \u201cI\nwould be true,\u201d were inscribed on a memorial tablet erected in his home\nchurch in New Britain, Conn.\n\nThe hymn was written in 1907 in Japan when Walter was just 23 years old.\nRecalling the joys and friendships of his home, the words came to him on\nNew Year\u2019s morning as he was on his knees. He mailed the poem entitled,\n\u201cMy Creed,\u201d to his mother who sent it to _Harper\u2019s Magazine_ in order to\nshare with others the beauty of its message. It appeared in the May,\n1907, issue of that magazine and later found its way into a number of\nhymn books.\n\nThe third stanza, making the hymn more complete, was later written by\nthe author and sent to Rev. Theodore A. Green, minister of the First\nChurch of Christ, New Haven, Connecticut:\n\n I would be prayerful through each busy moment;\n I would be constantly in touch with God;\n I would be tuned to hear the slightest whisper;\n I would have faith to keep the path Christ trod.\n\n_MUSIC._ PEEK. No one seemed to know anything of the composer of this\ntune until very recently when Dr. Reginald L. McAll, secretary of the\nHymn Society of America, assigned to the Hon. Edgar M. Doughty,\nBrooklyn, an official referee of the New York State Supreme Court, an\naccomplished musician and active member of the Baptist Church, the task\nof searching out in behalf of the Society the facts concerning Mr. Peek.\nThe Hon. Mr. Doughty completed his research just before his death in\n1947, at the age of 80 and the information presented here is based on a\ndocument compiled from his papers by his secretary. Miss Mildred Taylor\nDenisch:\n\nJoseph Yates Peek, 1843-1911, born in Schenectady, N. Y., had very\nlittle formal musical training, but was endowed with a love for music\nand considerable native musical ability and became a proficient amateur\nperformer on the violin and piano. In early life he was a carpenter and\nfarmer but later established a business as florist and horticulturist. A\ndeeply religious man, always interested in the church, he retired from\nbusiness in 1904, and in spite of his advanced years, became a prominent\nlay preacher in the Methodist Church. In 1911 he was ordained, but his\ncareer as a regular minister was cut short when a heart attack, which\noccurred while preaching, resulted in his death. Peek was a humble\nChristian gentleman who sought no honors for himself, which may account\nfor the fact that his identity as the composer of this tune remained\nhidden so long. Then, too, he may have felt that the credit for the tune\ndid not belong entirely to himself, for he received considerable help\nfrom a friend, Dr. Tuller, an organist and composer, who jotted down the\nnotes as Peek whistled the melody, and later added the harmonization.\n\nPeek had received a copy of Walter\u2019s poem which was printed on a New\nYear\u2019s card and entitled, \u201cMy Creed.\u201d He was greatly impressed with the\nwords, and in a moment of inspiration gave them wings of song to carry\nthem over the wide world.\n\nThe tune has become immensely popular in spite of its weak down-curve of\nmelody. The hymn may also be sung to Barnby\u2019s more sturdy tune, \u201cPerfect\nLove\u201d (312), which fits the words perfectly.\n\n\n208. How happy is he born and taught _Henry Wotton_, 1568-1639\n\nThe original of this hymn was published in _Reliquiae Wottonianae_ with\na memoir by Isaac Walton, 1651. The poem was altered somewhat to make it\nsuitable for a congregational hymn.\n\nHenry Wotton graduated from Oxford in 1588. He had a varied career,\ntravelling on the continent, acting as agent to the Earl of Essex for\ncollection of foreign intelligence, and then settling in Venice where he\nwas ambassador at the court from 1604-24, with two intervals during\nwhich he was engaged in diplomatic missions to other countries and in\nparliamentary work in England. From 1624 until his death he was provost\nof Eton. Besides the above-named book, he published _The Elements of\nArchitecture_, 1624, and _Ad Regem e Scotia reducem_ in 1633.\n\n_MUSIC._ WAREHAM, by William Knapp, is from _A Sett of New Psalm Tunes\nand Anthems, in Four Parts by Wm. Knapp_, 1738, where it is set to Psalm\n36:5-10 with the heading, \u201cFor the Holy Sacrament.\u201d It is a deservedly\npopular melody, remarkably smooth, moving throughout by step except the\nperfect fourth interval between the fifth and sixth notes.\n\n\n209. Walk in the light! so shalt thou know _Bernard Barton_, 1784-1849\n\nA useful hymn, by a Quaker poet, setting forth the characteristic Quaker\ndoctrine of the \u201cInner Light,\u201d based on I John 1:7: \u201cBut if we walk in\nthe light, as he is in the light, we have fellowship one with another,\nand the blood of Jesus Christ his Son cleanseth us from all sin.\u201d\n\nThe hymn appeared in the author\u2019s _Devotional Verses_, London, 1826.\n\nBernard Barton, known in England as the \u201cQuaker Poet\u201d (as was Whittier\nin America), was born in London and educated at a Quaker school at\nIpswich. When 26 years old he became a Clerk in Alexander\u2019s Bank at\nWoodbridge, Suffolk, and stayed there the remainder of his life. On Nov.\n16, 1843, he wrote in a letter:\n\n I took my seat on the identical stool I now occupy at the desk to the\n wood of which I have now well-nigh grown, in the third month of the\n year 1810, and there I have sat for three and thirty years beside the\n odd eight months without one month\u2019s respite in all that time. I often\n wonder that my health has stood this sedentary probation as it has and\n that my mental facilities have survived three and thirty years of\n putting down figures in three rows, casting them up and carrying them\n forward, _ad infinitum_.\n\nHe might have given some of these years to literary pursuits had he not\nfollowed the good advice of Charles Lamb who wrote him:\n\n Throw yourself on the world, without any rational plan of support\n beyond what the chance employ of booksellers would afford you! Throw\n yourself rather, my dear sir, from the steep Tarpeian rock, slap-dash\n headlong upon iron spikes. If you have but five consolatory minutes\n between the desk and the bed, make much of them, and live a century in\n them, rather than turn slave to the booksellers. They are Turks and\n Tartars when they have poor authors at their beck. Hitherto you have\n been at arm\u2019s length from them\u2014come not within their grasp. I have\n known many authors\u2019 want for bread\u2014some repining, others enjoying the\n blessed security of a counting-house\u2014all agreeing they had rather have\n been tailors, weavers, what not? rather than the things they were. I\n have known some starved, some go mad, one dear friend literally dying\n in a workhouse. Oh, you know not\u2014may you never know\u2014the miseries of\n subsisting by authorship!\n\nHe published eight or ten volumes of verse. His writings show an\nextensive acquaintance with the Scriptures.\n\n_MUSIC._ DEDHAM. For comments on the composer, William Gardiner, see\nHymn 197.\n\n\n210. Believe not those who say _Anne Bront\u00eb_, 1820-49\n\nA hymn of courage. The original is in 10 stanzas, of which this hymn is\na selection of stanzas 1, 2, 8, 9, 10.\n\nAnne Bront\u00eb, one of three illustrious sisters, the other two being\nCharlotte and Emily, was born near Bradford, England, the daughter of\nthe Rev. Patrick Bront\u00eb, Vicar of Haworth, Yorkshire. She was joint\nauthor with her sisters of a book of _Poems_, 1846, and wrote other\nvolumes under the pseudonym, \u201cActon Bell.\u201d\n\n_MUSIC._ The tune, VIGIL, is by the Italian composer, Giovanni\nPaisiello, 1741-1816, whose works include 100 operas, a Passion\noratorio, 30 masses, a requiem, 40 motets, and 8 symphonies. From 1776\nto 1784, he was in the service of Empress Catherine of Russia, who a few\nyears later was receiving Mennonites from Danzig and West Prussia to\nsettle her crown lands at Chortitz. Paisiello was called to Paris to\norganize the music of the First Consul, meanwhile composing some church\nmusic. His last years were spent in Naples, where he was choirmaster to\nJoseph Bonaparte and Murat.\n\n\n211. Go forth to life _Samuel Longfellow_, 1819-92\n\nA challenge to live life bravely and true. The hymn is from _Hymns of\nthe Spirit_, 1864, prepared by Samuel Longfellow and Samuel Johnson. It\nis one of the lyrics which helped establish Longfellow\u2019s reputation as a\nhymn writer.\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ MENDON is a variation of a \u201cGerman Air\u201d introduced into\nAmerican hymn books by Samuel Dyer. The original had an additional note\nin each line and a different last line. The change to the present form\nand its name is attributed to Lowell Mason.\n\nSamuel Dyer, 1785-1835, born in England, came to America when 26 years\nold and became a choir leader and teacher of sacred music in New York,\nPhiladelphia, and Baltimore. He published several collections of sacred\nmusic, one of which, _Philadelphia Collection of Sacred Music_, 1828,\ngives valuable sketches of composers, and information about Dyer\nhimself.\n\n\n CONSECRATION AND STEWARDSHIP\n\n\n212. O Jesus, I have promised _John Ernest Bode_, 1816-74\n\nA hymn of consecration which the author wrote on the occasion of the\nconfirmation of his daughter and two sons as \u201cO Jesus, _we_ have\npromised.\u201d It is frequently, and appropriately, used at baptismal\nservices.\n\nJohn Ernest Bode graduated with high honors from Oxford, where he was a\nfellow and tutor for six years; then became rector of Westwall,\nOxfordshire, and later of Castle Campus, Cambridgeshire. He was a man of\nconsiderable attainments and was Bampton Lecturer in 1855. He wrote a\nnumber of hymns and is the author of several volumes of poetry.\n\n_MUSIC._ ANGEL\u2019S STORY, also known as \u201cSupplication\u201d and \u201cWatermouth,\u201d\nwas written for Emily H. Miller\u2019s hymn, \u201cI love to hear the story which\nangel voices tell,\u201d from which it derives its name. It first appeared in\nthe _Methodist Sunday School Hymn Book_, 1881, but has since come into\nwide usage set to \u201cO Jesus, I have promised.\u201d\n\nThe composer, Arthur H. Mann, 1850-1930, was a distinguished English\norganist, and musical editor of _The Church of England Hymnal_. He was\nan authority on the music of Handel, and composed much church music.\nOxford University gave him the degrees of Bachelor of Music and Doctor\nof Music.\n\n\n213. We give Thee but thine own _W. W. How_, 1823-97\n\nBased on Prov. 19:17: \u201cHe that hath pity on the poor lendeth to the\nLord.\u201d It is a hymn on Christian giving and liberality, sounding the\nreal humanitarian note, a side of religion which an effective and virile\nhymnology cannot ignore. It may appropriately be sung by choir or\ncongregation in the dedication of the offering. (See comments at 611.)\n\nFor comments on W. W. How see Hymn 144.\n\n_MUSIC._ SCHUMANN, a fine short-meter tune, is ascribed to Robert\nSchumann but it seems as if no one has ever found anything among his\nmusical writings from which the tune could have been derived. It\nappeared in Lowell Mason\u2019s _Cantica Laudis_ in 1850.\n\nFor comments on Schumann see Hymn 296.\n\n\n214. A charge to keep I have _Charles Wesley_, 1707-88\n\nOne of the greatest of Wesley\u2019s short hymns taken from _Short Hymns on\nSelect Passages of the Holy Scriptures_, 1762, where it is headed, \u201cKeep\nthe charge of the Lord, that ye die not\u201d (Lev. 8:35).\n\nThe hymn strikes a much-needed note regarding the serious significance\nof this life. Thomas Carlyle expressed the same thought in his old age\nwhen he said: \u201cThe older I grow, and now I stand upon the brink of\neternity, the more comes back to me the sentence in the catechism which\nI learned when a child, and the fuller and deeper its meaning becomes:\n\u2018What is the chief end of man? To glorify God and enjoy Him forever.\u2019\u201d\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ BOYLSTON was composed by Lowell Mason and named after one of\nthe towns in his native state. It appeared in _The Choir_, 1832, set to\n\u201cOur days are as the grass.\u201d The tune is widely used with \u201cBlest be the\ntie that binds.\u201d\n\nFor comments on Lowell Mason, see Hymn 12.\n\n\n215. Take my life and let it be _Frances R. Havergal_, 1836-79\n\nOne of the finest hymns of consecration and service. It has been\ntranslated into many languages, including Russian, and many of Africa\nand Asia.\n\nThe author\u2019s own story of how this hymn was written after her visit in a\ncertain home throws a vivid light on her evangelical zeal:\n\n There were ten persons in the house, some unconverted and long prayed\n for, some converted but not rejoicing Christians. He gave me the\n prayer, \u201cLord give me ALL in this house.\u201d And He just did. Before I\n left the house everyone had got a blessing. The night of my visit,\n after I had retired, the governess asked me to go to the two\n daughters. They were crying. Then and there both of them trusted and\n rejoiced. I was too happy to sleep, and passed most of the night in\n praise and renewal of my own consecration; and these little couplets\n formed themselves and chimed in my heart one after the other, till\n they finished with \u201cEver, ONLY, ALL for Thee!\u201d\n\nThe hymn appears here unaltered from the original.\n\nFor further comments on Frances Havergal see Hymn 126.\n\n_MUSIC._ HENDON. This tune appeared first in America in _Carmina Sacra_,\n1841, edited by Lowell Mason. The composer, Henri Abraham C\u00e9sar Malan,\n1787-1864, born in Geneva, Switzerland, was a man of many interests. He\nwas a well educated minister, a blacksmith, carpenter, printer, and\nartist. He had a burning zeal for the conversion of souls. Convinced\nthat the national church stood in need of reform, he aroused much\nopposition. After preaching an unorthodox sermon at the College of\nGeneva, he was dismissed from his regentship at the college and was\nfinally driven from the state church. He then built a chapel in his own\ngarden and preached there for 43 years, attracting overflowing crowds\nand becoming widely known throughout Belgium, France, England, and\nScotland for his evangelism. He wrote more than 1,000 hymns and set\ntunes to them, a remarkable achievement. As the originator of the modern\nhymn movement in the French Reformed Church, Malan has a permanent place\nin French Hymnody.\n\n\n216. My Jesus, I love Thee _William Rolf Featherstone_, 1842-78\n\nThe authorship of this hymn was unknown until recently when Robert\nMcCutchan, author of _Our Hymnody_, discovered that it was written by\nWilliam Rolf Featherstone, a Canadian by birth, when he was only sixteen\nyears of age. The author sent the hymn to an aunt, Mrs. E. Featherstone\nWilson, living in Los Angeles, who suggested to her nephew that it be\npublished. No further information concerning Featherstone is at hand.\n\n_MUSIC._ GORDON. The tune was written for this hymn which the composer,\nDr. Gordon, found in the _London Hymn Book_, 1864. This combination of\nhymn and tune became popular and is widely known in America.\n\nAdoniram Judson Gordon, 1836-1895, was born at New Hampton, New\nHampshire, educated at Brown University and Newton Theological Seminary,\nand became the distinguished pastor of the Clarendon Street Baptist\nChurch, Boston. He at one time was editor of _The Watchword_, and is\nauthor of a series of books called _Quiet Talks_.\n\n\n217. Have Thine own way, Lord _Adelaide Pollard_, 1862-1934\n\nA hymn of the believer\u2019s humble resignation to God, as the clay to the\npotter.\n\nThe author, Adelaide Addison Pollard, was a modest poet. She signed her\nwritings for many years with only her initials, but in recent times her\npublishers have used her full name. Miss Pollard was born in Iowa, but\ndied in New York City. She was buried in the family plot at Ft. Madison,\nIowa. While a teacher of elocution and expression, she became interested\nin deeper spiritual things through the ministry of R. A. Torrey and\nJames M. Gray, and enrolled for further Bible training at the Moody\nBible Institute, Chicago. She became a teacher in the Missionary\nAlliance Bible School at Nyack, N. Y., and also did missionary work in\nSouth Africa. Miss Pollard wrote numerous hymns and devotional poems.\nHer two best-known hymns are: \u201cHave Thine own way, Lord,\u201d and \u201cShepherd\nof Israel.\u201d Her mother was Rebecca Pollard who wrote the song poem, \u201cI\nsurrender all,\u201d for which D. B. Towner wrote the music.\n\n_MUSIC._ ADELAIDE. The name of the tune is obviously derived from the\nname of the author of the words for which it was composed. For comments\non the composer, Geo. C. Stebbins, see Hymn 38.\n\n\n218. Fountain of good, to own thy love _Philip Doddridge_, 1702-51\n\nAn appealing hymn on fellowship and service as well as consecration.\n\nThe author entitled the hymn, \u201cOn Relieving Christ in the Poor.\u201d The\noriginal first line began \u201cJesus, my Lord, how rich thy grace.\u201d The hymn\nwas rewritten by Edward Osler, 1798-1863, for Hall\u2019s _Mitre Hymn Book_,\n1836, in which form it is found in modern hymnals, including the\n_Hymnary_.\n\nFor comments on Philip Doddridge see Hymn 56.\n\n_MUSIC._ DALEHURST was composed by Arthur Cottman, 1842-79, an\nEnglishman trained for the law but interested keenly in sacred music. It\nwas first published in Cottman\u2019s _Ten Original Tunes_, 1874, and has\nsince been introduced into the hymnals and set to various texts. It is a\ntune of simple pattern, contemplative in mood, and should be sung in an\neven, moderate tempo.\n\n\n219. Master, speak! thy servant heareth _Frances R. Havergal_, 1836-79\n\nBased on the conversation between Samuel and Eli, I Sam. 3:1-10.\n\nMiss Havergal\u2019s favorite name for Christ was \u201cMaster,\u201d because, she\nsaid, \u201cit implies rule and submission, and this is what love craves. Men\nmay feel differently, but a true woman\u2019s submission is inseparable from\ndeep love.\u201d\n\nFor comments on Frances Havergal see Hymn 126.\n\n_MUSIC._ AMEN, JESUS HAN SKAL RAADE (\u201cAmen, Jesus, He shall reign\u201d)\ncomes from Denmark. The composer, Anton Peter Berggreen, 1801-80, was\nborn in Copenhagen and lived there all his life. He studied music and\nbecame a composer of many works, the most popular being his _National\nSongs_ in eleven volumes. His collection of _Psalm Tunes_ are widely\nused in Danish churches. He was organist at Trinity Church, Copenhagen,\nand organized musical associations among laboring people which are still\npopular. For a number of years he was Professor of Singing at the\nMetropolitan School and inspector of the public schools in his native\ncity.\n\n\n220. Savior, thy dying love _Sylvanus D. Phelps_, 1816-95\n\nPhelps gave this hymn to be published in _Pure Gold,_ a Sunday school\nsongbook which Robert Lowry, composer of music, was then editing and of\nwhich more than a million copies were sold. The hymn was given the\nheading, \u201cLord, what wilt Thou have me to do?\u201d (Acts 9:6.)\n\nSylvanus Dryden Phelps, Baptist minister, was born in Suffolk, Conn.;\nreceived his education at Brown University; and in 1846 became pastor of\nthe First Baptist Church, New Haven, Conn., where he remained for 28\nyears. He published three volumes of poetry. His son, William Lyon\nPhelps, was the distinguished Professor of English Literature at Yale\nand a lay preacher.\n\n_MUSIC._ SOMETHING FOR JESUS was written for this hymn. At the time he\ncomposed this tune, Lowry was pastor of a Baptist Church in Lewisburg,\nPa., and Professor of Literature in Bucknell University.\n\nFor further comments on Robert Lowry see Hymn 187.\n\n\n SERVICE AND BROTHERHOOD\n\n\n221. Work, for the night is coming _Anna Louisa Coghill_, 1836-1907\n\nBased on John 9:4: \u201cI must work the works of him that sent me, while it\nis day: the night cometh, when no man can work.\u201d The hymn was written\nwhen the author, eighteen years old, lived in Canada. It was published\nin a Canadian newspaper and later in her small volume of poems, _Leaves\nfrom the Backwoods_, Montreal, 1864.\n\nAnna Louisa Walker was born in England but went in her teens with her\nparents to Sania, Canada, where her brothers were railway engineers.\nReturning to England, she became a governess for a time, then she\nreviewed books, making her home with her second cousin, a Mrs. Oliphant,\nfor some years. In 1883 she married Harry Coghill, a wealthy merchant.\nShe published six novels and a book of poems, _Oak and Maple_, and\nedited the _Autobiography and Letters_ of Mrs. Oliphant.\n\n_MUSIC._ WORK SONG, known in England as \u201cDiligence,\u201d was written for\nthis hymn. To fit the tune it became necessary to drop a syllable in the\nfourth line of each verse, an alteration which the author disliked\nextremely and which she never sanctioned.\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n222. Where cross the crowded ways of life _Frank Mason North_,\n 1850-1935\n\nAn unexcelled \u201cHymn for the City.\u201d The following account of it is given\nin _The Churchman_, July, 1938, in an article by Eloise R. Griffith, on\n\u201cOur Great Hymns\u201d:\n\n Frank Mason North, D.D., a well-known clergyman of the Methodist\n Church, is the author of this well-loved hymn. It is sometimes called\n \u201cA Prayer for the City,\u201d or \u201cA Prayer for the Multitudes,\u201d and has the\n distinction of appearing in more standard hymnals today than any other\n hymn written in this century. To those of us who are concerned about\n \u201chow the other half lives,\u201d and who know either from our own\n experiences or those of friends about the darker side of life in a\n great city and particularly in our own country during the last nine\n years,\u2014this beautiful hymn never fails to find a heartfelt response.\n It paints a picture with which many city dwellers are all too\n familiar.\n\n In 1903, Dr. North was editor of _The Christian City_, the organ of\n the Methodist City Missionary Society. His office was in the Fifth\n Avenue building of the Methodist Book Concern. One day one of the\n professors of Wesleyan University (who was on the committee to prepare\n and revise the new Methodist hymnal, and who knew North\u2019s ability to\n write hymns), met him in one of the halls. \u201cWhy don\u2019t you write a\n missionary hymn for us, Dr. North?\u201d asked the professor. \u201cWe need more\n missionary hymns in our new hymnal.\u201d Dr. North modestly answered that\n he did not feel he would be able to write a hymn worthy of the\n proposed new hymnal, but that he would try.\n\n Soon after this incident occurred, Dr. North was preaching a sermon\n from the text in St. Matthew 22:9: \u201cGo ye therefore into the\n highways,\u201d etc. During his preparation for this sermon, he was again\n especially impressed by the rendering of the Greek text in the Revised\n Version, which reads \u201cGo ye therefore into the partings of the\n highways.\u201d Dr. North thought of and described in his sermon the\n appealing challenge made by great crowds of people thronging the\n crossroads of the city\u2014places like Madison Square and Union Square in\n the New York of 1903. Dr. North knew New York City very thoroughly,\n and his heart yearned over the sick, the lonely, the destitute, the\n troubled. So, while he preached, the first line of this great hymn\n came to him\u2014\u201cWhere cross the crowded ways of life.\u201d It did not take\n him long to compose the words which followed, and after the\n publication of the hymn in _The Christian City_, it was at once\n accepted for the new Methodist hymnal of 1905. The hymn is widely used\n in Canada and throughout Great Britain, and has been translated into\n several foreign languages, including some of the Far East ones.\n\n_MUSIC._ GERMANY is a fine long-meter tune found in a book, _Sacred\nMelodies_, in which the compiler, William Gardiner, 1770-1853, an\nEnglish stocking manufacturer interested in music, collected\ncompositions by the best foreign composers, adapting them to English\nwords. The tune is also known by the name \u201cWalton,\u201d especially in\nEngland. As to its origin, Gardiner says in his book, _Music and\nFriends_, that it \u201cis somewhere in the works of Beethoven, but where I\ncannot now point out.\u201d This may be a mistake, for no one else has ever\nfound it in a Beethoven collection.\n\n\n223. O Master, let me walk with Thee _Washington Gladden_, 1836-1918\n\nA greatly loved service hymn which the author entitled, \u201cWalking with\nGod.\u201d In a note dated June 15, 1907, Gladden says:\n\n This hymn was written in 1879 for a magazine, _Sunday Afternoon_,\n which I was then editing. There were three eight-line stanzas. Dr.\n Charles H. Richards found the poem, which was not intended for a hymn,\n and made a hymn of it by omitting the second stanza, which was not\n suitable for devotional purposes.\n\nThe omitted stanza reads as follows:\n\n O Master, let me walk with Thee\n Before the taunting Pharisee;\n Help me to bear the sting of spite,\n The hate of men who hide thy light,\n The sore distrust of souls sincere\n Who cannot read thy judgments clear,\n The dullness of the multitude\n Who dimly guess that thou art good.\n\nWashington Gladden, distinguished Congregational minister and author,\nwas reared on a farm near Oswego, N. Y., attending country school and\nOswego Academy and later entering Williams College, from which he\ngraduated in 1859. He was licensed to preach in 1860; then held\npastorates in Congregational churches in New York and Massachusetts, and\nfinally in 1882 began his widely known and influential work as pastor of\nthe First Congregational Church in Columbus, Ohio, which was to last for\n28 years. His lectures and writings on social questions were prophetic\nmessages of the time. After 50 years in the ministry, he wrote: \u201cIf the\nchurch would dare to preach and practice the things which Jesus Christ\nhas commanded, she would soon regain her lost power.\u201d He is the author\nof thirty or more volumes but is remembered best by this poem which has\ncome into such wide use in the worship services of all the churches.\n\n_MUSIC._ MARYTON was written for the words, \u201cSun of my soul, Thou Savior\ndear,\u201d in _Church Hymns and Tunes_, 1874; but it has become inseparably\nassociated with Gladden\u2019s hymn. Permission to use this hymn was granted\nby the author only on condition that it be used with this tune.\n\nThe composer, Henry Percy Smith, 1825-98, was a minister in the Church\nof England, deeply interested in church music. After graduating from\nBalliol College, Oxford, he served various churches as curate and vicar\nand finally became chaplain at Cannes and Canon of Gibraltar.\n\n\n224. O Thou great Friend to all the sons of men _Theodore Parker_,\n 1810-60\n\nBased on the Scriptural passages, John 15:14: \u201cYe are my friends if ye\ndo the things which I command you\u201d and John 14:6: \u201cI am the way, the\ntruth, and the life.\u201d\n\nThe author, Rev. Theodore Parker, an outstanding abolitionist and a\nleader in New England Unitarianism, was educated at Harvard and spent\nmost of his ministry in Boston. While travelling abroad in the hope of\nrestoring his health, he became ill and died at Florence, Italy, where\nhe was buried.\n\n_MUSIC._ FFIGYSBREN. For comments on this tune see Hymn 183.\n\n\n225. Onward, Christian soldiers _S. Baring-Gould_, 1834-1924\n\nA hymn of the Christian warfare, written by a Church of England\nclergyman for a children\u2019s processional, but now having a much wider\nuse. The author gave the following account of the writing of the hymn:\n\n Whitmonday is a great day for school festivals in Yorkshire. One\n Whitmonday, thirty years ago, it was arranged that our school should\n join forces with a neighboring village. I wanted the children to sing\n when marching from one village to another; so I sat up at night,\n resolved that I would write something myself. \u201cOnward, Christian\n soldiers\u201d was the result. It was written in great haste, and I am\n afraid some of the rhymes are faulty. Certainly nothing has surprised\n me more than its popularity.\n\nAn omitted stanza reads:\n\n What the saints established,\n That I hold for true;\n What the saints believed,\n That believe I too.\n Long as earth endureth\n Men that faith will hold,\n Kingdoms, nations, empires\n In destruction rolled.\n\nFor comments on the author, S. Baring-Gould, see Hymn 29.\n\n_MUSIC._ ST. GERTRUDE was written for these words by Sir Arthur Sullivan\nand dedicated to Mrs. Gertrude Clay-Ker-Seymer, in whose house the\ncomposer often stayed. The hymn derived a great part of its popularity\nfrom its use with this stirring tune.\n\nFor comments on Sullivan see Hymn 113.\n\n\n226. Teach me, my God and King _George Herbert_, 1593-1633\n _Adapted by John Wesley_\n\nA hymn of consecration and heavenly-mindedness that marks the Christian\nlife. Verses 2 and 4 are by John Wesley, and the third verse was altered\nby him. For comments on John Wesley see Hymn 170.\n\nGeorge Herbert, noted English poet and minister in the Church of\nEngland, was born in Wales; educated at Cambridge; and became a great\npastor and preacher, serving, during his all too brief career, churches\nat Layton Ecclesia in 1626, and at Bemerton from 1630 to his death in\n1632. His spare moments were given to the cultivation of sacred music.\nHis principal work is _The Temple_, a book of poems. His popularity was\ngreatly increased through the publication of his _Life_, written by\nIsaak Walton.\n\n_MUSIC._ MORNINGTON is an arrangement of a chant written about 1760 by\nthe Earl of Mornington, whose name was Garret Wellesley (or Wesley),\n1735-81. He was the father of the Duke of Wellington. The name was\nchanged from Wesley to Wellesley about 1790. A composer of much secular\nand sacred music, he lived most of his life in Dublin, and was the first\nProfessor of Music at Dublin University.\n\n\n227. When thy heart with joy o\u2019erflowing _Theodore C. Williams_\n\nA hymn setting forth the spirit of brotherhood in terms of sharing.\nInformation regarding the author, Rev. Theodore C. Williams, has not\nbeen traced.\n\n_MUSIC._ BULLINGER was written in 1874 by Ethelbert William Bullinger,\n1837-1913, an English clergyman who made the study of music his\navocation. He is remembered principally as the composer of this tune\nwith its last phrase somewhat awkward due to the long, tied initial\nnote.\n\n\n228. Who is thy neighbor? _William Cutter_, 1801-87\n\nBased on the parable of the Good Samaritan. The hymn first appeared in\n_The Christian Mirror_, Portland, Me., 1838, in seven stanzas. One of\nthe omitted stanzas reads:\n\n Thy neighbor? Yonder toiling slave,\n Fettered in thought and limb;\n Whose hopes are all beyond the grave,\n Go thou, and ransom him.\n\nThe author, William Cutter, was an editor and publisher, born at\nYarmouth, Me., a graduate of Bowdoin College, and member of the\nCongregational Church. He was in business in Portland, Me., for several\nyears and then in Brooklyn, N. Y. He has been described as \u201ca deserving\nwriter who has hitherto missed his due meed of acknowledgement.\u201d\n\n_MUSIC._ BURFORD, a very good tune in triple time, written in the minor\nmode, is of uncertain authorship, though it is credited in some books to\nHenry Purcell, _c._ 1658-95, one of England\u2019s great composers and\norganists. It is set to Psalm 42 in _A Book of Psalmody_, 1718, by John\nChetham, and appears in a large number of other 18th century psalmodies,\ninvariably without composer\u2019s name.\n\n\n229. O brother man, fold to thy heart thy brother _John Greenleaf\n Whittier_, 1807-92\n\nA hymn of brotherly love and service, taken from a poem of 15 stanzas,\nentitled, \u201cWorship,\u201d to which was affixed the scriptural reference,\nJames 1:27: \u201cPure religion and undefiled before God the Father is this,\nTo visit the fatherless and widows in their affliction, and to keep\nhimself unspotted from the world.\u201d A concern for the well being of his\nfellow man was to Whittier a vital part of the Christian faith, as\nwitness his championship of the cause of the slaves.\n\nFor comments on John Greenleaf Whittier see Hymn 173.\n\n_MUSIC._ COMFORT. The tune appears anonymously in the \u201cSupplement\u201d to\n_Hymns of the Spirit_, 1937.\n\n\n230. Rise up, O men of God _William P. Merrill_, 1867\u2014\n\nA hymn challenging the _men_ of the church to loyal service to Christ.\nIt is widely used in America and has found a place in English and\nCanadian hymnals. Concerning the origin of the hymn, Dr. Merrill says,\nin a letter to the writer, dated, April 18, 1947:\n\n I was asked back in 1911 to write a hymn to be used in the\n \u201cBrotherhood Movement,\u201d then going strong. I had come upon an article\n by Gerald Stanley Lee, entitled, \u201cThe Church of the Strong Men\u201d; and\n that gave me a start. I can give no interesting details as to how I\n wrote it; I just did it.\n\n Highchurchmen have objected to the hymn, because they have said that\n only God can make the church great. To that I have answered that if\n anyone can show me a single instance in history where God has made the\n church great without using MEN OF GOD to do it, I should be\n interested. No answer has ever come. I heard that hymn sung in Europe,\n in India, China, and Japan.\n\nFor comments on the author, William P. Merrill, see Hymn 183.\n\n_MUSIC._ LEIGHTON was composed by Henry Wellington Greatorex, 1811-58,\nan Englishman by birth. Coming to the United States in 1839, he served\nas organist at Central Congregational Church, Hartford, Conn., in St.\nPaul\u2019s and Calvary Churches, New York City, and finally in an Episcopal\nChurch at Charleston, S. C. He edited the _Greatorex Collection_ of 1856\nand did much to improve the standards of music used in the worship\nservice. He composed a widely used setting for the \u201cGloria Patri\u201d (606).\nDr. Merrill\u2019s hymn has been set to various tunes, the one generally used\nand preferred by the author being \u201cFestal Song,\u201d by William H. Walter.\n\n\n231. Go, labor on; spend and be spent _Horatius Bonar_, 1809-89\n\nA hymn to encourage Christian workers. It was published in _Songs for\nthe Wilderness_, 1843, under the title, \u201cLabour for Christ.\u201d In _Hymns\nof Faith and Hope_, 1867, it was entitled, \u201cThe Useful Life.\u201d\n\nRegarding the origin of the hymn, Rev. H. N. Bonar, son of the author\nwrote:\n\n It was probably in the year 1836 that my father first wrote a hymn not\n primarily intended for the young. To encourage his faithful fellow\n workers in his mission district, he wrote, to the tune of the \u201cOld\n Hundredth,\u201d the now-familiar hymn, \u201cGo, labour on.\u201d\n\nFor comments on Horatius Bonar see Hymn 129.\n\n_MUSIC._ ERNAN was written for _Cantica Laudis_, 1850, one of the books\nwhich Mason published with the assistance of Geo. J. Webb. For comments\non the composer, Lowell Mason, see Hymn 12.\n\n\n THE INNER LIFE\n\n\n232. O have you not heard of that beautiful stream _R. Torrey, Jr._\n\nBased on Rev. 22:1, 17: \u201cAnd he showed me a pure river of water of life,\nclear as crystal, proceeding out of the throne of God and of the Lamb.\u201d\n\n\u201cAnd the Spirit and the bride say, Come. And let him that heareth say,\nCome. And let him that is athirst come. And whosoever will, let him take\nthe water of life freely.\u201d\n\nIt is reminiscent also of Ezek. 47:1-12, the vision of the healing\nstream of water flowing from the house of God to the Dead Sea, causing\nnew life to flourish. \u201cEverything shall live whither the river cometh.\u201d\n(v. 9).\n\nAn omitted stanza reads:\n\n With murmuring sound doth it wander along\n Through fields of eternal green;\n Where songs of the blest, in their haven of rest\n Float soft on the air serene.\n\nThe poem, with the present music, appeared in Asa Hull\u2019s, _The Casket_,\npublished in Philadelphia, 1865, where it is credited to R. Torrey, Jr.\nTo date, no information has come to light concerning the author. He\nlived a generation earlier than the well known preacher and teacher, R.\nA. Torrey. In 1868, the hymn was published, anonymously, in _Spiritual\nHarp_, Boston, a book of songs for congregational use dedicated by the\nauthors to \u201cthe Spiritualists and Reformers of the world, love of truth\nand progress.\u201d Two years later, in 1870, the words and music appeared in\nEngland, in the _Sunday School Hymnary_, published by the National\nSunday School Union in London.\n\nThe German version is a free translation made by Ernst Heinrich\nGebhardt, 1832-99, a Methodist minister and evangelist, known in\nGermany, the place of his birth, as the father of German revivalistic\nand holiness songs. It is superior, in poetic quality and evangelistic\nappeal, to the English original.\n\nGebhardt was born in Ludwigsburg, W\u00fcrttemberg, July 12, 1832. He\nprepared to be an apothecary but later decided to go to Chile, South\nAmerica, to live with relatives. After spending five years on a farm in\nChile, he returned to Germany to visit his mother. A shipwreck on the\nreturn voyage resulted in a deep spiritual awakening. Arriving in\nLudwigsburg, he accompanied his mother to the Sylvester service on New\nYear\u2019s night, 1859, in the Methodist Church, where he dedicated his life\nto Christian work. Having decided to become an evangelist, he attended\nthe school for ministers in the Methodist Church at Bremen where his\nzeal and musical gifts were quickly recognized. He was appointed\n_Reiseprediger_ and in this capacity served in Ludwigsburg (1860-62),\nHeilbronn (1862-66), Pforzheim (1866-68), Bremen (1868-71), Ludwigsburg\n(1871-74), Zurich (1874-77), Strassburg i. E. (1877-81), Biel, Kt. Bern\n(1880-84), Zwickau (1884-88) and finally in Karlsruhe (1888-99).\nGebhardt was married and had a family of nine children.\n\nHis activities included a trip to the United States, 1881-83, during\nwhich he travelled through 30 States. In Brighton, England, he took part\nin holiness meetings held there, and later travelled with R. Pearsall\nSmith, of Philadelphia, through Germany and Switzerland, serving as song\nleader in the evangelistic meetings conducted by Smith.\n\nGebhardt is the author of many original hymns and made over 50\ntranslations from the English, most of them from the Moody and Sankey\nsongs. He compiled numerous song books where his works appeared. \u201cIch\nweiss einen Strom\u201d was published in his _Frohe Botschaft_, 1875, a\npopular book of gospel songs drawn mostly from English sources, both\nwords and music. The third stanza, omitted here, reads:\n\n Der Strom ist gar tief und sein Wasser ist klar,\n Es schmecket so lieblich und fein;\n Es heilet die Kranken und st\u00e4rkt wunderbar,\n Ja, machet die Unreinsten rein!\n\n_MUSIC._ ICH WEISS EINEN STROM, originally entitled, \u201cBeautiful Stream,\u201d\nand written in 6/8 time, first appeared in _Casket of Sunday School\nMelodies_, 1865, published by the composer, Asa Hull, in Philadelphia.\nThe tune is wedded inseparably to Torrey\u2019s words. It is very popular\namong General Conference of Mennonites churches where it is usually sung\nin the slow tempo and dignity of a chorale. Neither the words nor the\nmusic, with its refrain, have the characteristics of a chorale. It is a\nuseful song, especially for evangelistic services.\n\nAsa Hull was born January 18, 1828, in Keene, N. Y. He studied harmony\nand composition with B. F. Baker and Geo. J. Webb in Boston, and at the\nage of 20 became organist and choirmaster at Watertown, Mass. He\ncomposed many church tunes. Hull, a pioneer publisher of Sunday school\nand gospel song books, was also known as a shrewd business man. His\npublications numbered 30 books and about 100 pamphlets. _Gem of Gems_,\npublished in 1881, sold over 300,000 copies. On the fly leaf of his\n_Casket of Sunday School Melodies_ is found this advertisement:\n\n Asa Hull, Philadelphia agent for the Hallett and Cumston Piano Fortes,\n will keep a variety of styles and exhibits at his store, which he will\n sell at lower prices for cash than any other first class instrument\n can be bought in the city. 240 S. Eleventh Street, Philadelphia, Pa.\n\n\n233. O holy Savior, Friend unseen _Charlotte Elliott_, 1789-1871\n\nA hymn which is best understood by those who have had experience in\nsuffering and sorrow. Entitled, \u201cClinging to Christ,\u201d it was written in\n1834, shortly after the death of the author\u2019s father and published in\nthe 1834 edition of her _Invalid\u2019s Hymn Book_.\n\nCharlotte Elliott, a member of the Church of England, was born and\nreared amid refined, cultured, Christian surroundings. Her grandfather,\nRev. Henry Venn, was an \u201ceminent Church of England divine of apostolic\ncharacter and labors,\u201d and the author of _The Whole Duty of Man_.\nCharlotte was a woman of keen intellect and was gifted in music and art.\nUnfortunately, she became an invalid at 32 and remained so till the end\nof her long life, oftentimes enduring great suffering. This may account\nfor the note of tenderness found in all her hymns. In spite of her\ninvalidism, she did a large amount of literary work, publishing four or\nfive volumes of poetry. She was a modest woman, publishing all her books\nanonymously. A large number of her 150 hymns are still in use, the most\npopular being \u201cJust as I am, without one plea\u201d (458).\n\n_MUSIC._ INTEGER VITAE (FLEMMING). For comments on this tune see Hymn\n59.\n\n\n234. Thou true Vine, that heals the nations _T.S.N._\n\nBased on John 15:1-5: \u201cI am the true vine, and my Father is the\nhusbandman. Every branch in me that beareth not fruit he taketh away:\nand every branch that beareth fruit, he purgeth it, that it may bring\nforth more fruit. Now are ye clean through the work which I have spoken\nunto you. Abide in me, and I in you. As the branch cannot bear fruit of\nitself, except it abide in the vine; no more can ye, except ye abide in\nme. I am the vine, ye are the branches; He that abideth in me and I in\nhim, the same bringeth forth much fruit: for without me ye can do\nnothing.\u201d\n\nThe hymn was composed for _Songs of Praise_, 1933, London. The author is\nnot identified except by the initials T.S.N.\n\n_MUSIC._ PLEADING SAVIOUR, a folk-song type of tune, is from the\n_Plymouth Collection of Hymns and Tunes_, New York, 1855, which Henry\nWard Beecher compiled for use in the Plymouth Congregational Church,\nBrooklyn, of which he was pastor. The musical editors were John Zundel\n(178) and the Rev. Charles Beecher.\n\n\n235. God of my heart _Anonymous_\n\nA hymn celebrating the believer\u2019s life in God. It was taken from _St.\nBasil\u2019s Hymnal_ compiled by the Basilian Fathers, published in 1918. The\nmusical editors were Healey Willan and Jules Brazil. The authorship of\nthe hymn is anonymous.\n\n_MUSIC._ CARMEN NATURAE is an arrangement from a melody in Donizetti\u2019s\nopera, _Carmen_.\n\nGaetano Donizetti, 1797-1848, son of an Italian weaver, studied music in\nNaples. He composed 66 operas, 6 masses, 12 string quartets, a requiem,\nsongs, and other compositions.\n\n\n236. Since Jesus is my Friend _Paul Gerhardt_, 1607-76\n _Tr. by Catherine Winkworth_, 1829-78\n\nA hymn of consolation and joy to give strength and courage to troubled\nhearts. It is based on Romans 8:31: \u201cIf God be for us, who can be\nagainst us?\u201d The original has 15 stanzas. The lines translated here are\nas follows:\n\n Hab ich das Haupt zum Freunde\n Und bin geliebt bei Gott,\n Was kann mir tun der Feinde\n Und Widersacher Rott\u2019?\n\n Sein Geist spricht meinem Geiste\n Manch s\u00fcsses Trostwort zu,\n Wie Gott dem H\u00fclfe leiste\n Der bei ihm suchet Ruh.\n\n Mein Herze geht in Spr\u00fcngen\n Und kann nicht traurig sein,\n Ist voller Freud\u2019 und Singen,\n Sieht lauter Sonnenschein.\n\n Die Sonne, die mir lachet\n Ist mein Herr Jesus Christ,\n Das, was mich singen machet,\n Ist, was im Himmel ist.\n\nFor comments on the author, Paul Gerhardt, see Hymn 134.\n\nThe translation by Miss Winkworth appeared in her _Lyra Germanica_,\nfirst series, 1855.\n\nCatherine Winkworth, an English poet, was the foremost translator of\nGerman chorales. She made a special study of the German hymns and hymn\nwriters and is the author of _Lyra Germanica_, 1st. ser., 1855; 2d.\nser., 1858; _The Chorale Book for England_, 1863; and _Christian Singers\nof Germany_, 1869. Twenty-five of her works are found in the _Hymnary_.\nShe was a member of the Church of England.\n\n_MUSIC._ GREENWOOD was composed for the hymn beginning, \u201cWe lift our\nhearts to Thee,\u201d in a _Collection of Church Music_, 1849, by Root and\nSweetser.\n\nThe composer, Joseph Emerson Sweetser, 1825-73, was an English organist\nand composer of vocal music. A part of his life was spent in New York\nCity as organist at the Church of the Puritans.\n\n\n237. O heart of God! _F. Stanfield_\n\nA hymn of confidence and trust resulting from the mystical repose in the\nheart of God.\n\nThe words and tune are found in _St. Basil\u2019s Hymnal_, compiled by the\nBasilican Fathers, and published in Chicago, 1918.\n\nThe author, Francis Stanfield, a Roman Catholic priest, was born in\nLondon, November 5, 1836, the son of Clarkson Stanfield, an artist. He\nwas educated at St. Edmund\u2019s College, near Ware. After ordination, he\nspent most of his time conducting missions and retreats, though he was\nstationed for brief periods in several parishes. He is the author of\nnumerous hymns which were collected and published by the Benedictine\nFathers, at Ramsgate, England. The present hymn is an adaptation, made\nby the editors of the _Hymnary_, of his \u201cO Sacred Heart, our home lies\ndeep in Thee.\u201d The original is too Catholic for Protestant use.\n\nNo information is at hand concerning the composer of the tune.\n\n\n238. Life of all that lives below _Charles Wesley_, 1707-88\n _Samuel Longfellow_, 1819-92\n\nThis hymn, a prayer for a fuller life nurtured by Christ, the living\nBread, is of composite authorship, but no information is at hand\nconcerning the part which Wesley and Longfellow, respectively, had in\nit. It is not listed in Julian\u2019s _Dictionary of Hymnology_.\n\nFor comments on Charles Wesley see Hymn 6.\n\nFor comments on Longfellow see Hymn 28.\n\n_MUSIC._ PLEYEL is taken from the _Andante_ movement of the composer\u2019s\n_Fourth String Quartet, Op. 7_. It appeared as a long-meter tune in\n_Arnold and Callcott\u2019s Psalms_, 1791, set to Addison\u2019s hymn, \u201cThe\nspacious firmament on high.\u201d\n\nIgnace Josef Pleyel, 1757-1831, 24th child of an Austrian schoolmaster,\nwas a favorite pupil of Haydn and gained fame as a composer and\nconductor. Mozart spoke highly of his quartets. Later in life he engaged\nin business, publishing and selling music, and manufacturing pianos of\nhigh quality. The manufacturing house of Pleyel and Company is still\nwell and favorably known in Europe.\n\n\n239. There is a place of quiet rest _Cleland B. McAfee_, 1866-1944\n\nThe heart of the message of this popular devotional hymn, according to a\nstatement made by the author to the present writer, is in the second\nstanza, \u201cThere is a place of comfort sweet, near to the heart of God.\u201d\nCleland B. McAfee was a distinguished preacher, author, and teacher in\nthe Presbyterian Church. He was accustomed to write an original hymn for\nthe communion service in his church. It was in 1901, during his\npastorate in Chicago, that a great sorrow came into his life occasioned\nby the death of his nephew. The communion was to be held the following\nSunday and the members of the congregation came to the church tense with\nspeculation about the service and the kind of hymn their pastor had\ncomposed for the day. These simple words and tune were offered them and\nseemed to fit the occasion perfectly. Since then the hymn has been\ntranslated into many languages and gone all over the world. It was not\nincluded in the new _Presbyterian Hymnal_, 1933, because the words and\nmusic were considered to be more of the nature of a gospel song than a\nhymn.\n\nCleland M. McAfee received his education at Park College and Union\nTheological Seminary, New York. From 1888 to 1901, he was pastor and\nprofessor at Park College; pastor of the First Presbyterian Church,\nChicago, 1901-04; and of the Lafayette Avenue Presbyterian Church,\nBrooklyn, 1904-12. He later was connected with McCormick Theological\nSeminary in Chicago, first as Professor of Systematic Theology and then\nas president of the institution. He is the author of several books on\nreligious subjects, and also wrote extensively on foreign missions, a\nsubject in which he had a keen interest.\n\n\n COURAGE AND COMFORT\n\n\n240. Come unto Me, ye weary _William C. Dix_, 1837-98\n\nBased on some of the precious promises of Christ, especially Matt.\n11:28: \u201cCome unto me, all ye that labor and are heavy-laden and I will\ngive you rest.\u201d It may be compared with Bonar\u2019s hymn, \u201cI heard the voice\nof Jesus say\u201d (142) on the same text.\n\nThe author gives the story of the hymn as follows:\n\n I was ill and depressed at the time, and it was almost to idle away\n the hours that I wrote the hymn. I had been ill for many weeks, and\n felt weary and faint, and the hymn really expresses the languidness of\n body from which I was suffering at the time. Soon after its\n composition I recovered, and I always look back to that hymn as the\n turning point in my illness.\n\nFor comments on the author, William Chatterdon Dix, see Hymn 78.\n\n_MUSIC._ ICH WEISS AN WEN ICH GLAUBE is taken from the _Gesangbuch mit\nNoten_ (206) where it is used with a hymn by Ernst Moritz Arndt,\nbeginning with these words.\n\n\n241. When in the madd\u2019ning maze of things _John Greenleaf Whittier_,\n 1807-92\n\nPre\u00ebminently an experienced person\u2019s meditation on trust in God. The\nhymn is taken from a poem of 22 stanzas entitled, \u201cThe Eternal\nGoodness,\u201d written apparently without any thought of their being sung.\nIn the first line the editors substituted the initial word \u201cwhen\u201d for\nthe original \u201cyet.\u201d\n\nFor comments on John Greenleaf Whittier see Hymn 173.\n\n_MUSIC._ ES IST EIN BORN. For comments on this tune see Hymn 99.\n\n\n242. Thy way is in the deep, O Lord _James Martineau_, 1805-1900\n\nBased on Psalm 77:19: \u201cThy way is in the sea, and thy path in the great\nwaters.\u201d\n\nJames Martineau, English Unitarian, was a man of letters, a philosopher,\na theologian, and the most eloquent and distinguished preacher of his\nchurch in his time. He served churches in Liverpool and London and was\nProfessor of Mental and Moral Philosophy in Manchester New College. He\nedited _Hymns for the Christian Church and Home_, 1840, a book widely\nused among Unitarians in England.\n\n_MUSIC._ GR\u00c4FENBERG, sung somewhat slowly, is a tune of fine stateliness\nand dignity. It is from the 5th edition of Cr\u00fcger\u2019s _Praxis Pietatis\nMelica_, Berlin, 1653. It is also known as \u201c_Nun Danket All_.\u201d\n\nJohann Cr\u00fcger, 1598-1662, one of the most distinguished musicians of his\ntime, was born near Brandenburg. He received a thorough musical training\nunder Paulus Homberger in Regensburg and in 1622 he was appointed cantor\nof the St. Nicholas Lutheran Church, in Berlin, and one of the masters\nof the Greyfriars Gymnasium. He founded the noted choir of St. Nicholas\nChurch. Cr\u00fcger was a tune-writer of the first rank and composed some of\nthe most famous and favorite chorales. He published various collections\nof hymns, among them the celebrated _Praxis Pietas Melica_, 1644, which\npassed through more than fifty editions. He died in Berlin, February 23,\n1662.\n\n\n243. Come, ye disconsolate _Thomas Moore_, 1779-1852\n _Thomas Hastings_, v. 3\n\nA hymn of consolation by an author whose life was far from exemplary. It\nmay be the hymn should on this account have been omitted; but something\nin his heart enabled the author, through his lyrics, to touch the heart\nof humanity, and his songs have been widely used and admired in spite of\nthe strange chapters and romantic incidents in his life.\n\nThomas Moore, Irish poet, was born in Dublin, studied at Trinity\nCollege, and then moved to London and began the study of law. He held a\ngovernment position in Bermuda for some time and during his life\npublished many volumes of prose and poetry. He will always be remembered\nby his songs, \u201cBelieve me if all those endearing young charms,\u201d \u201cThe\nlast rose of summer,\u201d and \u201cOft in the stilly night.\u201d\n\nThe third stanza is by Thomas Hastings, coeditor with Lowell Mason of\n_Spiritual Songs for Social Worship_, in which the hymn first appeared.\nMoore\u2019s third stanza, omitted in all hymn books, reads:\n\n Go ask the infidel what boon he brings us,\n What charm for aching hearts he can reveal,\n Sweet as that heavenly promise Hope sings us\u2014\n Earth has no sorrow that God cannot heal.\n\nIt is a good stanza, but, then, good hymns do not argue.\n\nFor comments on Thomas Hastings see Hymn 120.\n\n_MUSIC._ CONSOLATOR, also known as \u201cConsolation,\u201d \u201cWebbe,\u201d \u201cAlma\u201d or\n\u201cAlma Redemptor,\u201d is an adaptation of a tune by Samuel Webbe.\n\nFor comments on Samuel Webbe see Hymn 22.\n\n\n244. I look to Thee in every need _Samuel Longfellow_, 1819-92\n\nA hymn, much-needed, to express the effect of religious faith and trust\nupon mental and bodily health. The idea, so essential to the Gospel, has\nbeen too largely neglected in most Protestant Churches. The hymn is\nrepresentative of the fine literary and devotional quality of the\nauthor\u2019s poetry. Though an American hymn, it was introduced into the\nchurch\u2019s worship in England before it was used in this country.\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ O JESU appeared in _J. B. Reimanns Org. v. Hirschb. alter und\nneuer Melodien Evangel. Lieder_, etc., 1747, where it was set to the\nhymn, \u201c_O Jesu, warum legst du mir_.\u201d In the original, the first and\nlast notes of each line were half-notes. It is a tune \u201cof a simple,\nfamiliar pattern but with a certain quiet dignity.\u201d\n\nThe composer, Johann Balthaser Reimann, 1702-47, was a German cantor and\norganist in churches in Neustadt, Breslau, and Hirschberg, Schleswig.\n\n\n245. My God and Father, while I stray _Charlotte Elliott_, 1789-1871\n\nA hymn written by one who had disciplined herself to accept with\npatience and resignation the bitter cross of ill health which was laid\nupon her.\n\nShe writes of her experience:\n\n Oh, many struggles and apparently fruitless ones it has cost me to\n become resigned to the appointments of my Heavenly Father. But the\n struggle is now over. He knows, and he alone, what it is, day after\n day, hour after hour, to fight against bodily feelings of almost\n overpowering weakness, languor, and exhaustion; to resolve not to\n yield to slothfulness, depression, and instability, such as the body\n causes me to long to indulge, but to rise every morning determined to\n take for my motto: \u201cIf any man will come after Me, let him deny\n himself, take up his cross daily and follow Me.\u201d\n\nThe hymn is based on Matt. 26:42: \u201cO my Father, if this cup may not pass\naway from me, except I drink it, thy will be done.\u201d It is a hymn of\nhumble resignation. Another hymn, setting forth the will of God as\ndemanding active co-operation, is found at No. 342. Some fine stanzas\nhave been omitted here:\n\n Though Thou hast called me to resign\n What most I prized, it ne\u2019er was mine;\n I have but yielded what was Thine\u2014\n \u201cThy will be done.\u201d\n\n Should grief or sickness waste away\n My life in premature decay,\n My Father, still I strive to say,\n \u201cThy will be done.\u201d\n\n Let but my fainting heart be blest\n With Thy sweet Spirit for its Guest;\n My God, to Thee I leave the rest\u2014\n \u201cThy will be done.\u201d\n\nFor comments on Charlotte Elliott see Hymn 233.\n\n_MUSIC._ HANFORD was written for \u201cJesus, my Saviour, look on me,\u201d\nanother of Miss Elliott\u2019s hymns. The composer, who often stayed in the\nhome of Mrs. Gertrude Clay-Ker-Seymer at Hanford, in Dorsetshire, wrote\nthe tune there, hence its name.\n\nFor comments on the composer, Arthur Sullivan, see Hymn 113.\n\n\n246. Give to the winds thy fears _Paul Gerhardt_, 1607-76\n _Tr. by John Wesley_, 1703-91\n\nA hymn of comfort to the afflicted and courage to the dying. It is a\npart of Paul Gerhardt\u2019s poem, \u201c_Befiehl du deine Wege_\u201d (558). These are\nstanzas 9, 10, 12, 13, unaltered, of Wesley\u2019s translation, which\ncontains 16 four-line stanzas. Gerhardt passed through the agonies of\nthe Thirty Years\u2019 War, and suffered, in addition, the loss of his wife\nand four children. He gives expression in this hymn to his own deep\nfeelings of trust and assurance. His words have helped many anxious\nsouls maintain faith in God who \u201csitteth on the throne, and ruleth all\nthings well.\u201d\n\nFor comments on Paul Gerhardt see Hymn 134.\n\nFor comments on John Wesley, who translated the hymn, see No. 170.\n\n_MUSIC._ STATE STREET is a popular tune, scarcely any hymn book missing\nit, but it is not wedded to any single hymn. The composer, J. C.\nWoodman, 1813-94, born at Newbury, Mass., became one of Lowell Mason\u2019s\nassistants in introducing music into the public schools of Boston. He\nwas one of the first soloists of the Boston Academy of Music and served\nfor a time as organist of the First Presbyterian Church of Brooklyn. In\n1858, Woodman compiled _The Musical Casket_, which contained many of his\nsongs, sacred and secular. \u201cState Street\u201d is the last tune in the book,\nset to Watts\u2019 lyric, \u201cBlessed are the sons of peace.\u201d\n\n\n247. Day by day the manna fell _Josiah Conder_, 1789-1855\n\nA hymn of confidence that God will supply daily strength for daily\nneeds, based on Exodus 16:12-21 and the petition in the Lord\u2019s Prayer,\n\u201cGive us this day our daily bread.\u201d\n\nThe hymn suggests a Jewish story quoted by W. F. Tillett in _The Hymns\nand Hymn Writers of the Church_:\n\n The pupils of Rabbi Ben Jochai once asked him with regard to the manna\n sent to the Israelite host in the wilderness: \u201cWhy did not the Lord\n furnish enough manna to Israel for a year all at one time?\u201d \u201cI will\n answer you with a parable,\u201d responded the teacher. \u201cOnce there was a\n king who had a son to whom he gave a yearly allowance, paying him the\n entire sum on a fixed day. It soon happened that the day on which the\n allowance was due was the only day in the year when the father ever\n saw the son. So the king changed his plan and gave his son day by day\n that which sufficed for the day. And now the son visited his father\n every morning. Thus God dealt with Israel.\u201d\n\nThe author, Josiah Conder, born in London, was an editor and publisher.\nHis friends included a large number of eminent literary and church men\nof the early 19th century. He was a member of the Congregationalist\nChurch. A devout and earnest believer who knew what it was to struggle\nfor daily bread, he had the occasion to practice the gospel of daily\ntrust. He wrote many hymns, published more than a dozen scholarly books,\nand edited _The Congregational Hymn Book_ in 1836, a work which attained\nwide popularity in England.\n\n_MUSIC._ SEYMOUR. For comments on this tune see Hymn No. 36.\n\n\n248. One thought I have, my ample creed _Frederick L. Hosmer_,\n 1840-1929\n\nSeveral of Hosmer\u2019s hymns express his \u201cthought of God,\u201d this being one\nof the finest. It relates all of life and its needs to the thought of\nGod.\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\n_MUSIC._ PRAETORIUS is from _Harmoniae Hymnorum Scholae Gorlicensis_,\nG\u00f6rlitz, 1599. It is supposed to have been written by M. Praetorius, for\nit appeared in his _Musae Sionae_, Pt. VI, 1609, and hence its name.\n\nMichael Praetorius, 1571-1621, was born in Kreuzburg, Thuringia. He was\neducated at the University of Frankfurt-an-der-Oder and became\nKapellmeister at L\u00fcneburg. Praetorius was a prolific composer, but his\nfame rests chiefly on a four-volume work on musical theory entitled,\n_Syntagma musicum_.\n\n\n249. Father, to Thee we look in all our sorrow _Frederick L. Hosmer_,\n 1840-1929\n\nA hymn of comfort written in 1881 on the death of a member of the\nauthor\u2019s congregation. The hymn was published in Hosmer\u2019s _Thought of\nGod_, 1st series, 1885. The last lines are particularly striking:\n\n \u201cYet shalt thou praise Him when these darkened furrows,\n Where now He ploweth, wave with golden grain.\u201d\n\n_MUSIC._ STRENGTH AND STAY. For comments on J. B. Dykes, the composer of\nthis tune, see Hymn 1.\n\n\n250. My Jesus, as Thou wilt _Benjamin Schmolck_, 1672-1737\n _Tr. Jane Borthwick_, 1813-97\n\nBased on Mark 14:36: \u201cAbba, Father, all things are possible unto Thee;\ntake away this cup from me: nevertheless not what I will, but what thou\nwilt.\u201d The hymn was originally published in eleven stanzas in his\n_Heilige Flammen_, 1704. We give here five stanzas of the original, our\nhymn being the usual selection of 1, 3, and 5.\n\n Mein Jesu, wie du willt,\n So lass mich allzeit wollen;\n Wenn Tr\u00fcbsal, Angst und Leid\n Mich hier betreffen sollen,\n So gib, dass allezeit\n Dein Wille werd\u2019 erf\u00fcllt,\n Ich leb\u2019 und sterbe dir;\n Mein Jesu, wie du willt!\n\n Mein Jesu, wie du willt!\n Soll ich in Armut leben,\n So mach hingegen du\n Die Seele reich, daneben\n Gib, dass dein Wort mir nur\n Den Hunger allzeit stillt,\n Und nimm sonst alles hin:\n Mein Jesu, wie du willt!\n\n Mein Jesu, wie du willt!\n Soll ich in Tr\u00e4nen schwimmen,\n So lass mein F\u00fcnklein Trost\n Nicht ganz und gar verglimmen.\n Hast du doch selbst geweint;\n Drum, wenn\u2019s nicht anders gilt,\n So wein\u2019 ich auch mit dir.\n Mein Jesu, wie du willt!\n\n Mein Jesu, wie du willt!\n Soll ich denn endlich sterben,\n Ich weiss, du l\u00e4sst mich auch\n Im Sterben nicht verderben,\n Wenn meine Seele sich\n In deine Wunden h\u00fcllt;\n Drum soll\u2019s gestorben sein,\n Mein Jesu, wie du willt!\n\n Mein Jesu, wie du willt!\n So bin ich auch zufrieden;\n Hast du mir Lieb\u2019 und Leid,\n Not oder Tod beschieden,\n So nehm\u2019 ich\u2019s auf dein Wort,\n Dein Wille werd\u2019 erf\u00fcllt.\n Drum sag\u2019 ich noch einmal:\n Mein Jesu, wie du willt!\n\nSchmolck was known all over Germany for his many hymns and spiritual\nsongs. A number of them have been translated into English. This one\nreflects his fervent love for Christ and bears a message of trust and\ncomfort which grew out of his own exhausting labors and physical\nsuffering.\n\nFor further comments on Benjamin Schmolck see Hymn 505.\n\nThe translation is by Jane Borthwick in her _Hymns from the Land of\nLuther_, 1854. For comments on Jane Borthwick see Hymn 54.\n\n_MUSIC._ JEWETT is from a melody in Weber\u2019s opera _Der Freisch\u00fctz_. The\npresent arrangement was made by Joseph Holbrook, in 1862. The tune has\nbecome associated almost exclusively with this hymn in America.\n\nJoseph Holbrook, 1822-88, born near Boston, was a tune writer of the\nschool of Mason, Hastings, and Bradbury. He compiled several hymn books\nand was musical editor of _Songs of the Sanctuary_, a popular Methodist\nbook under the editorship of the eminent hymnologist, Charles S.\nRobinson.\n\n\n251. Father, whate\u2019er of earthly bliss _Anne Steele_, 1716-78\n\nBased on I Tim. 6:6-8: \u201cBut godliness with contentment is great gain.\nFor we brought nothing into this world, and it is certain we can carry\nnothing out. And having food and raiment let us be therewith content.\u201d\n\nAnne Steele was the first woman writer of English hymns. Her father was\na timber merchant who for 30 years was deacon and occasional preacher in\nthe Baptist Church in Hampshire, England, and then for 30 years more he\nwas pastor, without salary, of the same church. On the day before Miss\nSteele was to be married, at the age of 21, her fiance met accidental\ndeath through drowning. Out of this bitter experience in her early life\nand a succession of other trials, came this lyric of resignation and\nhope. The original has 10 stanzas, the last three of which have been\nedited by Augustus Toplady to make this her best hymn. Miss Steele is\nthe foremost of Baptist hymn writers.\n\n_MUSIC._ NAOMI, a tune brought to America by Lowell Mason, was set to\nthis hymn in his _Modern Psalmist_, 1839. It at once gained popularity\nand was included in many hymn books.\n\nFor comments on the composer, Hans N\u00e4geli, see Hymn 41.\n\n\n252. Thy way, not mine, O Lord _Horatius Bonar_, 1808-89\n\nAn admirable hymn of submission, faith, and love, based on Matt. 26:39:\n\u201cNot as I will, but as Thou wilt.\u201d\n\nIt was published in 7 stanzas in the author\u2019s _Hymns of Faith and Hope_,\n1st series, 1857 under the title, \u201cThy way, not Mine.\u201d\n\nThe omitted stanza (No. 6) reads:\n\n Choose Thou for me my friends,\n My sickness or my health:\n Choose Thou my cares for me,\n My poverty or my wealth.\n\nFor comments on Horatius Bonar see Hymn 129.\n\n_MUSIC._ O LEIDE, LEIDE GERN is from the _Gesangbuch mit Noten_, where\nit appears anonymously set to the words, \u201c_O leide, leide, gern! Es ist\nder Will\u2019 des Herrn_.\u201d\n\n\n253. Lord, it belongs not to my care _Richard Baxter_, 1615-91\n\nA hymn of love, trust, and hope, based on Phil. 1:21: \u201cFor me to live is\nChrist, and to die is gain.\u201d\n\nRichard Baxter, English Presbyterian, was born in Shropshire, England.\nHe took holy orders in the Church of England, but withdrew from this\nchurch to become one of the outstanding Nonconformists of his time.\nThough he never attended university, he published over 250 volumes,\namong them several classics, _The Reformed Pastor_ and _The Saints\u2019\nEverlasting Rest_. A fearless man and willing to suffer for what he\nbelieved to be right, Baxter did not hesitate to rebuke Cromwell for his\nassumption of supreme power of the State. Once, when falsely charged of\nlibeling the Church, Chief Justice George Jeffreys taunted him by,\n\u201cRichard, I see the rogue in thy face.\u201d Baxter replied, \u201cI had not known\nbefore that my face was a mirror.\u201d After an infamous trial, Baxter was\ncondemned and thrown into prison where he remained for 18 months.\n\nAs to music in the church, he did not share the views of the large\nnumber of his fellow Puritan clergymen who disapproved of it. \u201cI have\nmade a psalm of praise in the holy assembly the chief delightful\nexercise of my religion and my life, and have helped to bear down all\nthe objection which I have heard against church music.\u201d He also took a\nstand for the use of original hymns to supplement psalm singing, and\nfavored the use of the organ, though he did not introduce the latter\nwhere it led to disputes.\n\n_MUSIC._ EVAN. For comments on this tune and its composer, William H.\nHavergal, see Hymn 153.\n\n\n254. Holy Father, cheer our way _Richard H. Robinson_, 1842-92\n\nBased on Zech. 14:7: \u201cBut it shall come to pass, at evening time it\nshall be light.\u201d The hymn was written in 1869 for the author\u2019s\ncongregation, to be sung at evening prayer. It appeared in _Church\nHymns_, 1871, published by the Society for Propagating Christian\nKnowledge, London.\n\nRichard Hayes Robinson, a clergyman of the Church of England, was born\nin London. He was educated at King\u2019s College, London, and served as\nminister in various churches. On the day of his second wedding, he was\ntaken ill on the train and died the next day. He published several\nvolumes of sermons.\n\n_MUSIC._ M\u00dcDE BIN ICH, GEH ZUR RUH is a well-known German melody in the\n_Gesangbuch mit Noten_, where it appears anonymously, set to Louise\nHensel\u2019s hymn from which the tune derives its name. The melody, in\nslightly different form, appeared in 1842 in _Lieder-Buch f\u00fcr\nKleinkinder-Schulen ... con Theodor Fliedner_. It is used in the\n_Methodist Hymnal_ (1935) set to the words, \u201cJesus, tender Shepherd,\nhear.\u201d\n\n\n255. O Lord, how happy should we be _Joseph Anstice_, 1808-36\n\nBased on I Peter 5:7: \u201cCasting all your care upon Him; for He careth for\nyou,\u201d and on the Scripture lesson in Matthew 6:24-34. The original poem\nwas in five stanzas. The hymn was written out of experiences of\nsickness, pain, and trial.\n\nJoseph Anstice, a friend of Gladstone during student days at Oxford, was\nappointed Professor of Classical Literature at King\u2019s College, London,\nat the age of 22. Within three years his health failed, and he died at\nthe age of 28, whereupon Gladstone, who had been deeply influenced by\nhim at Oxford, wrote in his _Diary_, \u201cRead to my deep sorrow of\nAnstice\u2019s death on Monday. His friends, his young widow, the world can\nspare him ill.\u201d This and 53 other hymns were dictated to his wife in the\nafternoons during his last illness.\n\n_MUSIC._ MERIBAH. For comments on the composer, Lowell Mason, see Hymn\n12.\n\n\n256. Peace, perfect peace _Edward H. Bickersteth_, 1825-1906\n\nThis hymn on perfect peace is based on Isaiah 26:3: \u201cThou wilt keep him\nin perfect peace whose mind is stayed on Thee: because he trusteth in\nThee.\u201d\n\nThe origin of the hymn was furnished Dr. Julian by Rev. S. Bickersteth,\na son of the author:\n\n This hymn was written by Bishop Edward Henry Bickersteth while he was\n spending his summer holiday in Harrogate in the year 1875. On a Sunday\n morning in August the Vicar of Harrogate, Canon Gibbon, happened to\n preach from the text, \u201cThou wilt keep him in perfect peace, whose mind\n is stayed on thee,\u201d and alluded to the fact that in the Hebrew the\n words are \u201cpeace, peace,\u201d twice repeated and happily rendered in the\n 1611 translations by the phrase \u201cperfect peace.\u201d This sermon set my\n father\u2019s mind working on the subject. He always found it easiest to\n express in verse whatever subject was uppermost in his mind, so that\n when on the afternoon of that Sunday he visited an aged and dying\n relative, Archdeacon Hill, of Liverpool, and found him somewhat\n troubled in mind, it was natural to him to express in verse the\n spiritual comfort which he desired to convey. Taking up a sheet of\n paper, he then and there wrote down the hymn just exactly as it now\n stands and read it to this dying Christian.\n\n It is not always noticed that the first line in each verse is in the\n form of a question referring to some one or other of the disturbing\n experiences of life, and the second line in each verse endeavors to\n give the answer.... The hymn has been translated into many tongues,\n and for years I doubt if my father went many days without receiving\n from different people assurances of the comfort which the words had\n been allowed to bring to them. The most touching occasion on which,\n personally, I ever heard it sung was round the grave of my eldest\n brother, Bishop Edward Bickersteth, of South Tokyo, at Chiselden in\n 1897, when my father himself was chief mourner.\n\n_MUSIC._ PAX TECUM was written for this hymn by George Thomas Caldbeck,\n1852-?, concerning whose life one reads contradictory statements. Some\nwriters say he was a missionary in China when he wrote this tune;\nothers, including James Moffatt, give the account essentially as\nfollows: that Caldbeck, while a student in London, was compelled through\nill health to give up his purpose of becoming a missionary, went to\nIreland to teach school and engage in independent missionary work. Later\nhe returned to London where he did much open-air preaching, making a\nmeagre living by selling Scripture text-cards from door to door. For\nselling without a license, he was arrested one day but dismissed by the\njudge on being informed that the defendant was the composer of this\nwell-known hymn tune.\n\nThe tune was arranged by Charles John Vincent, born 1852, English\norganist, composer and editor of much church music.\n\n\n257. God is the refuge of His saints _Isaac Watts_, 1674-1748\n\nBased on Psalm 46:1-5: \u201cGod is our refuge and our strength; a very\npresent help in time of trouble,\u201d etc., and was entitled by Watts, \u201cThe\nChurch\u2019s Safety and Triumph.\u201d It is interesting to compare this free\nrendering of the Psalm with that of the _Scotch Psalter_, 1650, (588),\nwhere the thought of the psalm and the stately King James version\ncombine to make up the greatest metrical form of the psalm. Martin\nLuther\u2019s version of the same Psalm is found in his great hymn \u201c_Ein\nfeste Burg ist unser Gott_\u201d (549).\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ WARRINGTON was composed by Ralph Harrison, 1748-1810, an\nEnglishman and son of a Presbyterian minister. Educated at Warrington\nAcademy, he became a noted teacher of ancient languages, but maintained\na keen interest in sacred music. He compiled _Sacred Harmony_, 2 vols.,\n1784-1791, a collection of psalm tunes, ancient and modern, in which\nwere found some of his own compositions, including this tune.\n\n\n258. Awake, our souls! away, our fears _Isaac Watts_, 1674-1748\n\nA free rendering of Isaiah 40:28-31.\n\nThe hymn is from Watts\u2019 _Hymns and Spiritual Songs_, 1707, where it is\nheaded, \u201cThe Christian Race.\u201d\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ SAMSON. This tune is an adaptation, a very considerable one,\nfrom Chorus 31: \u201cThen round about the starry throne,\u201d in Handel\u2019s\noratorio, _Samson_. The tune is taken from various parts of the chorus.\n\nFor comments on Handel see Hymn 70.\n\n\n259. There is no sorrow, Lord, too light _Jane Crewdson_, 1809-63\n\nAnother of the \u201csongs in the night,\u201d written by one who, like Charlotte\nElliott (See 245), was an invalid the greater part of her life and\nsuffered much pain.\n\nJane Fox was born in Cornwall, England. In 1836 she married Thomas D.\nCrewdson, a Manchester manufacturer. Always delicate, she became a\nconfirmed invalid, but her sufferings served to deepen her spiritual\nlife. She was a woman of fine intellectual power and poetic gifts and\nthrough her writings testified gloriously to the all-sufficiency of her\nSavior\u2019s love. Her attitude toward her suffering is well expressed in\nthe beautiful third verse of the hymn:\n\n There is no secret sigh we breathe\n But meets Thine ear divine:\n And every cross grows light beneath\n The shadow, Lord, of thine.\n\nThis was the favorite hymn of Dr. John Henry Jowett, at one time\nminister of the Fifth Avenue Presbyterian Church, New York City.\n\n_MUSIC._ COOLING first appeared in _The American Choir_, 1858. No\ninformation has been obtained concerning the composer, Alonzo Judson\nAbbey, 1825-87.\n\n\n ETERNAL LIFE\n\n\n260. Hark, hark, my soul! angelic songs are swelling _Frederick W.\n Faber_, 1814-63\n\nA lovely song of the journey of life\u2014the Christian\u2019s pilgrimage to\nheaven, the heart\u2019s true home. \u201cThe Pilgrims of the Night\u201d was the title\ngiven this hymn by its author, F. W. Faber, the warm-hearted Roman\nCatholic hymn writer. The phrases of the poem are wrapped in mystery and\nloveliness. Their meaning is not always clear but the rhythm and musical\nring of the hymn are effective and its popularity is genuine and\nwide-spread.\n\nFor comments on F. W. Faber see Hymn 44.\n\n_MUSIC._ PILGRIMS was written for this hymn for the appendix to the\noriginal edition of _Hymns Ancient and Modern_.\n\nFor comments on the composer, Henry Smart, see Hymn 46.\n\n\n261. Forever, with the Lord! _James Montgomery_, 1771-1854\n\nFrom Montgomery\u2019s poem of twenty-two 4-line stanzas, in two parts,\npublished in the _Amethyst_, 1835. It is based on I Thess. 4:17: \u201cThen\nwe which are alive and remain shall be caught up together with them in\nthe clouds, to meet the Lord in the air: and so shall we ever be with\nthe Lord.\u201d Canon Farrar once said, \u201cI can scarcely ever join in singing\n\u2018Forever with the Lord\u2019 without tears.\u201d\n\nThe hymn voices the aspirations of multitudes of Christians. In time of\nsorrow and death it points to the life beyond as the true goal of all\nour earthly striving.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ NEARER HOME, also called \u201cMontgomery,\u201d was composed for this\nhymn and was published in _The Choral Advocate_, 1852. The composer,\nIsaac Baker Woodbury, 1819-58, was an American singer, teacher of music,\ncomposer of hymn tunes and sacred songs, and editor of _Musical Review_.\nHis career was cut short by his death at the early age of thirty-nine.\n\n\n262. Jerusalem the golden _Bernard of Cluny_, 12th century\n _Tr. John M. Neale_, 1818-66\n\n\u201cAnd the city was pure gold\u201d Rev. 21:21.\n\nThis hymn is from a Latin manuscript of 3,000 lines entitled \u201c_De\nContemptu Mundi_\u201d (On Contempt of the World), written by Bernard of\nCluny while he was a monk at the famous monastery of Cluny, France, _c._\n1145. Practically nothing is known of him except his authorship of this\npoem. Two other hymns, \u201cBrief life is here our portion,\u201d and \u201cFor thee,\nO dear, dear country,\u201d not in the _Hymnary_, are taken from the same\npoem. The original was not written as a hymn at all but as a \u201cbitter\nsatire on the fearful corruption of the age,\u201d especially of the Church\nof Rome, in contrast to which the author paints the joys of the new\nJerusalem. The author employed throughout the unusually difficult meter\nknown as \u201cdactylic hexameter with tailed rhymes,\u201d of which Bernard\nhimself says: \u201cUnless the Spirit of wisdom and understanding had flowed\nin upon me, I could not have put together so long a work in so difficult\na meter.\u201d The reading of the Latin stanzas best reveal the rhythm and\nmusic of the original:\n\n 1.\n Urbs Sion aurea, patria lactea,\n Cive decora,\n Omne cor obruis, omnibus obstruis\n Et cor et ora.\n\n 2.\n Nescio, nescio, quae iubilatio,\n Lux tibi qualis,\n Quam socialia gaudia, gloria\n Quam specialis.\n\n 3.\n Sunt Sion atria coniubilantia,\n Martyre plena,\n Cive micantia, principe stantia,\n Luce serena.\n\n 4.\n Sunt ibi pascua mentibus afflua\n Praestita sanctis;\n Regis ibi thronus, agminis et sonus\n Est epulantis.\n\n 5.\n Gens duce splendida, contio candida\n Vestibus albis,\n Sunt sine fletibus in Sion aedibus,\n Aedibus almis. Amen.\n\nFor comments on the translator, John M. Neale, see Hymn 67.\n\n_MUSIC._ EWING, composed for \u201cFor thee, O dear, dear country\u201d (see\nabove), was originally in triple time and named, \u201cSt. Bedes.\u201d In _Hymns\nAncient and Modern_, 1861, it was set to the present words and the tune\nchanged to common time without the consent of the composer. Ewing\ndisliked the change and expressed himself thus: \u201cIn my opinion the\nalteration of the rhythm has very much vulgarized my little tune. It now\nseems to be a good deal like a polka. I hate to hear it.\u201d In spite of\nthe composer\u2019s opinion, the tune is generally accepted in its revised\nform and considered preferable to the original.\n\nAlexander Ewing, 1830-95, of Aberdeen, Scotland, was a skilled musician.\nOne evening after choir practice, he modestly introduced what he called\nhis first effort at writing a hymn tune, offering copies of the voice\nparts, and asking the choir to sing it over. This was done, the choir\nliked it, and the tune EWING was launched on its long and popular\ncareer.\n\n\n263. Jerusalem the golden _Bernard of Cluny_, 12th century\n _Tr. John M. Neale_, 1818-66\n\nFor comments on this hymn see No. 262.\n\n_MUSIC._ URBS BEATA (The City Beautiful) was composed in 1887 for these\nwords. The composer found words for the refrain by repeating lines 1, 6,\n7, and 8 of the first stanza. It makes a first-rate choir number. To\nkeep up the proper tempo it should be sung with two beats to the\nmeasure. When the tune is used for congregational singing, the high\nnotes in the refrain are intended to be sung by the sopranos in the\nchoir.\n\nThe composer, George LeJeune, 1842-1904, was the son of a well-known\nmusical family in London. He began his musical career in Canada; later\nhe studied with Joseph Barnby. His great work was done as church\norganist and organ recitalist at St. John\u2019s Chapel of Trinity Parish,\nNew York City, where he served 28 years.\n\n\n264. One sweetly solemn thought _Phoebe Cary_, 1824-71\n\nA poem in contemplation of heaven, written in 1852, entitled, \u201cNearer\nHome,\u201d with no thought of its being used as a hymn. In fact its original\nirregular rhythm hardly permitted it to be sung. The words have been\nchanged to fit the short-meter tune, and have become popular as a hymn.\nUpon reading the story of how the hymn was instrumental in the\nconversion of two gamblers in China, who, after betting and drinking and\ncard playing, decided upon a change of life and consecrated themselves\nto Christian work, Miss Cary wrote to a friend:\n\n I enclose the hymn and story for you, not because I am vain of the\n notice, but because I thought you would feel a peculiar interest in\n them when you knew the hymn was written eighteen years ago (1852) in\n your house. I composed it in the little, back, third-story bedroom on\n Sunday morning after coming from church, and it makes me happy to\n think that any word I could say has done a little good in the world.\n\nPhoebe Cary was born on a farm near Cincinnati, Ohio. Her early days\nwere a struggle with hardship and poverty. \u201cI have cried in the street\nbecause I was poor,\u201d she wrote in her later and more prosperous years,\n\u201cand the poor always seem nearer to me than the rich.\u201d With her sister\nAlice Carey, she published a small volume of verse in 1849, then the two\nmoved to New York City where they became quiet but influential leaders\nin literary society. Their friendship with Whittier was a noted factor\nin the lives of the Carey sisters. Phoebe was a member of the Church of\nthe Pilgrims in New York, and later attended the Church of the Stranger\nin the same city.\n\n_MUSIC._ DULCE DOMUM is an arrangement from the composer\u2019s popular song,\n\u201cOne sweetly solemn song,\u201d later published as an anthem.\n\nRobert Steele Ambrose, 1824-1908, born in England, came with his parents\nto Canada in his first year. He prepared himself for the musical\nprofession and became organist successively in churches in Guelph,\nKingston, and Hamilton, Ontario. He is known best by the above-mentioned\nsong.\n\n\n265. Sunset and evening star _Alfred Tennyson_, 1809-92\n\nA song of immortality, written in ten minutes in the author\u2019s\neighty-first year. It is always printed at the end of Tennyson\u2019s poems.\nTennyson once said: \u201cI can hardly understand how any great, imaginative\nman, who has lived, suffered, thought and wrought, can doubt of the\nsoul\u2019s continuous progress in the after life.\u201d\n\nThe poem was written on an October day in 1889, as the poet was crossing\nfrom Aldworth to Farringford. Tennyson\u2019s son wrote in his _Memoir_ of\nhis father, concerning its origin:\n\n Before he reached Farringford he had the moaning of the bar in his\n mind, and after dinner he showed me this poem written out. I said:\n \u201cThat is the crown of your life\u2019s work.\u201d He answered: \u201cIt came in a\n moment.\u201d He explained the \u201cPilot\u201d as \u201cthat Divine and Unseen who is\n always guiding us.\u201d A few days before my father\u2019s death, in 1892, he\n said to me: \u201cMind you put \u2018Crossing the Bar,\u2019 at the end of all\n editions of my poems.\u201d My father considered Edmund Lushington\u2019s\n translation into Greek of \u201cCrossing the Bar\u201d one of the finest\n translations he had ever read.\n\n_MUSIC._ CROSSING THE BAR was composed for these words. The tune, in the\nnature of an unaccompanied quartet anthem, may be sung with freedom in\nregard to time and shading.\n\nFor comments on the composer, Joseph Barnby, see Hymn 21.\n\n\n266. Blest be the everlasting God _Isaac Watts_, 1674-1748\n\nA paraphrase of I Peter 1:3-5.\n\nThe original by Watts was published in his _Hymns and Spiritual Songs_,\n1707, from which it was taken over unchanged into the _Scottish\nParaphrases_ of 1745 and of 1751. In the final 1781 edition, the third\nstanza was omitted and the fourth altered from\n\n There\u2019s an inheritance divine\n Reserved against that day;\n \u2019Tis incorrupted, undefiled,\n And cannot waste away.\n\nThe improvements are attributed to William Cameron, 1751-1811, who, as a\nyoung licentiate, was entrusted with the final revision of the _Scottish\nParaphrases_.\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ ST. STEPHEN (ABRIDGE) is described by Archibald Jacob as a\n\u201cbeautifully fluent and graceful melody ... in the best 18th-century\nstyle of this class of tune.\u201d It appeared originally in _A Collection of\nPsalm Tunes in Three Parts_ ... by Isaac Smith, _c._ 1770, under the\nname ABRIDGE, by which it continues to be known in England. In _Sacred\nHarmony for Use in St. George\u2019s_, Edinburgh, 1820, it appeared under the\nname ST. STEPHEN, with slight modification of the last line.\n\nIsaac Smith, _c._ 1725-_c._ 1800, was a London linen-draper with a taste\nfor music. He composed and published a number of Psalm-tunes which long\nremained popular, though ABRIDGE is almost the only one now left of his\ncompositions. Smith named his tunes after localities in and about\nLondon. ABRIDGE was the name of a small village near Epping Forest, in\nEssex.\n\n\n THE KINGDOM OF GOD\n\n\n267. Forward through the ages _Frederick L. Hosmer_, 1840-1929\n\nA hymn expressing the unity of God\u2019s people in their labor for the\nKingdom through the ages. \u201cThe goodly fellowship of the prophets\u201d is set\nforth here with power and poetic beauty.\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\n_MUSIC._ ONWARD, with its strong rhythm and moving power, lends itself\nwell for processional use, resembling in this respect the tune \u201cSt.\nGertrude\u201d (225), for which the present hymn was written.\n\nNo information is at hand concerning the composer, J. W. Barrington.\n\n\n268. Thy Kingdom come, on bended knee _Frederick L. Hosmer_, 1840-1929\n\nOne of the few hymns written on the petition, \u201cThy Kingdom come,\u201d in the\nLord\u2019s Prayer. Canon Percy Dearmer speaks of this as \u201cone of the noblest\nhymns in the language.\u201d It is a fervent prayer for the day when there\nshall be more justice, knowledge, peace, and righteousness on the earth.\n\nThe hymn was written June 21, 1891, for the commencement of the\nMeadville Theological School, Pennsylvania.\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\n_MUSIC._ IRISH, also called \u201cDublin,\u201d appeared first in _Hymns and\nSacred Poems_, published in Dublin in 1749. The composer is not known.\nIt is a smooth, triple-time tune which young people love to sing. Its\nname is misleading, for there is no indication of an Irish origin other\nthan, as stated, its appearance in a book published in Dublin.\n\n\n269. Come, Kingdom of our God _John Johns_, 1801-47\n\nA prayer for the coming of the Kingdom of God on earth, based on the\npetition in the Lord\u2019s Prayer, \u201cThy Kingdom come, thy will be done.\u201d\n\nRev. John Johns, English Presbyterian minister, was known for many years\nin Liverpool as the \u201cminister to the poor.\u201d He was a man of fine poetic\ngifts and published several volumes of poetry but is remembered for his\nlife of service among the poor.\n\n_MUSIC._ ST. THOMAS is one of the oldest and best tunes of the church.\nIt has good rhythm, graceful form, and a strong forward movement to give\nit unusual singing merit.\n\nThe composer, Aaron Williams, of Welsh descent, was born in London in\n1731, and died there in 1776. He was composer, engineer, publisher,\nmusic teacher, and clerk of the Scotch Church, London Wall. He published\na number of important collections of tunes: _The Universal Psalmodist_,\n1763, and _New Universal Psalmodist_, 1770, in which the above tune\nappeared.\n\n\n270. Thy Kingdom come, O Lord _Frederick L. Hosmer_, 1840-1929\n\nAnother hymn on the petition, \u201cThy Kingdom come,\u201d in the Lord\u2019s Prayer,\nsetting forth its coming in relation to the unity of nations. Compare\nHosmer\u2019s other hymn on the Kingdom (268) where the emphasis is on\nrighteousness and justice. This is an appropriate hymn for use in\ngatherings concerned with Christian unity and world friendship.\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\n_MUSIC._ INVITATION. For comments on the composer of this tune see Hymn\n112.\n\n\n271. Thy Kingdom come, O God _Lewis Hensley_, 1824-1905\n\nAnother of the few hymns that have been written on the petition in the\nLord\u2019s Prayer, \u201cThy Kingdom come.\u201d See Hymns 268, 269, 270.\n\nLewis Hensley had a distinguished career at Trinity College, Cambridge,\nEngland, as student and then six years as fellow and tutor. He became a\nminister in the Church of England and for a time was Rural Dean.\n\n_MUSIC._ ST. CECILIA was composed for Dr. Bonar\u2019s hymn, \u201cThy way, not\nmine, O Lord\u201d (252), appearing with these words in _The Merton Tune\nBook_, Oxford, 1863.\n\nThe composer, Rev. Leighton George Hayne, 1836-83, was educated at\nOxford, took holy orders in 1861, was appointed conductor of the chorus\nof the University and public examiner in the School of Music, and then\nserved for a time as organist of Eton College. The last 12 years of his\nlife were spent as minister in various churches. He wrote many hymn\ntunes and edited, with Rev. H. W. Sargeant, _The Merton Tune Book_.\n\n\n272. Before Jehovah\u2019s awful throne _Isaac Watts_, 1674-1748\n\nA paraphrase of Psalm 100, revised by John Wesley.\n\nThe original text by Watts began:\n\n Sing to the Lord with joyful voice;\n Let every land his name adore;\n The British Isles shall sound the noise\n Across the ocean to the shore.\n\nWesley, considering this an unpromising initial stanza, omitted it, and\nchanged the second stanza, lines 1 and 2, from\n\n Nations attend before his throne\n With solemn fear, with sacred joy\n\nto\n\n Before Jehovah\u2019s awful throne\n Ye nations bow with sacred joy.\n\nWesley severely condemned the practice of changing another\u2019s hymns, but\nin this case his own \u201ctransgression\u201d resulted in a greatly improved\nhymn.\n\nThe word \u201cawful\u201d in the first line is spelled \u201cawe-full\u201d in some hymnals\nin order to convey more nearly its original meaning.\n\nFor comments on Isaac Watts, see Hymn 11.\n\n_MUSIC._ PARK STREET was composed by Frederick M. A. Venua, 1788-1872,\nan eminent French organist, a native of Paris. It is a favorite tune in\nAmerica where it is invariably associated with this hymn by Watts.\n\n\n THE CHURCH\n\n\n273. The Church\u2019s one foundation _Samuel J. Stone_, 1839-1900\n\nA truly great hymn, honoring the church of Christ and longing for its\nprosperity. The author, then a young curate of 27 years in the Church of\nEngland, was so stirred by the attacks made on the church in his time\nthat he determined to write a series of twelve hymns on the Apostles\u2019\nCreed. This one is based on the article, \u201cI believe in the holy Catholic\nChurch, the communion of saints.\u201d The controversy which then raged in\nEngland concerning the nature of the inspiration of the Scriptures is\nreflected in the third stanza, the author leaning strongly on the\nconservative side.\n\nSamuel J. Stone was a clergyman of the Church of England, born in\nStaffordshire, and educated at Oxford. He served various churches,\nfinally succeeding his father at St. Paul\u2019s, Haggerston, London. For\ntwenty years he had a fruitful ministry in this East End parish among\nthe poor and depraved, before moving to another part of the city to\nanother church. He is the author of many hymns and translations and\npublished several volumes of poetry.\n\n_MUSIC._ AURELIA (signifying \u201cgolden\u201d) one of our most stately tunes,\ncombining ease of singing with churchly dignity, was written for the\nhymn, \u201cJerusalem the golden\u201d (262). It was set to the present hymn in\n_Hymns Ancient and Modern_ and did much to carry the hymn into the\nchurches. It has become one of the great processional hymns of the\nchurch.\n\nSamuel Sebastian Wesley, 1810-76, grandson of Charles Wesley, was like\nhis father, Samuel Wesley, a great English composer and organist. He had\na consuming love of the outdoors, as well as of music, and was\npassionately fond of fishing. He was outspoken in his demands for reform\nin the music of the church and was, consequently, frequently at odds\nwith his superiors. Wesley received inadequate recognition for the\ncontributions he made to the music of his time.\n\n\n274. Glorious things of thee are spoken _John Newton_, 1725-1807\n\nBased on Psalm 87:3: \u201cGlorious things are spoken of thee, O city of\nGod,\u201d and other passages, especially Isaiah 33:20, 21, and Exodus 13:22.\n\nIt is one of our best hymns on the Church and, says Julian, \u201cIt ranks\nwith the first hymns in the language.\u201d In ordinary use the omission of\nthe third stanza is desirable. Augustine Smith suggests in _Lyric\nReligion_ that \u201cthe last score should always be repeated, the second\ntime sung broader and fuller, building into a superb climax.\u201d\n\nJohn Newton is remembered among the hymn writers because of the radical\nchange that took place in his life at conversion. Born in London, his\nonly schooling was from his eighth to his tenth year. He went to sea at\neleven, his godly mother following the profligate youth with her\nprayers. As a midshipman in the navy he deserted his post, was captured,\nand reduced to a common seaman, and later became a servant of a slave\ndealer in Africa. He was converted at 23 after an awful night steering a\nwater-logged ship in the face of death. Though converted, he retained\ncertain blind spots in his social outlook and he continued as a slave\ndealer. This hymn was written when he was on a voyage from Sierra Leone,\nAfrica, with a load of slaves shackled closely together and being taken\nto London or America to be sold. \u201cI have never had such sweet communion\nwith Jesus as I had on that voyage,\u201d he wrote. This may seem like\nhypocrisy, but it must be remembered that slavery was a common practice\nand that only a few people of the time understood clearly its complete\ndenial of the spirit of Christ. It may be that future generations will\nsee in our times evils that flourished unchallenged while we prayed and\nsang according to the light we had. In 1750, Newton married Mary\nCatlett, a noble and pious woman, and a godsend in his life. In 1755, he\nsettled down as customs officer in Liverpool, becoming at the same time\ngreatly interested in Wesley and Whitefield and other evangelical\nleaders. Three years later he became a minister in the Church of\nEngland, and in 1764, he began a distinguished career as curate at\nOlney, where he was associated with his friend, William Cowper, the\npoet. The two were joint authors of the _Olney Hymns_, 1779. After\nsixteen years in Olney, he moved to London where for 28 years he did\nfaithful and successful work as rector of St. Mary Woolnoth. He wrote\nhis own epitaph which is found on a plain marble tablet near the vestry\ndoor of his church in London:\n\n John Newton, Clerk\n Once an Infidel and Libertine,\n A servant of slaves in Africa,\n Was, by the rich mercy of our Lord and Saviour\n Jesus Christ\n Preserved, restored, and pardoned,\n And appointed to preach the Faith\n He had long labored to destroy,\n Near 16 years at Olney in Bucks\n And ... years in this church\n On Feb. 1, 1750, he married\n Mary,\n Daughter of the late George Catlett\n Of Catham, Kent.\n He resigned her to the Lord who gave her\n On 15th of December, 1790\n\n_MUSIC._ AUSTRIAN HYMN is founded on a Croatian melody. It was used in\nGermany as the tune of \u201cDeutschland \u00fcber alles.\u201d Joseph Haydn,\n1732-1809, made a setting of it to be sung at the Emperor\u2019s birthday,\nFeb. 12, 1797, to the words, \u201cGott erhalte Franz der Kaiser.\u201d The tune\nwas a great favorite of Haydn and he used it as a theme in one of the\nmovements in his famous \u201c_Emperor Quartet_,\u201d No. 76.\n\nFor comments on Franz Joseph Haydn, see Hymn 27.\n\n\n275. I love Thy Kingdom, Lord _Timothy Dwight_, 1752-1817\n\nBased on Psalm 137:5, 6: \u201cIf I forget thee, O Jerusalem, let my right\nhand forget her cunning. If I do not remember thee, let my tongue cleave\nto the roof of my mouth; if I prefer not Jerusalem above my chief joy.\u201d\nIt is rated high among all the hymns on the church and is probably the\nearliest American hymn in use today.\n\nTimothy Dwight, the great president of Yale, was the grandson of\nJonathan Edwards and shared in a large measure the intellectual\nbrilliance of the Edwards family. A precocious youth, he entered Yale\nCollege at 13 and graduated at 17. An outstanding personality of his\ntime, he was honored for his sound scholarship, elected a member of the\nMassachusetts legislature, and served as minister of the Congregational\nChurch at Greenfield, Conn. From 1795 until his death in 1817, he was\nPresident of Yale, simultaneously holding the Chair of Theology. His\npresence at Yale changed the whole moral and religious attitude of the\ncampus, there having been only four or five professed Christians at the\ncollege, according to Prof. W. W. Sweet, when he became president. At\nthe request of the General Association of Congregational Churches in\nConnecticut and with the concurrence of the Presbyterian General\nAssembly, he revised _The Psalms of David_, by I. Watts, a work which\nwas used in the Presbyterian and Congregational Churches of Connecticut\nfor over 30 years.\n\nDwight did a prodigious amount of work in spite of a serious physical\nhandicap. His eyesight, for the greater part of forty years, was so poor\nthat his reading was done only with the greatest of difficulty and with\nfrequent and agonizing pain behind the eyeballs.\n\n_MUSIC._ STATE STREET. For comments on this tune see Hymn 246.\n\n\n276. O where are kings and empires now _Arthur C. Coxe_, 1818-96\n\nFrom a larger poem by Coxe, entitled \u201cChelsea,\u201d containing ten stanzas\nof eight lines each. It is a hymn of confidence that the church, built\non a solid foundation, will survive all earthly kings and empires and\nwill be able to withstand every earthly foe.\n\nArthur Cleveland Coxe was born at Clifton Springs, N. Y.; graduated from\nthe University of New York and General Theological Seminary; and then\nbecame the rector successively of St. John\u2019s Church, Hartford, Conn.;\nGrace Church, Baltimore; and Calvary Church, New York City. In 1865, he\nwas elected Bishop of Western New York. He was a member of the Hymnal\nCommission for the Protestant Episcopal Church, which compiled the\n_Hymnal_ of 1872, but refused, out of modesty, permission to include in\nthat work any of his own hymns.\n\n_MUSIC._ ST. ANNE. For comments on this tune see Hymn 61.\n\n\n277. Christ is made the sure foundation _Latin, 6th or 7th century_\n _Tr. John M. Neale_, 1818-66\n\nFrom Part II of an ancient Latin hymn of the 6th or 7th century\nbeginning: \u201c_Urbs beata Hierusalem_.\u201d The author is not known. The first\nverse reflects Ephesians 2:20-21: \u201cAnd are built upon the foundation of\nthe apostles and prophets, Jesus Christ himself being the chief\ncornerstone; in whom all the building fitly framed together groweth unto\nan holy temple in the Lord.\u201d\n\nThe hymn is often used at the dedication of churches, stanzas 3 and 4\nbeing especially appropriate for that purpose.\n\nDr. Neale\u2019s translation of the hymn, in nine stanzas, appeared in his\n_Medieval Hymns_, 1851. Our hymn is a selection of stanzas 5, 6, 7, and\n8, of his translation, with some changes in the words. The Latin of our\nfirst three stanzas is as follows:\n\n Angularis fundamentum\n lapis Christus missus est\n Qui compage parietis\n in utroque nectitur,\n Quem Sion sancta suscepit,\n In quo credens permanet.\n\n Hoc in templo, summe Deus,\n exoratus adveni,\n Et clementi bonitate\n precum vota suscipe;\n Largam benedictionem\n his infunde iugiter.\n\n Hic promereantur omnes\n petita adquirere\n Et adepta possidere\n cum sanctis perenniter,\n Paradisum introire,\n translati in requiem.\n\nFor comments on John M. Neale see Hymn 67.\n\n_MUSIC._ REGENT SQUARE. For comments on this tune see Hymn 81.\n\n\n THE HOUSE OF GOD\n\n\n278. Lord of our life, and God of our salvation _Philip Pusey_,\n 1799-1855\n _Based on Matth\u00e4us von L\u00f6wenstern_, 1594-1648\n\nOne of the \u201csongs of the night,\u201d the original of which was written out\nof the bitter experiences of the Thirty Years\u2019 War in Germany. It tells\nof the peril to which the Reformed Church was then exposed but expresses\nconfidence that the church, founded upon the Rock, will prevail against\nevil.\n\nMatth\u00e4us Apelles von L\u00f6wenstern, son of a saddler, had musical and\nbusiness ability which won him recognition and employment by the Duke of\nM\u00fcnsterberg and the Emperors Ferdinand II and his son Ferdinand III. He\nwrote about 30 hymns and set them to melodies of his own composition.\nHis hymn, named \u201cSapphic Ode. For Spiritual and Temporal Peace,\u201d in\n1644, is as follows:\n\n Christe, du Beistand deiner Kreuzgemeine,\n Eile, mit Hilf\u2019 und Rettung uns erscheine;\n Steure den Feinden, ihre Blutgerichte\n Mache zunichte!\n\n Streite doch selber f\u00fcr uns arme Kinder,\n Wehre dem Teufel, seine Macht verhinder\u2019;\n Alles, was k\u00e4mpfet wider deine Glieder,\n St\u00fcrze danieder!\n\n Frieden bei Kirch\u2019 und Schulen uns beschere,\n Frieden zugleich der Obrigkeit gew\u00e4hre,\n Frieden dem Herzen, Frieden dem Gewissen\n Gib zu geniessen!\n\n Also wird zeitlich deine G\u00fct\u2019 erhoben,\n Also wird ewig und ohn\u2019 Ende loben\n Dich, o du W\u00e4chter deiner armen Herde,\n Himmel und Erde.\n\nThe English version by Pusey is not a translation of the German but\nrather a free paraphrase. Philip Pusey, brother of Edward Pusey, the\nfamous leader in the Oxford Movement, was educated at Oxford. After\ngraduating he settled on his estate and devoted himself largely to\nagriculture. He wrote extensively on agricultural subjects and was one\nof the founders of the Royal Agriculture Society. Later he became a\nmember of Parliament. He wrote this hymn to portray the state of the\nChurch of England at the time, which he described as being \u201cassailed\nfrom without, enfeebled and detracted from within, but on the eve of a\ngreat awakening.\u201d\n\n_MUSIC._ INTEGER VITAE. For comments on this tune see Hymn 59.\n\n\n279. Dear Shepherd of Thy people _John Newton_, 1725-1807\n\nA hymn composed for a prayer meeting.\n\nJohn Newton and William Cowper, the English poet, instituted prayer\nmeetings at Olney where the two labored together in a famous ministry,\nNewton as minister of the church, and Cowper as his voluntary assistant.\nThe prayer meetings were attended in such large numbers that it became\nnecessary to move the services into a large room. For the first meeting\nin this new room, each of the men prepared a special hymn, the one by\nNewton being our hymn, with his first, third, and seventh stanzas\nomitted.\n\nFor further comments on John Newton see Hymn 274.\n\n_MUSIC._ DURHAM appeared in _Ravenscroft\u2019s Psalter_, 1621, set to Psalms\n28 and 76, and marked as a \u201cNorthern Tune.\u201d The _Scottish Psalter_ of\n1635 includes it among the Common Tunes.\n\n\n280. Again, as evening\u2019s shadow falls _Samuel Longfellow_, 1819-92\n\n\u201cVesper Hymn\u201d is the title which this hymn bears in the author\u2019s volume,\n_Vespers_, 1859, a small book of songs prepared for use in evening\nservices. In a letter dated Feb. 11, 1890, Longfellow wrote, \u201cMy two\nfavorites among my hymns are the vesper hymn, \u2018Again, as evening\u2019s\nshadow falls,\u2019 and the one beginning, \u2018I look to Thee in every need\u2019\u201d\n(244).\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ GERMANY. For comments on this tune see Hymn 222.\n\n\n281. We love the place, O God _William Bullock_, 1798-1874\n _Henry W. Baker_, 1821-77\n\nBased on Psalm 26:8: \u201cLord, I have loved the habitation of thy house,\nand the place where thine honor dwelleth.\u201d The hymn was written by\nWilliam Bullock, then a young sailor-missionary, for the dedication of a\nmission chapel at Trinity Bay, Newfoundland, in 1827. Seventy years\nlater, when a new church located on the same site was dedicated, this\nhymn as revised by H. W. Baker, was once more sung. The sermon preached\nby Bullock at the opening of the chapel was read to the people.\n\nWm. Bullock was educated at Christ\u2019s Hospital and then entered the Royal\nNavy. While on a survey of the coast of Newfoundland, he decided to\ndevote himself to missionary work in that colony. He did this and served\n32 years under the Society for Propagating the Gospel. He became Dean of\nNova Scotia at Halifax. In 1854, he published _Songs of the Church_\nwhich, he said, were \u201cwritten amid the various scenes of missionary\nlife, and are intended for the private and domestic use of Christians in\nnew countries deprived of all public worship.\u201d\n\nFor comments on Henry W. Baker, reviser of the hymn see Hymn 143.\n\n_MUSIC._ QUAM DILECTA was composed for this hymn in _Hymns Ancient and\nModern_, 1861.\n\nThe composer, Henry L. Jenner, 1820-98, was a curate in the Anglican\nChurch. After serving various churches in England, he was consecrated\nfirst Bishop of Dunedin, New Zealand, 1866. He was one of the Cambridge\ngroup which revived interest in ecclesiology, ancient hymnology,\nplainsong, etc.\n\n\n282. Unto Thy temple, Lord, we come _Robert Collyer_, 1823-1912\n\nA hymn describing the church as the home of \u201crich and poor, bond and\nfree, great and small.\u201d It is suitable for the general worship service\nand especially for the dedication of a church.\n\nInformation concerning the author, Robert Collyer, has not been traced.\n_Julian\u2019s Dictionary_ notes a William Collyer, 1782-1854, eminent\nEnglish evangelical preacher who was ordained for a small church of ten\ncommunicant members. He is described as a man of \u201camiable disposition,\npolished manners, Christian courtesy, and popular with rich and poor\nalike; who labored in the church with great success and honor until his\ndeath.\u201d He wrote numerous hymns. Was our hymn written by a son brought\nup with his father\u2019s noble conception of the church?\n\n_MUSIC._ MENDON. For comments on this tune see Hymn 211.\n\n\n THE LORD\u2019S DAY\n\n\n283. The dawn of God\u2019s dear Sabbath _Ada Cross_, 1844-?\n\nA hymn on the Sabbath, picturing the day as a time when weary souls may\nturn from daily toil to refresh themselves with the water of life drawn\nfrom the wells of salvation.\n\nAda Cross was born in England, November 21, 1844, the daughter of Henry\nCambridge. She married an Australian, the Rev. George F. Cross, and\nspent most of her life in Australia where her husband was minister of\nthe Anglican Church in Coleraine, Victoria. She was interested in the\nliturgy of the Church and issued several collections of hymns.\n\n_MUSIC._ ENDSLEIGH is credited to Salvatore Ferretti, 1817-74,\nconcerning whom no information has been traced. The arrangement was made\nby James Turle, 1802-82, an English teacher of music, a distinguished\norganist, and composer of hymn tunes, chants, and anthems. For\nsixty-three years he was connected with Westminster Abbey in London. He\nwas endowed, it is said, with unusually large hands so that he could\neasily span an octave and a half with one hand. His sole musical\ninterest was in serving the church.\n\n\n284. Safely through another week _John Newton_, 1725-1807\n\nThis hymn was composed by Newton for use on Saturday evening. To give it\nwider usefulness, the verses were slightly changed to make them suitable\nfor the Sunday morning service.\n\nFor comments on John Newton see Hymn 274.\n\n_MUSIC._ SABBATH was written for this hymn in 1824.\n\nFor comments on the composer, Lowell Mason, see Hymn 12.\n\n\n285. O day of rest and gladness _Christopher Wordsworth_, 1807-85\n\nA hymn which serves to keep vividly before us the meaning and value of\nthe Lord\u2019s Day. It appears as the opening hymn in the author\u2019s _The Holy\nYear_, 1862, where it is entitled \u201cSunday.\u201d It is based on Psalm 118:24:\n\u201cThis is the day which the Lord hath made; we will rejoice and be glad\nin it.\u201d\n\nFor comments on Christopher Wordsworth see Hymn 174.\n\n_MUSIC._ MENDEBRAS was written for this hymn in 1839. It is an\narrangement by Lowell Mason of a German folk song.\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n286. Again returns the day of holy rest _William Mason_, 1725-97\n\nThe author of this Lord\u2019s Day hymn was the Rev. William Mason, an\nEnglish Episcopalian, born at Kingston-on-Hull. He graduated with honors\nfrom St. John\u2019s College, Cambridge; received ordination, served as one\nof the chaplains of King George III, and at the time of death he had\nbeen for 32 years the Precentor and Canon of York. A man of high\nliterary attainments, and a friend of Thomas Gray, he edited that poet\u2019s\nworks in 1775 and later wrote the memoirs of Gray. The latter was done\nin the gossiping style, imitated later by Boswell when he wrote the\n_Life of Samuel Johnson_. Mason wrote four volumes of poetry and won\nrecognition from Johnson as one of the British poets.\n\nThe present hymn, by which the author is best remembered, is found at\nthe end of Volume I of the _Works of William Mason, M. A., Precentor of\nYork and Rector of Aston_, 1811.\n\nOur author is not to be confused with his contemporary of the same name,\n1719-91, who succeeded Toplady in the editorship of _The Gospel\nMagazine_ and who was also a minister and hymn writer.\n\n_MUSIC._ ELLERS. For comments on this tune and its composer, Edward J.\nHopkins, see Hymn 43.\n\n\n287. This is the day of light _John Ellerton_, 1826-93\n\nA worshipful Sabbath day hymn, breathing the spirit of rest, light, and\npeace, written in 1867.\n\nFor comments on the author, John Ellerton, see Hymn 43.\n\n_MUSIC._ FRANCONIA. For comments on this tune see Hymn 205.\n\n\n288. Break Thou the bread of life _Mary A. Lathbury_, 1841-1913\n\nThis gem, entitled, \u201cStudy Song,\u201d was written for the Chautauqua\nLiterary and Scientific Circle and for Bible Study groups, but it also\nhas a wider use. Dr. G. Campbell Morgan used this hymn every Sunday for\nmany years immediately before the sermon. It is not a communion hymn\nalthough it is often used for that purpose. The breaking of bread refers\nto the feeding of the multitude beside the Sea of Galilee and not to the\nLast Supper; and the \u201cbread of life\u201d is the teaching of Jesus.\n\nFor comments on Mary Lathbury see Hymn 31.\n\n_MUSIC._ BREAD OF LIFE is a popular American tune, sincere and simple in\nstyle, written for this hymn and indissolubly associated with it.\n\nFor comments on the composer, William F. Sherwin, see Hymn 31.\n\n\n THE HOLY SCRIPTURES\n\n\n289. O Word of God Incarnate _W. W. How_, 1823-97\n\nA hymn addressed to Christ, the Word of God Incarnate, setting forth in\na succession of beautiful figures\u2014a lantern, the golden casket, a\nbanner, a beam, chart and compass\u2014the value of the written word, and the\nduty of the Church to carry the light of God\u2019s word, both as incarnate\nand written, to the nations. It was written in 1867, headed by the text\nProv. 6:23: \u201cFor the commandment is a lamp; and the law is light; and\nreproofs of instruction are the way of life.\u201d The author himself was a\nliving witness to the power of the Word. His definition of a minister\nshows the high ideal he had of the preacher of the Word, and,\nincidentally, is an accurate description of his own life:\n\n A man pure, holy, and spotless in his life; a man of much prayer; in\n character meek, lowly, and infinitely compassionate; of tenderest love\n to all; full of sympathy for every pain and sorrow, and devoting his\n days and nights to lightening the burdens of humanity; utterly patient\n of insult and enmity; utterly fearless in speaking the truth and\n rebuking sin; ever ready to answer every call, to go wherever bidden\n in order to do good; wholly without thought of self; making himself\n the servant of all; patient, gentle, and untiring in dealing with the\n souls he would save; bearing with ignorance, wilfulness, slowness,\n cowardice in those of whom he expects most; sacrificing all, even life\n itself, if need be, to save some.\n\nFor further comments on W. W. How, see Hymn 144.\n\n_MUSIC._ MUNICH, \u201cone of the most beautiful and perfectly constructed of\ntunes,\u201d is of German origin and is known in Germany as \u201cK\u00f6nigsberg\nChoral.\u201d It appeared first in _Lobsingende Harffe_, 1682. The composer\nis unknown. Mendelssohn used the tune as the basis for his fine chorale,\n\u201cCast thy burden on the Lord,\u201d in his oratorio, _Elijah_.\n\n\n290. Thy Word is like a garden, Lord _Edwin Hodder_, 1837-1904\n\nThe metaphors used in this hymn to describe the Word of God are very\nsuggestive: \u201ca garden,\u201d \u201ca deep, deep mine,\u201d \u201ca starry host.\u201d\n\nEdwin Hodder was born in England but migrated at 19 years of age to New\nZealand where he was one of a pioneer group of idealists who introduced\nprogressive sociological ideas for which that country is noted. He\nreturned to England where he was engaged in the civil service from 1861\nuntil his retirement in 1897. Hodder wrote biographies and devotional\nworks, and in 1863 issued _The New Sunday School Hymn Book_ which\ncontained twenty-seven of his own hymns, including this one.\n\n_MUSIC._ FOREST GREEN is an arrangement of an English folk song called,\n\u201cThe Ploughboy\u2019s Dream.\u201d R. Vaughan Williams, 1872-, who arranged the\ntune is England\u2019s leading living composer. He has collected and edited\nfor publication many folksongs and carols, written several symphonies\nfor the orchestra, and has composed numerous choral works.\n\nSome good hymnals use this tune as the setting for Phillips Brooks\u2019\npopular Christmas carol, \u201cO little town of Bethlehem.\u201d\n\n\n291. The heavens declare Thy glory, Lord _Isaac Watts_, 1674-1748\n\nHere is an unusual rendering of Psalm 19, which Watts entitled, \u201cThe\nBooks of Nature and of Scripture.\u201d In the Psalm itself we find the Book\nof Nature in the first half and the Book of Scripture in the second half\nof the psalm. Instead of following this order, Watts sets the one over\nin couplets against the other, so that the first two lines of each\nstanza have to do with nature, the last two with Scripture.\n\nFor comments on Isaac Watts, see Hymn 11.\n\n_MUSIC._ UXBRIDGE. This tune is by the American composer and teacher of\nmusic, Lowell Mason. The psalm tune \u201cBurford\u201d (228) is also named\n\u201cUxbridge\u201d in some books.\n\nFor comments on Mason see Hymn 12.\n\n\n292. Lord, Thy word abideth _Henry W. Baker_, 1821-77\n\nA hymn on the Scriptures, written for _Hymns Ancient and Modern_, 1861.\n\nFor comments on Henry W. Baker see Hymn 143.\n\n_MUSIC._ RAVENSHAW is from _Ein Neu Gesangb\u00fcchlein_, 1531, the earliest\nGerman hymn book of the Bohemian Brethren, edited by Michael Weisse. The\nmelody is older and was associated with a Latin hymn, _Ave Hierarchia,\ncoelestis et pia_. The present arrangement is by William H. Monk. For\ncomments on Monk see Hymn 40.\n\nFor a note on the Bohemian Brethren and Michael Weisse see Hymn 544.\n\n\n THE MINISTRY\n\n\n293. Shine Thou upon us, Lord _John Ellerton_, 1826-93\n\nA hymn for teachers.\n\nFor comments on John Ellerton, see Hymn 42.\n\n_MUSIC._ BROUGHTON. For comments on the composer of this melody, Thomas\nHastings, see Hymn 120.\n\n\n294. O still in accents sweet and strong _Samuel Longfellow_, 1819-92\n\nThe author\u2019s title of this hymn is, \u201cBehold the Fields are White.\u201d\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ BELMONT. For comments on this tune see Hymn 197.\n\n\n295. Pour out Thy Spirit from on high _James Montgomery_, 1771-1854\n\nWritten in 1833 for the Rev. J. Birchell, clergyman in the Church of\nEngland, who published it in his _Selection of Hymns_. It was printed in\nthe same year in Edward Bickersteth\u2019s _Christian Psalmody_. For comments\non Bickersteth see Hymn 256. The hymn\u2019s original title was, \u201cFor a\nMeeting of Clergy.\u201d It is not intended to be sung by a body of people as\na prayer for ministers but as a prayer hymn to be sung by ministers\nthemselves.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ MELCOMBE. For comments on this tune see Hymn 22.\n\n\n296. Lord, speak to me, that I may speak _Frances R. Havergal_,\n 1836-79\n\n\u201cA Worker\u2019s Prayer\u201d is Miss Havergal\u2019s title of this hymn and the text\nassociated with it is Rom. 14:7: \u201cNone of us liveth to himself and no\none dieth to himself.\u201d It was composed April 28, 1872, at Winterdyne.\n\nFor comments on Frances Havergal see Hymn 126.\n\n_MUSIC._ CANONBURY, a favorite tune found in nearly all hymn books, is\nfrom Robert Schumann\u2019s _Nachtst\u00fccke_, Op. 23.\n\nRobert Schumann, 1810-56, greatest of the early German Romantics, was\nborn in Zwickau, Saxony. He wrote symphonies and chamber music but is\nknown best for his amazingly fine piano works and songs. His wife, Clara\nWieck Schumann, one of the greatest piano players the world has\nproduced, was devoted to him, as were also his children. Schumann became\nmentally ill, attempted unsuccessfully to drown himself in the Rhine,\nand was cared for in a hospital for two years before his death. He had a\ngift for journalism and wrote books and magazine articles on music.\n\n\n297. Thou who Thyself didst sanctify _George Rawson_, 1807-89\n\nAn appropriate hymn for use in ordination to the Christian ministry or\ndedication to other forms of Christian service.\n\nGeorge Rawson, an English Congregational layman, was born at Leeds where\nhe practiced law many years. He had a considerable knowledge of music\nand was a gifted hymn writer. He rendered valuable assistance to his own\ndenomination as well as to the Baptists in the preparation of hymn books\nfor use in the church. A shy, retiring man, of sincere piety, he at\nfirst published his hymns, a considerable collection, anonymously, but\nlater had to acknowledge his identity. About 50 of his hymns are still\nin use.\n\n(The name is misspelled \u201cDawson\u201d in the Hymnary.)\n\n_MUSIC._ DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing\nin the _Scottish Psalter_, _The CL Psalms of David, &_, Edinburgh, 1615,\nwhere it is named \u201cFrench Tune.\u201d Its first appearance in an English\nPsalter is in Ravencroft\u2019s _Whole Book of Psalms_, 1621, where it is\ncalled \u201cDundy.\u201d It is one of the best known of the psalm tunes and its\nsmooth, flowing melody has enjoyed great popularity.\n\nFor comments on the _Scottish Psalter_ see Hymn 575.\n\n\n CONSECRATION OF CHILDREN\n\n\n298. Gracious Savior, gentle Shepherd _Jane Eliza Leeson_, 1807-1882\n _John Keble_, 1792-1866\n\nA hymn for the children\u2019s consecration service, evolved by John Keble\nfrom three hymns\u2014\u201cShepherd in thy bosom, folded,\u201d \u201cLoving Shepherd of\nThy sheep\u201d (429), and \u201cInfant sorrow, infant weakness,\u201d written by Jane\nEliza Leeson. Keble took the main ideas of these hymns and rewrote them\ninto a hymn of five stanzas, two of which are omitted here.\n\nJane Eliza Leeson was born in London and died there. She had rare gifts\nin writing for children, and published several books of hymns\u2014_Infant\nHymnings_, and _Hymns and Scenes of Childhood_\u2014specially for children.\nVery little is known of her life, except that she was a prominent figure\nin the Catholic Apostolic Church and that some of her hymns were\nsupposedly \u201cprophetical utterances,\u201d prompted by the Holy Spirit, at\npublic services, which she \u201cdelivered slowly with short pauses between\nthe verses.\u201d Late in life she united with the Roman Catholic Church.\n\nFor comments on John Keble, see Hymn 22.\n\n_MUSIC._ MANNHEIM is from the source mentioned in the note on Hymn 174.\nThe present form of the melody is much altered from the original.\n\n\n299. All hidden lie the future ways _Frederick L. Hosmer_, 1840-1929\n\nA lyrical phrasing of the emotions that arise in the hearts of parents\nas they contemplate the faring forth of little children into the hidden\nfuture.\n\nFor comments on the author, Frederick L. Hosmer, see Hymn 72.\n\n_MUSIC._ NUN SICH DER TAG GEENDET HAT is a tune set to various hymns in\nthe _Gesangbuch mit Noten_.\n\nFor comments on the composer, Aaron Williams, see Hymn 269.\n\n\n300. A little child the Savior came _William Robertson_, 1820-64\n\nA Scotch Presbyterian minister, William Robertson, contributed this hymn\nto the Church of Scotland\u2019s _Hymns for Public Worship_ in 1861. The\nauthor, keenly interested in hymnody and Scotch psalmody, was a member\nof the Hymnal Committee of the Church of Scotland in 1851, 1853, and\n1857.\n\n_MUSIC._ ALSTONE was composed by C. E. Willing, 1830-1904, for the\nchildren\u2019s hymn, \u201cWe are but little children weak,\u201d in _Hymns Ancient\nand Modern_, Appendix, 1868. Willing was chorister of Westminster Abbey\nand held various responsible positions as organist and choral conductor\nin England.\n\n\n BAPTISM\n\n\n301. Come, Father, Son, and Holy Ghost _Charles Wesley_, 1707-88\n\nThe original poem of six stanzas is from _Hymns and Sacred Poems_, 1749,\nwhere it was entitled, \u201cAt the Baptism of Adults.\u201d\n\nWesley\u2019s second line of the first stanza read\n\n \u201cHonor the means injoin\u2019d by Thee,\u201d\n\nwhich was changed to \u201cordained by Thee\u201d for the _Collection_ of 1780.\nThe awkward expression, \u201cEffectuate now the sacred sign,\u201d Wesley\u2019s\nsecond line of stanza 3, was changed to \u201cEffectual make the sacred\nsign,\u201d by the editors of the hymn book in 1849.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ SO LANGE JESUS BLEIBT DER HERR is a familiar melody, of unknown\norigin, from the _Gesangbuch mit Noten_.\n\n\n302. I\u2019m not ashamed to own my Lord _Isaac Watts_, 1674-1748\n\nThis hymn is based on II Timothy 1:8-12.\n\nJames Moffatt writes that when Henry Drummond was on his death bed, Nov.\n7, 1897, his friend, Dr. Hugh Barbour, played several hymn tunes to him\nwithout gaining any response. Then he tried the Old Scots melody of\n\u201cMartyrdom\u201d to which Drummond beat time with his hand and joined in the\nwords, \u201cI\u2019m not ashamed to own my Lord.\u201d When the hymn was done, he\nsaid, \u201cThere\u2019s nothing to beat that, Hugh.\u201d\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ DEDHAM. The tune is attributed to William Gardiner, 1770-1853,\nan Englishman of whom nothing much of importance is known except that he\npublished _Sacred Melodies_ in 1812, a collection of excellent tunes,\nwhich was expanded to six volumes published in 1815.\n\n\n THE LORD\u2019S SUPPER\n\n\n303. Here, O my Lord, I see Thee face to face _Horatius Bonar_,\n 1808-89\n\nEntitled by the author, \u201cThis Do in Remembrance of Me.\u201d\n\nIt is a famous communion hymn, emphasizing, in keeping with the Reformed\ntradition, the thought that Christ Himself presides at His Table. All\nHis followers are therefore welcome.\n\nThree members of the Bonar family became eminent ministers in the Free\nChurch of Scotland (Presbyterian)\u2014Andrew in Glasgow; John in Greenock;\nand Horatius in Edinburgh. Horatius was accustomed to visit his brother\nJohn once a year at the communion service. Hymns were still not\npermitted to be sung in the church, but an original poem was invariably\nread after the communion. This hymn was written by Horatius Bonar at the\nrequest of his brother John for the occasion of such a visit in October,\n1855. It has become a widely used communion hymn in all churches.\n\nFor further comments on Horatius Bonar see Hymn 129.\n\n_MUSIC._ LANGRAN, known in England as \u201cSt. Agnes,\u201d is named after the\ncomposer, James Langran, 1835-1909, London organist and composer, who\nwrote this music for \u201cAbide with me\u201d (40). It was published separately\nin 1861 and two years later appeared in _Psalms and Hymns adapted to the\nservices of the Church of England, with accompanying tunes selected and\nrevised by John Foster_.\n\nThe hymn is also sung to \u201cEllers\u201d (See 43 or 286).\n\n\n304. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826\n\n\u201cA quiet communion hymn full of loveliness and warm reality of\nfaith.\u201d\u2014Reeves.\n\nThis popular communion hymn by Bishop Heber was published posthumously\nwith the title, \u201cBefore the Sacrifice.\u201d\n\nFor comments on Reginald Heber see Hymn 1.\n\n_MUSIC._ EUCHARISTIC HYMN, a tune \u201cbeautiful in its simplicity,\u201d has\nalways been associated with this hymn by Heber. The composer, John\nSebastian Bach Hodges, 1830-1915, son of the illustrious organist,\nEdward Hodges, was born in Bristol, England, but came to America when\neight years old. He received his education at Columbia University and\nGeneral Theological Seminary, New York City, and became a noted minister\nin the Protestant Episcopal Church. He had excellent musical knowledge\nand founded in Baltimore the earliest choir school in the United States.\nHe also did much work on the various revisions of the Episcopal hymnal.\n\n\n305. According to Thy gracious word _James Montgomery_, 1771-1854\n\nOne of the best-loved and most useful of communion hymns, profound, yet\nsimple. It appeared first in Montgomery\u2019s _Christian Psalmist_, 1825,\nand has since passed into the hymn books of all denominations of\nevangelical Christians. The words of Luke 22:19 furnish the scriptural\nbasis of the hymn: \u201cThis do in remembrance of me.\u201d\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ ST. JOHN, more properly called \u201cSt. John\u2019s, Westminster,\u201d was\ncomposed by James Turle, 1802-82.\n\nFor comments on James Turle see Hymn 283.\n\n\n306. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826\n\nThe _Church Hymnary_, London, 1927, has the following practical note at\nthe bottom of the page where this hymn appears:\n\n As this hymn consists of one verse only, it is suggested that it be\n sung twice over: once by the choir alone, and again by choir and\n people in unison. It may also be used as a short motet for\n unaccompanied singing by the choir.\n\nFor further comments on this hymn see No. 304.\n\n_MUSIC._ RENDEZ \u00c0 DIEU was composed or adapted by L. Bourgeois for the\n_French Genevan Psalter_, where it was set to Psalm 118. In the\n_Scottish Psalter_ of 1564, the tune was again used to John Craig\u2019s\nversion of the same Psalm. It is described in _Songs of Praise\nDiscussed_ as being \u201cin some ways the finest of all the early psalm\ntunes ... perfectly proportioned ... a tune which gives the true \u2018spinal\nthrill\u2019; of its kind it is unsurpassed.\u201d\n\nFor comments on L. Bourgeois see Hymn 34.\n\n\n307. Come, risen Lord, and deign to be our guest _George W. Briggs_,\n 1875\u2014\n\nBased on the account of the supper at Emmaus, Luke 24:28-31:\n\n And they drew nigh unto the village, whither they went: and he made as\n though he would have gone further. But they constrained him saying,\n Abide with us: for it is toward evening, and the day is far spent. And\n he went in to tarry with them. And it came to pass, as he sat at meat\n with them, he took bread, and blessed it, and brake, and gave to them.\n And their eyes were opened, and they knew him; and he vanished out of\n their sight.\n\nIt stresses the doctrine that Christ Himself is the celebrant at the\nLord\u2019s Supper.\n\nGeorge Wallace Briggs is a Cambridge scholar, an outstanding preacher,\neducator, writer, and editor in the Anglican church. He has composed a\nnumber of hymns (See 570) and hymn tunes.\n\n_MUSIC._ BIRMINGHAM is from F. Cunningham\u2019s _A Selection of Psalm\nTunes_, 2d ed., 1834, where it is set to the words, \u201cCome, gracious\nSpirit, heavenly dove.\u201d Cunningham published an earlier collection of\npsalm tunes in 1826.\n\n\n308. I hunger and I thirst _John S. B. Monsell,_ 1811-75\n\nA simple, tender, communion hymn which ought to have a wider use.\n\nJohn Samuel Bewley Monsell was educated at Trinity College, Dublin;\nlabored for a number of years in the church in Ireland; and then became\nvicar of Egham in the Diocese of Worcester, England, and finally rector\nof St. Nicholas, Guildford. His home life at Guildford is described as\nhaving been \u201cfull of the beauty of holiness, with genial brightness and\ngaity playing like sunshine over all the troubles of life.\u201d His life\ncame to a tragic end when he fell from the roof of the church while it\nwas being rebuilt. He composed about 300 hymns and is the author of many\nother poetic works.\n\n_MUSIC._ MAINZ (MARIA JUNG UND ZART) originally appeared in a Catholic\nbook, _Ausserlesene Catholische, Geistliche Kirchenges\u00e4nge von\nPfingsten, biss zum Advent_, Cologne, 1632. It was slightly changed and\nprinted in its present form in _Psalteriolum Harmonicum Sacrarum\nCantilenarum_, 1642.\n\n\n309. Author of life divine _Charles Wesley,_ 1707-88\n\nThis fine communion hymn is from _Hymns on the Lord\u2019s Supper_, 1745, by\nJohn and Charles Wesley. It is attributed in many hymnals to Charles,\nbut there is no conclusive evidence to show which of the two brothers\nwrote it. The thought of the hymn is said to be in full accord with\nJohn\u2019s teaching concerning the Holy Communion.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ WESLEY. The original source of this tune has not been traced.\nIn the _English Hymnal_ it is set to the words, \u201cBehold a little child.\u201d\nThe tune should not be confused with Lowell Mason\u2019s of the same name\n(See 332).\n\n\n310. By Christ redeemed, in Christ restored _George Rawson_, 1807-89\n\nWritten in 1857 and published first in a Baptist book, _Psalms and\nHymns_, 1858.\n\nJulian comments: \u201cIt is a hymn of more than usual excellence and has\nattained to a greater position in modern hymnals than any other of the\nauthor\u2019s numerous compositions.\u201d\n\nThe refrain, \u201cUntil He come,\u201d is reminiscent of I Cor. 11:26: \u201cFor as\noft as ye eat this bread and drink this cup, ye do shew forth the Lord\u2019s\ndeath, till he come.\u201d\n\nFor comments on George Rawson see Hymn 297.\n\n_MUSIC._ IN MEMORIAM. For comments on the composer of this tune,\nFrederick Charles Maker, 1844-1927, see Hymn 112.\n\n\n311. Bread of heaven, on Thee we feed _Josiah Conder_, 1789-1855\n\nThe hymn appeared in the author\u2019s _Star of the East_, 1821, as \u201cBread of\nheaven, on Thee I feed.\u201d The first person singular was altered to the\nplural throughout, and other changes made, improving the original.\n\nFor comments on Josiah Conder see Hymn 247.\n\n_MUSIC._ ALETTA is by the American composer of popular church and Sunday\nschool music, William B. Bradbury, 1816-68. For further comments on\nBradbury see Hymn 103.\n\nConder\u2019s hymn may also be sung to \u201c_Nicht so traurig_\u201d (538).\n\n\n MARRIAGE\n\n\n312. O perfect Love, all human thought transcending _Dorothy\n Blomfield Gurney_, 1858-1932\n _Doxology added by John Ellerton_, 1826-93\n\nA singularly appropriate hymn for a Christian wedding. The author,\nDorothy Gurney, born near London in 1858, was the daughter of Rev.\nFrederick Blomfield, a minister of the Anglican Church. She married a\nminister\u2019s son, Gerald Gurney, and with her husband, united with the\nRoman Catholic Church in 1919. Mrs. Gurney has given the following\naccount of the writing of this popular hymn for holy matrimony:\n\n We were all singing hymns one Sunday evening and had just finished \u201cO\n Strength and Stay,\u201d the tune to which was an especial favorite of my\n sister\u2019s, when someone remarked what a pity it was that the words\n should be unsuitable for a wedding. My sister, turning suddenly to me,\n said: \u201cWhat is the use of a sister who composes poetry if she cannot\n write me new words to this tune?\u201d I picked up a hymn-book and said:\n \u201cWell, if no one will disturb me, I will go into the library and see\n what I can do.\u201d After about fifteen minutes I came back with the hymn,\n \u201cO perfect Love,\u201d and there and then we all sang it to the tune of\n \u201cStrength and Stay.\u201d It went perfectly, and my sister was delighted,\n saying that it must be sung at her wedding. For two or three years it\n was sung privately at many London weddings, and then it found its way\n into the hymnals. The writing of it was no effort whatever after the\n initial idea had come to me of the twofold aspect of perfect union,\n love and life; and I have always felt that God helped me to write it.\n\nIt is the most popular wedding hymn extant.\n\nFor comments on John Ellerton, who added the third stanza, see Hymn 42.\n\n_MUSIC._ PERFECT LOVE is from an anthem composed by Joseph Barnby for\nthe marriage of Princess Louise of Wales to the Duke of Fife, July 27,\n1889. The anthem has been sung at many subsequent royal weddings.\n\nFor comments on Joseph Barnby see Hymn 21.\n\n\n BURIAL OF THE DEAD\n\n\n313. Safe in the arms of Jesus _Fanny J. Crosby_, 1820-1915\n\nWritten April 30, 1868, at the request of W. H. Doane, composer of the\ntune to which it was to be sung. The hymn and tune were published first\nin _Songs of Devotion for Christian Associations_, 1870. It is a tender\nlyric which has given peace and satisfaction to many who have faced\ndeath and especially to mothers who have lost children.\n\nFanny Crosby, born in Putnam County, N. Y., became blind when six weeks\nold as the result of an application of a warm poultice to her eyes. She\nwas educated in the New York (City) Institute for the Blind and there\nserved as a teacher for a time. In 1858, she was married to Alexander\nvan Alstyne, a blind musician. Miss Crosby began writing verses when a\nchild of eight years and throughout her long life showed a marvelous\nfacility for expression in poetry, which resulted in the writing of\nnearly 6,000 hymns besides many secular poems. Many of her hymns were\nwritten for W. H. Doane, Robert Lowry, Philip Phillips, Ira Sankey, and\nothers who were editors of evangelistic song books. She is best known by\nher maiden name but also wrote under her married name and 216 _noms de\nplume_. She was a member of the Methodist Episcopal Church. Ten of her\nhymns are in the _Hymnary_.\n\n_MUSIC._ SAFE IN THE ARMS, also known as \u201cRefuge,\u201d was composed by\nWilliam Howard Doane, 1832-1916, a manufacturer of wood-working\nmachinery in Cincinnati, Ohio. He was a member of the Baptist Church and\nserved many years as superintendent of the Sunday school in his church.\nA music enthusiast, he published 35 collections of song books and\ncomposed numerous hymn tunes, anthems, and cantatas. In 1875, Denison\nUniversity, Granville, Ohio, conferred on him the degree of Doctor of\nMusic.\n\n\n314. Asleep in Jesus.... _Margaret Mackay_, 1802-87\n\nWritten by Margaret Mackay, wife of a distinguished officer in the\nEnglish army. She composed numerous hymns and poems, but none is so\nwidely known as this tender lyric so often used as a funeral hymn, which\nshe entitled, \u201cBurial of the Dead.\u201d The hymn was suggested by an\ninscription she saw on a tombstone in the burying ground of Pennycross\nChapel, a rural spot in Devonshire:\n\n \u201cSleeping in Jesus.\u201d\n\nOne stanza, the fifth, has been omitted. It reads:\n\n Asleep in Jesus: time nor space\n Debars this precious \u201chiding place.\u201d\n On Indian plains or Lapland snows\n Believers find the same repose.\n\nThe hymn was first published in _The Amethyst_, 1832, in Edinburgh.\n\n_MUSIC._ REST. For comments on the composer, William B. Bradbury, see\nHymn 103.\n\n\n315. Now the laborer\u2019s task is o\u2019er _John Ellerton_, 1826-93\n\nWritten for _Church Hymns_, 1871, by John Ellerton, distinguished\nhymnist of the Church of England. His biographer has written concerning\nthis hymn:\n\n We now come to the loveliest and most loved of Mr. Ellerton\u2019s hymns.\n It has been sung and will continue to be sung at the graveside of\n princes, divines, statesmen, poets, artists, authors, as well as many\n a Christian labourer of humble life.\n\nFor comments on John Ellerton see Hymn 42.\n\n_MUSIC._ REQUIESCAT was written for this hymn. It appeared first in\n_Hymns Ancient and Modern_, 1875. For comments on the composer, John B.\nDykes, see Hymn 1.\n\n\n316. O Lord of life, where\u2019er they be _Frederick L. Hosmer_, 1840-1929\n\nThis hymn, a source of comfort and courage to many mourners, was\ncomposed by Hosmer in 1888 for the Easter service in his own church in\nCleveland, Ohio.\n\nThe note of triumph runs throughout the hymn, each stanza ending with a\njubilant \u201cAllelujah.\u201d It was written to be sung with Palestrina\u2019s tune,\n\u201cVictory.\u201d\n\nFor comments on Frederick Hosmer see Hymn 72.\n\n_MUSIC._ VICTORY. For comments on this tune see Hymn 116.\n\n\n BURIAL OF THE DEAD\n\n\n317. For all the saints _William W. How_, 1823-97\n\nThe original, in eleven stanzas, was published in 1864 in _Hymns for\nSaints\u2019 Days_, by a layman, Lord Nelson. One of the omitted stanzas\nreads:\n\n For the Apostles\u2019 glorious company\n Who, bearing forth the Cross o\u2019er land and sea,\n Shook all the mighty world, we sing to Thee.\n\nFor comments on William How see Hymn 144.\n\n_MUSIC._ SARUM. The tune was composed for the _Sarum Hymnal_, 1869, for\nthese words by Bishop How. It is also known as \u201cSt. Philip\u201d and \u201cFor All\nthe Saints.\u201d\n\nFor comments on the composer, Joseph Barnby, see Hymn 21.\n\n\n318. We cannot think of them as dead _Frederick L. Hosmer_, 1840-1929\n\nWritten in 1876 after the death by drowning of a young member of the\nchurch of which the author was minister.\n\nFor comments on the author, Frederick L. Hosmer, see Hymn 72.\n\n_MUSIC._ ST. FLAVIAN is from the _English Psalter_ of 1562 which was\nprinted by John Day in London. The present is the first half, with some\nalterations, of the tune set to Psalm 132.\n\n\n319. Come, let us join our friends above _Charles Wesley_, 1707-88\n\nThe first of a group of _Funeral Hymns_, published in 1759. It sets\nforth the assurance that friends gone before are not lost to those who\nmourn,\n\n For all the servants of the King\n In earth and heaven are one.\n\nThis hymn, one of Wesley\u2019s greatest, has had wide use throughout the\nEnglish speaking world in times of sorrow and loss of loved ones. It is\nan exposition of the words of the ancient Creed, \u201cI believe in the\ncommunion of saints.\u201d\n\nThe third and fourth verses, containing the idea of One Church, are\namong the finest in the whole range of hymnody.\n\nThe hymn was a great favorite of John Wesley. It so happened that he\ngave it out to be sung at a service he was conducting, at the very hour\nof the death of his brother Charles, giving the hymn a peculiarly\npathetic interest.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ DUNDEE. For comments on this tune see Hymn 297.\n\n\n CHURCH UNITY\n\n\n320. In Christ there is no East or West _John Oxenham_, 1852-1941\n\nA poem of human brotherhood, carrying a fine missionary message much\nneeded in our day. It is written in the spirit of St. Paul\u2014\u201cwhere there\nis neither Greek nor Jew, circumcision nor uncircumcision, Barbarian,\nScythian, bond nor free: but Christ is all and in all,\u201d Col. 3:11. It\nstands in striking contrast to Kipling\u2019s more narrow nationalism in his\n\u201cEast is East, and West is West, and never the twain shall meet.\u201d\n\nThis hymn which has now found its way into most modern hymn books was\nwritten for a missionary pageant, _The Pageant of Darkness and Light_,\nwhich the London Missionary Society asked the author to write, for use\nin connection with a great missionary exhibition in London, an affair\nwhich ran for a month and did much to stimulate interest in missions in\nall the churches. Oxenham wrote the _libretto_ and planned the scenes\nfor the pageant. The composer of the music, Hamish MacCunn, sent to him\nin a hurry one day for a few verses to fill in a gap. To this request\nOxenham responded with the beautiful, simple lines, \u201cNo East or West.\u201d\n\nJohn Oxenham, English publisher, poet, and novelist, was born in\nManchester. He wrote this poem in 1908; and in 1939 sent the hymn,\n\u201cPeace in our time\u201d (357) with a personal letter to the editors of the\n_Hymnary_. The name John Oxenham is a _nom de plume_ for William Arthur\nDunkerley. For some years Dunkerley was engaged in business, in the\ninterest of which he travelled extensively in Europe and Canada, and\nlived in France and the United States. He once investigated the\npossibilities of cotton growing and sheep raising in the Southern States\nbut decided against the venture. He began writing as a relief from\nbusiness, and then, later, dropped business in favor of writing.\n\n_MUSIC._ ST. PETER, also known as \u201cSt. Peter\u2019s, Oxford,\u201d was composed\nfor Psalm 118, by Alexander R. Reinagle, 1799-1877, distinguished\norganist for thirty-one years in St. Peter\u2019s-in-the-East Church, Oxford.\nThe tune derives its name from the church which the composer served so\nlong. It appeared in _Psalm Tunes for the Voice and the Pianoforte_,\npublished by Reinagle in 1830. It is a majestic tune and should be sung\nin moderate time with strong rhythmic accent.\n\n\n321. Jesus, Lord, we look to Thee _Charles Wesley_, 1707-88\n\nFour simple, lovely stanzas setting forth the unity of believers in\nChrist.\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ M\u00dcDE BIN ICH, GEH ZUR RUH. For comments on this tune see Hymn\n254.\n\n\n322. All praise to our redeeming Lord _Charles Wesley_, 1707-88\n\nA favorite and appropriate hymn for use at religious reunions and\nconference gatherings. Wesley entitled it, \u201cAt meeting of Friends.\u201d\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ ARMENIA was composed by Sylvanus Billings Pond, 1792-1871,\nAlbany, N. Y., a piano manufacturer. Billings wrote many fine tunes and\nin 1841 issued the _United States Psalmody_, in which this tune\nappeared.\n\n\n323. How sweet, how heavenly is the sight _Joseph Swain_, 1761-96\n\nA beautiful hymn of Christian love, suggesting lines by Alice Carey:\n\n He who loves best his fellowman\n Is loving God the holiest way he can.\n\nIt appeared in the author\u2019s _Walworth Hymns_, 1792, entitled, \u201cThe Grace\nof Christian Love.\u201d\n\nJoseph Swain, English Baptist minister and hymn writer, lost his parents\nearly in life and was apprenticed to an engraver. He led a careless,\nfrivolous life until his conversion at the age of twenty-two, when he\nbecame a fervent Christian. He qualified for the Baptist ministry and\nbegan serving as minister of a congregation in East Street, Walworth, in\n1791. His poetic gifts, formerly given worldly and superficial\nexpression, were now turned with great effect to his evangelistic\nappeals. His short ministry of five years, cut off by a lamented early\ndeath, was very successful.\n\n_MUSIC._ REMEMBER ME. For comments on Asa Hull, composer of the tune,\nsee Hymn 232.\n\n\n MISSIONS\n\n\n324. The morning light is breaking _Samuel F. Smith_, 1808-95\n\nA great missionary hymn, though a little too optimistic. It was written\nin 1832 while the author was a student in Andover Theological Seminary.\nAfter reading an inspiring account by Adoniram Judson of his great\nmissionary work in Burma, Smith put his enthusiasm for missions into\nthese verses, now sung in all the churches.\n\nRev. Samuel F. Smith, Harvard graduate in the class with Oliver Wendell\nHolmes, became the foremost American Baptist hymn writer of the 19th\ncentury. He is the author of numerous hymns but is best known by \u201cMy\ncountry, \u2019tis of thee\u201d and the present hymn. His desire to be a\nmissionary himself was never fulfilled, but his son volunteered for the\nservice and became the successor to Judson in the great work in Burma.\n\u201cThe morning light is breaking\u201d has been translated into many tongues.\nIn a letter dated March 17, 1883, the author said of this hymn: \u201cI have\nheard versions of it sung in Karen, Burman, Italian, Spanish,\nPortuguese, Swedish, German, and Telegu.\u201d Dr. Smith was a great\nlinguist. He taught modern languages for a time in Colby College and had\na familiarity with no less than fifteen languages. It is said that at\nthe age of 86 he was seeking a suitable textbook to use in the study of\nthe Russian language. He served as minister of Baptist churches at\nWaterville, Me., and Newton Center, Mass., and was secretary of the\nBaptist Missionary Union for 15 years.\n\n_MUSIC._ WEBB. For comments on this tune and its composer, George J.\nWebb, see Hymn 65.\n\n\n325. Far and near the fields are teeming _J. O. Thompson_\n\nA popular missionary hymn based on Luke 10:2: \u201cThe harvest truly is\ngreat, but the laborers are few: pray ye therefore the Lord of the\nharvest, that he would send forth laborers into his harvest.\u201d\n\nNo information has been found concerning the author, J. O. Thompson, or\nthe composer of the tune, J. B. O. Clemm. The song appeared in _The\nEpworth Hymnal_, edited by John H. Vincent, afterward a Bishop, and\npublished by Phillips and Hunt, Methodist Publishers, New York, in 1885.\nIt was copyrighted by them as of that year.\n\n\n326. Father, whose will is life and good _Hardwicke Drummond\n Rawnsley_, 1851-1920\n\nA prayer for the sick, and for physicians engaged in medical missionary\nwork.\n\nThe hymn first appeared in _A Missionary Hymn Book_, 1922, published by\nthe Society for the Promotion of Christian Knowledge, in London. The\nauthor, Rev. Hardwicke Drummond Rawnsley, was an influential minister\nand educator in the Church of England. He spent much of his life in the\nLake District in northern England, and, being a man of public spirit and\na lover of nature, he championed the rights of the people in securing\nfor public use in perpetuity many beautiful tracts of the Lake District\nand other parts of the country. His friends remembered him as one \u201cwho,\ngreatly loving the fair things of nature and of art, set all his love to\nthe service of God and man.\u201d\n\n_MUSIC._ \u201cTALLIS,\u201d says William H. Havergal in _Notes on Certain Tunes_,\nis \u201csimplicity itself. A child may sing the tune, while manly genius\nwill admire it.\u201d\n\nFor comments on the composer, Thomas Tallis, see Hymn 33.\n\n\n327. Christ for the world we sing _Samuel Wolcott_, 1813-86\n\nThe author of this hymn, Samuel Wolcott, born at South Windsor, Conn.,\ngraduated from Yale at 20, spent two years in Syria as a missionary, and\nthen, on account of failing health, returned to the United States where\nhe served as pastor in various Congregational churches. The hymn was\nsuggested to him by a motto, \u201cChrist for the World and the World for\nChrist,\u201d made from branches of evergreen, in a Cleveland church where a\nY.M.C.A. convention was held. One night, walking home from the\nconvention to which he was a delegate, the words of the hymn took form.\nYankton College, South Dakota, has adopted it as the opening hymn for\neach term of school.\n\n_MUSIC._ MALVERN. For comments on this tune and its composer, John\nRoberts, see Hymn 131.\n\n\n328. O Zion, haste, thy mission high fulfilling _Mary A. Thomson_,\n 1834-1923\n\nOne of the strongest and most useful missionary hymns in the English\nlanguage.\n\nMary Ann Faulkner was born in London but came to this country as a girl\nand became the wife of John Thomson, Librarian of the Free Library, in\nPhiladelphia. A member of the Protestant Episcopal Church, her hymns,\nabout forty in all, were published in _The Churchman_, New York, and in\n_The Living Age_, Chicago.\n\nOf the origin of this missionary hymn, Mrs. Thomson has written:\n\n I wrote the greater part of the hymn, \u201cO Zion, haste,\u201d in the year\n 1868. I had written many hymns before, and one night, while I was\n sitting up with one of my children who was ill of typhoid fever, I\n thought I should like to write a missionary hymn to the tune of the\n hymn beginning, \u201cHark, hark, my soul, angelic songs are swelling,\u201d as\n I was fond of that tune; but as I could not then get a refrain I\n liked, I left the hymn unfinished, and about three years later I\n finished it by writing the refrain which now forms part of it. By some\n mistake 1891 is given instead of 1871 as the date of the hymn in the\n (Episcopal) _Hymnal_. I do not think it is ever sung to the tune for\n which I wrote it. Rev. John Anketell told me, and I am sure he is\n right, that it is better for a hymn to have a tune of its own, and I\n feel much indebted to the composer of the tune TIDINGS for writing so\n inspiring a tune to my words.\n\nShe was mistaken in the last sentence, for Walch\u2019s tune, strangely\nenough, was composed for the words \u201cHark, hark my soul\u201d (260).\n\n_MUSIC._ TIDINGS was written, as stated above, for the hymn, \u201cHark, hark\nmy soul! Angelic songs are swelling\u201d (260), by James Walch, 1837-1901,\nan English composer and organist. The tune was never accepted for that\nhymn, because there already were several good tunes for it in use. In\nthe providence of God, it found this hymn. The union was favored from\nthe beginning and continues so today.\n\n\n329. Word of Life, most pure, most strong _Jonathan F. Bahnmaier_,\n 1774-1841\n _Tr. Catherine Winkworth_, 1829-78\n\nOne of the best and most useful hymns for foreign missions.\n\nThe original poem has six stanzas, our hymn comprising the last three,\ntranslated by Catherine Winkworth. The German text is found at No. 551,\nthe hymn there being a free translation by Percy Dearmer.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\nJonathan F. Bahnmaier was born at Oberstenfeld where his father, J. C.\nBahnmaier, was town preacher. He received his education at T\u00fcbingen and\nbecame assistant, in 1798, to his father. Later he had an appointment as\nProfessor of Education and Homiletics at T\u00fcbingen but resigned in 1819\nto become dean and town preacher at Kirchheim-unter-Teck, a post he held\nuntil his death. Bahnmaier was greatly interested in education,\nmissions, and Bible societies and was on the committee which compiled\nthe _W\u00fcrttemberg Gesangbuch_, published after his death in 1842. One\nother of his hymns, \u201c_Jesu als du wiederkehrtest_,\u201d entitled, \u201cPrayer\nafter School,\u201d has been translated into English.\n\n_MUSIC._ MOZART is adapted from the \u201cKyrie\u201d of the _Twelfth Mass_ by the\nfamous composer, Wolfgang Amadeus Mozart, 1756-91.\n\nFor comments on Mozart see Hymn 179.\n\n\n330. O Spirit of the living God _James Montgomery_, 1771-1854\n\nOne of the greatest missionary hymns in the English language. It was\ncomposed for a missionary service held in Leeds, England, June 4, 1823,\nand was entitled, \u201cThe Spirit Accompanying the Word of God.\u201d Its lyric\nbeauty, its burning passion for the spread of the gospel, combined with\nits dignity and healthy-mindedness make it an extraordinarily useful\nhymn. Setting forth and emphasizing the relation of the Holy Spirit to\nthe work of missions, it fills an important place in the _Hymnary_.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ ALSTONE. For comments on this tune see Hymn 300.\n\n\n331. Fling out the banner! let it float _George W. Doane_, 1799-1859\n\nA stirring missionary hymn entitled, \u201cMissions, Home and Foreign.\u201d\n\nIt is based on Psalm 60:4: \u201cThou hast given a banner to them that fear\nthee, that it may be displayed because of the truth.\u201d\n\nThe hymn was written in response to a request from the young women at\nSt. Mary\u2019s Hall, Burlington, N. J., a girls\u2019 college founded by Bishop\nDoane, to be sung at a flag raising. The author, writing what has become\na widely known hymn, gave the occasion a far wider significance than the\ngirls had foreseen.\n\nBishop George Doane, a zealous advocate of missions, was known in his\nown church as \u201cthe missionary bishop of America.\u201d The modern missionary\nmovement arose and spread in his lifetime. The hymn reflects Doane\u2019s\nenthusiasm and aggressive missionary leadership.\n\nFor further comments on the author see Hymn 36.\n\n_MUSIC._ WALTHAM\u2014also known as \u201cDoane\u201d and \u201cCamden\u201d\u2014was written by John\nBaptiste Calkin, 1827-1905, English pianist and organist, professor of\nmusic, and composer of church music, both instrumental and vocal. The\ntune with its martial swing lends itself well for use as a processional.\n\n\n332. Hail to the brightness of Zion\u2019s glad morning _Thomas Hastings_,\n 1784-1872\n\nA missionary hymn written in 1832, at the beginning of the modern\nmissionary movement. It was first published in _Spiritual Songs for\nSocial Worship_, 1833, a volume compiled jointly by Hastings and Mason,\nset to the present tune by Lowell Mason. _Spiritual Songs_ was a notable\nvolume, publishing for the first time such well-known hymns as \u201cThe\nmorning light is breaking,\u201d \u201cMy faith looks up to Thee,\u201d and introducing\nin America, Toplady\u2019s famous \u201cRock of Ages.\u201d\n\nFor comments on Thomas Hastings see Hymn 120.\n\n_MUSIC._ WESLEY, also called \u201cHail to the Brightness,\u201d was written by\nLowell Mason for this hymn. It is a simple, straightforward melody,\nwhose merit as a hymn tune is unquestionable.\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n333. From Greenland\u2019s icy mountains _Reginald Heber_, 1783-1826\n\nOne of the most famous missionary hymns ever written. An interesting\nstory is attached to its origin, a detailed account of which was written\nby Thomas Edgeworth on the fly-leaf of a facsimile of the original\nmanuscript as follows:\n\n On Whitsunday, 1819, the late Dr. Shipley, Dean of St. Asaph, and\n Vicar of Wrexham, preached a sermon in Wrexham Church in aid of the\n Society for the Propagation of the Gospel in Foreign Parts. That day\n was also fixed upon for the commencement of the Sunday evening\n lectures intended to be established in the church, and the late Bishop\n of Calcutta (Heber), then rector of Hodnet, the Dean\u2019s son-in-law\n being together in the vicarage, the former requested Heber to write\n \u201csomething for them to sing in the morning\u201d; and he retired for that\n purpose from the table where the Dean and a few friends were sitting\n to a distant part of the room. In a short time the Dean enquired,\n \u201cWhat have you written?\u201d Heber having then composed the three first\n verses, read them over. \u201cThere, there, that will do very well,\u201d said\n the Dean. \u201cNo, no, the sense is not complete,\u201d replied Heber.\n Accordingly he added the fourth verse, and the Dean being inexorable\n to his repeated request of \u201cLet me add another; oh, let me add\n another!\u201d thus completed the hymn of which the annexed is a facsimile\n and which has since become so celebrated. It was sung the next morning\n in Wrexham Church the first time.\n\nThe tune to which it was sung was \u201c\u2019Twas when the seas were roaring,\u201d\nfrom _The Beggar\u2019s Opera_\u2014a fine but somewhat incongruous selection.\n\nThe words of the hymn reflect the enthusiasm and zeal of consecrated\nyouth, eager, like Livingstone, to go out to a distant people needing\nhelp and to sacrifice life for the cause. Greatly interested in\nmissions, Heber was offered the Bishopric of Calcutta and accepted it\nagainst the advice of his friends. After three years of strenuous,\ndevoted labor, he was stricken with apoplexy and found dead in his bath\non the evening of a busy day in which he had baptized forty-two native\nconverts.\n\nThe much-discussed second stanza, omitted in the _Hymnary_ because of\nits seeming low estimate of man, is as follows:\n\n What though the spicy breezes\n Blow soft o\u2019er Ceylon\u2019s isle;\n Though every prospect pleases\n And only man is vile;\n In vain with lavish kindness\n The gifts of God are strown;\n The heathen in his blindness\n Bows down to wood and stone.\n\nThe hymn is widely used among German speaking people in the following\ntranslation made by Dr. Ch. G. Barth, 1799-1862:\n\n Von Gr\u00f6nlands eis\u2019gen Zinken,\n China\u2019s Korallenstrand,\u2014\n Wo Ophirs Quellen blinken,\n Fortstr\u00f6mend goldnen Sand,\u2014\n Von manchem alten Ufer,\n Von manchem Palmenland\n Erschallt das Fleh\u2019n der Rufer:\n \u201cL\u00f6st unsrer Blindheit Band!\u201d\n\n Gew\u00fcrzte D\u00fcfte weben\n Sanft \u00fcber Ceylons Flur;\n Es gl\u00e4nzt Natur und Leben\n Schlecht sind die Menschen nur.\n Umsonst sind Gottes Gaben\n So reichlich ausgestreut;\n Die blinden Heiden haben\n Sich Holz und Stein geweiht.\n\n Und wir, mit Licht im Herzen,\n Mit Weisheit aus den H\u00f6h\u2019n,\n Wir k\u00f6nnten es verschmerzen,\n Dass sie im Finstern geh\u2019n?\n Nein, nein! das Heil im Sohne\n Sei laut und froh bezeugt,\n Bis sich vor Christi Throne\n Der fernste Volkstamm beugt!\n\n Ihr Wasser sollt es tragen,\n Ihr Winde, f\u00fchrt es hin,\n Bis seine Strahlenwagen\n Von Pol, zu Pole ziehn;\n Bis der vers\u00f6hnten Erde,\n Das Lamm, der S\u00fcnderfreund,\n Der Herr und Hirt\u2019 der Heerde\n In Herrlichkeit erscheint!\n\n_MUSIC._ MISSIONARY HYMN, like the hymn to which it is sung, was written\nin a few minutes time. Miss Mary W. Howard of Savannah, Ga., read the\nwords in the American edition of _The Christian Observer_, of February,\n1823, and was so impressed with them that she requested a young bank\nclerk who had gone to Georgia from New England, to write a tune for\nthem. He complied, and in a half hour handed her the tune which is now\nsung all over the world. The clerk was Lowell Mason. For further\ncomments on Mason see Hymn 12.\n\n\n334. We have heard the joyful sound _Priscilla Jane Owens_, 1829\u2014c. 99\n\nA missionary hymn written for the anniversary of a Sunday school in\nBaltimore in which the author had been a worker for many years.\n\nPriscilla Jane Owens, of Scottish and Welsh descent, was born and died\nin Baltimore where she was a public school teacher and an untiring\nworker in the Sunday school. Most of her hymns were written for\nchildren\u2019s services.\n\n_MUSIC._ JESUS SAVES was composed by William J. Kirkpatrick, 1838-1921,\na native of Duncannon, Pa. He was a regimental musician during the Civil\nWar and was skilled as an organist, gospel singer, and composer, and was\neditor and publisher of gospel songs.\n\n\n335. We\u2019ve a story to tell to the nations _Colin Sterne_, 1862-1928\n\nA popular missionary hymn, breathing the spirit of Christ\u2019s great\ncommission: \u201cGo ye therefore, and make disciples of all nations,\nbaptizing them into the name of the Father and of the Son and of the\nHoly Spirit: teaching them to observe all things whatsoever I commanded\nyou: and lo, I am with you always, even unto the end of the world.\u201d\n\nThe message of the hymn, in which lies the hope of the nations, is\nsummarized in the chorus.\n\nThe words and music are by the same person, Henry Ernest Nichol, who was\nborn at Hull, England, December 10, 1862. He always signed his correct\nname to a tune, and the anagram \u201cColin Sterne,\u201d to a hymn. Oxford\nUniversity gave him his degree in music. His compositions, many of them\nfor the church, have the simplicity and directness of the folk song. The\ntune here forms a splendid musical setting for the words and may be sung\nvariously, as a solo, duet, all the voices in unison, or in four parts.\n\n\n336. On the mountain top appearing _Thomas Kelly_, 1769-1854\n\nBased on Isa. 52:7: \u201cHow beautiful upon the mountains are the feet of\nhim that bringeth good tidings.\u201d The hymn was written after the good\nnews came from the island of Tahiti that the first little band of\nmission workers sent there by the London Missionary Society, was kindly\nreceived by the natives, their message heard and welcomed, and that\nthere was every prospect for the success of the mission. Hearing the\nnews, Rev. Thomas Kelly wrote this hymn, entitling it, \u201cOn the Good News\nfrom Tahiti.\u201d The London Missionary Society met soon afterward for an\nenthusiastic gathering where this hymn was first sung.\n\nFor comments on Thomas Kelly see Hymn 119.\n\n_MUSIC._ ZION. This tune is also used with the hymn, \u201cGuide me, O Thou\ngreat Jehovah,\u201d but it is better suited to the present hymn.\n\nFor comments on the composer, Thomas Hastings, see Hymn 120.\n\n\n337. Ye Christian heralds, go proclaim _Bourne H. Draper_, 1775-1843\n\nA hymn, originally of four stanzas, written as a farewell to\nmissionaries.\n\nThe author, Rev. Bourne H. Draper, was born of a Church of England\nfamily, near Oxford, England. He joined the Baptist Church while\nemployed as a printer\u2019s apprentice at the Clarendon Press, Oxford. He\ntrained himself for the Baptist ministry and became pastor of the\nBaptist Church at Chipping-Norton. A man of great piety and poetic gift,\nhe wrote numerous books for children as well as devotional works and\nvolumes of sermons.\n\n_MUSIC._ MISSIONARY CHANT appeared in the composer\u2019s _American Harp_,\n1835, where it was identified with this hymn. Concerning the composition\nof the tune, Zeuner said: \u201cI was sitting on one of those seats on Boston\nCommons on a most beautiful moonlight evening, all alone, with all the\nworld moving about me, and suddenly \u2018Missionary Chant\u2019 was given me. I\nran home as fast as ever I could and put it on paper before I should\nforget.\u201d\n\nCharles Heinrich Christopher Zeuner, 1795-1857, a native of Germany,\ncame to America at the age of 29 and settled in Boston. His musical\nability was soon recognized, and he was made president of the Handel and\nHaydn Society, and later its conductor. He published a book, _American\nHarp_, of nearly 400 pages of tunes, in 1832, mostly his own\ncompositions. He moved to Philadelphia where he served as organist of\nSt. Anne\u2019s Episcopal Church and later of the Arch Street Presbyterian\nChurch. Due to harsh criticism of his playing, he became despondent and\ntook his own life one November day at a lonely spot in the woods. Zeuner\nwas never married and had no relatives in this country.\n\n\n338. How are Thy servants blest _Joseph Addison_, 1672-1719\n\nA hymn of the Christian traveller, particularly descriptive of the\nexperience of many Christian missionaries. It is known as the\n\u201cTraveller\u2019s Hymn\u201d and has been found useful as a part of the daily\ndevotions by Christians journeying in foreign lands.\n\nIt appeared in ten stanzas in the _Spectator_ for September 20, 1712, at\nthe end of an article on \u201cGreatness,\u201d with special reference to the\ngreatness and awesomeness of the sea. The hymn was \u201cmade by a gentleman\nupon the conclusion of his travels.\u201d Returning in 1700 from the terrors\nof a voyage on the Mediterranean Sea, Addison gives here, years\nafterwards, a picture of his own trying experiences. The second stanza\ndescribes some of the hardships through which he passed. The omitted\nstanzas (3, 4, 5, 7, 8) of the hymn picture the storm at sea, its\nsubsidence, and the traveller\u2019s trust in God. They are as follows:\n\n 3.\n Thy mercy sweetened every soil,\n Made every region please:\n The hoary Alpine hills it warmed,\n And smoothed the Tyrrhene seas.\n\n 4.\n Think, O my soul, devoutly think\n How with affrighted eyes\n Thou sawest the wide-extended deep\n In all its horrors rise!\n\n 5.\n Confusion dwelt in every face,\n And fear in every heart;\n When waves on waves, and gulfs on gulfs,\n O\u2019ercame the pilot\u2019s art.\n\n 7.\n When by the dreadful tempest borne\n High on the broken wave,\n They know Thou art not slow to hear,\n Nor impotent to save.\n\n 8.\n The storm is laid, the winds retire,\n Obedient to thy will;\n The sea, that roars at thy command,\n At thy command is still.\n\nFor comments on Joseph Addison see Hymn 50.\n\n_MUSIC._ KILMARNOCK appeared in England as a Psalm tune in _Parochial\nPsalmody: a New Collection of the Most Approved Psalm Tunes.... By J. P.\nClark, Second Edition_, 1831.\n\nThe composer, Neil Dougall, 1776-1862, son of a shipwright, went to\nschool until he was 15, then took to the sea. Three years later he met\nwith an accident which resulted in the loss of his eyesight and his\nright arm. He then took up the study of music and for 45 years was a\nsuccessful teacher of singing classes. He wrote about 100 psalm and hymn\ntunes.\n\n\n339. See how great a flame aspires _Charles Wesley_, 1707-88\n\nA rousing missionary hymn which Wesley wrote after preaching to the coal\nminers at Newcastle. The imagery of the great flame was suggested by the\nnight scene\u2014the glow in the sky from the blazing fires connected with\nthe mines. The climax of the hymn, stanza 4, was inspired by an incident\nin the life of Elijah. When his servant returned the seventh time from\nlooking toward the sea from the housetop, he reported: \u201cBehold there\nariseth a little cloud out of the sea like a man\u2019s hand!... And it came\nto pass in the meantime that the heaven was black with clouds and wind,\nand there was a great rain\u201d (I Kings 18:41-45).\n\nFor comments on Charles Wesley see Hymn 6.\n\n_MUSIC._ BENEVENTO is an adaptation from a motet on the words, \u201c_Tibi\nomnes angeli_\u201d by Samuel Webbe, 1740-1816, a London organist and\ncomposer.\n\n\n340. The whole wide world for Jesus _J. Dempster Hammond_, 1719-83\n\nThe watchword, \u201cthe whole wide world for Jesus,\u201d brings to mind the\nmotto, \u201cThe evangelization of the world in this generation,\u201d which\nserved to inspire the Student Volunteer Movement in the days of John R.\nMott, Robert E. Speer, and Sherwood Eddy. Two world wars have shaken the\nfoundations of the missionary enterprise, but those closest to the\nmovement still declare the motto to be both a possibility and an\nobligation. The missionary forces are making resolute plans for giving\nthe Gospel to the entire world.\n\nNo information is at hand concerning the author, J. Dempster Hammond.\n\n_MUSIC._ THE WHOLE WIDE WORLD. The composer, John H. Maunder, was born\nin Chelsea, England, in 1858, and died in 1920. He received his musical\neducation at the Royal Academy of Music in London; held various musical\nappointments and became a well-known and popular accompanist for\nvocalists. As a composer, he was widely known for his anthems, cantatas,\nand services which have met with wide approval. His _A Song of\nThanksgiving_, a cantata, has been quite popular in this country, as\nhave several of his anthems. In the secular field he has written much\nexcellent choral music, one of the best being his \u201cThe Song of Thor.\u201d\n\n\n341. Jesus shall reign where\u2019er the sun _Isaac Watts_, 1674-1748\n\nFounded on the last part of Psalm 72, this is the earliest of the great\nEnglish hymns on missions. It is sung by all Christian congregations in\nthe homelands and has probably been translated into a greater number of\nlanguages and dialects than any other English hymn.\n\nWatts did not hesitate to use the name of Jesus in interpreting the\nPsalm. On this point, he wrote in the preface to his Psalms:\n\n Where the original runs in the form of prophecy concerning Christ and\n his salvation, I have given an historical turn to the sense; there is\n no necessity that we should always sing in the obscure and doubtful\n style of prediction, when the things foretold are brought into the\n open light by a full accomplishment.\n\n\u201cPeculiar honors\u201d in stanza 5 means honors appropriate to the various\npeoples who bring them.\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ DUKE STREET. This is a psalm tune by John Hatton (d. 1793), a\nnative of Warrington, England, of whom little is known. The tune\nappeared first in _A Select Collection of Psalm and Hymn Tunes_,\nGlasgow, 1793. It has long been associated with this hymn, although\nother tunes\u2014\u201cOld Hundredth,\u201d \u201cWarrington,\u201d and \u201cTruro\u201d\u2014have also been\nused with it.\n\n\n342. Lord of light, whose name outshineth _Howell Elvet Lewis_, 1860\u2014\n\nBased on the petition, \u201cThy will be done on earth as it is in heaven.\u201d\n\nThe hymn was written for the _Congregational Hymnary_ (England), 1916. A\nnote by the author explains his purpose in the hymn:\n\n The hymn was written to declare that in doing God\u2019s will, active\n co-operation is as much needed as humble resignation. Charlotte\n Elliott, in her hymn, \u201cMy God and Father, while I stray,\u201d had\n expressed the latter thought beautifully. My hope was to supplement\n her hymn as best I could.\n\n(Miss Elliott\u2019s hymn is found at No. 245).\n\nHowell Elvet Lewis, of Welsh birth, became an influential leader in\nEnglish Congregationalism. He served as minister of the Welsh\nTabernacle, King\u2019s Cross, London, and was at one time chairman of the\nCongregational Union of England and Wales. He is the author of a number\nof volumes of poems and biography.\n\n_MUSIC._ HAST DU JESU RUF VERNOMMEN appears anonymously in the\n_Gesangbuch mit Noten_, set to a missionary hymn beginning with these\nwords. By repeating the first four lines of the first stanza of the\npresent hymn the refrain was made possible.\n\nThe tune was written by John R. Sweney, 1837-99, a native of West\nChester, Penna., who received his degrees of Mus. Bac. and Mus. Doc. at\nthe Pennsylvania Military Academy, Chester, Penna. Sweney was a skilled\nchoir leader, violinist, and pianist. He collaborated with Wm. J.\nKirkpatrick in the production and publishing of numerous gospel hymn\ntunes and hymnals. After the Civil War, he taught music in the school\nfrom which he received his degrees and became well known as a\nsong-leader at summer religious assemblies, especially at Ocean Grove,\nN. J.\n\n\n NATIONAL AND INTERNATIONAL LIFE\u2014THE NATION\n\n\n343. O beautiful for spacious skies _Katharine Lee Bates_, 1859-1929\n\nA beautiful poem expressing genuine love for America and faith in human\nbrotherhood. The historical accuracy of the second and third stanzas may\nbe questioned. To one familiar with New England theocracy, it is clear\nthat the Pilgrims were not, as the poet suggests, the champions of\nfreedom of thought and religion. On the contrary, they were intolerant\nof any form of opposition, whether religious or political.\n\nThe hymn is less limited to the New England landscape than \u201cMy country,\n\u2019tis of thee,\u201d and probably for that reason has overshadowed the latter\nas a popular national hymn.\n\nKatharine Lee Bates, born in Falmouth, Mass., was educated at Wellesley\nCollege where she later became Professor of English. She is the author\nof many books.\n\nA folder published by the author, giving the exact title and words of\nthe hymn, also contains interesting data concerning its origin and\nhistory:\n\n _America the Beautiful_ was written in its original form, more\n literary and ornate than the present version, in the summer of 1893. I\n was making my first trip west. After visiting at Chicago the World\u2019s\n Fair, where I was naturally impressed by the symbolic beauty of the\n White City, I went on to Colorado Springs. Here I spent three weeks or\n so under the purple range of the Rockies, which looked down with\n surprise on a summer school. This had called to its faculty several\n instructors from the east, Dr. Rolfe coming from Cambridge to teach\n Shakespeare, Professor Todd from Amherst for lectures on Astronomy,\n Professor Katharine Coman from Wellesley for a course in Economics. My\n own subject, which seemed incongruous enough under that new and\n glowing sky, was English Religious Drama.\n\n We strangers celebrated the close of the session by a merry expedition\n to the top of Pike\u2019s Peak, making the ascent by the only method then\n available for people not vigorous enough to achieve the climb on foot\n nor adventurous enough for burro-riding. Prairie wagons, their\n tail-boards emblazoned with the traditional slogan, \u201cPike\u2019s Peak or\n Bust,\u201d were pulled by horses up to the half-way house, where the\n horses were relieved by mules. We were hoping for half an hour on the\n summit, but two of our party became so faint in the rarified air that\n we were bundled into the wagons again and started on our downward\n plunge so speedily that our sojourn on the peak remains in memory\n hardly more than one ecstatic gaze. It was then and there, as I was\n looking out over the sea-like expanse of fertile country spreading\n away so far under those ample skies, that the opening lines of the\n hymn floated into my mind. When we left Colorado Springs the four\n stanzas were pencilled in my note-book, together with other memoranda,\n in verse and prose, of the trip. The Wellesley work soon absorbed time\n and attention again, the note-book was laid aside, and I do not\n remember paying heed to these verses until the second summer\n following, when I copied them out and sent them to _The\n Congregationalist_, where they first appeared in print July 4, 1895.\n The hymn attracted an unexpected amount of attention. It was almost at\n once set to music by that eminent composer, Silas G. Pratt, and\n re-published with his setting, in _Famous Songs_, issued in 1895 by\n the Baker and Taylor Company. Other tunes were written for the words\n and so many requests came to me, with still increasing frequency, to\n permit its use in various publications and for special services that,\n in 1904, I re-wrote it, trying to make the phraseology more simple and\n direct.\n\n The new form first appeared in the _Evening Transcript_ of Boston,\n November 19, 1904. After the lapse of a few years, during which the\n hymn had run the gauntlet of criticism, I changed the wording of the\n opening quatrain of the third stanza. The hymn as printed above is the\n final version, of which I retain the copyright, not as a matter of\n money-making, for I have given hundreds, perhaps thousands, of free\n permissions for its use, but in order to protect it from misprints and\n conscious alterations.\n\n But here comes a difficulty. Over sixty original settings, some of\n them by distinguished musicians, have been written for the hymn, which\n thus suffers from an embarrassment of riches. It is associated with no\n one tune. The original setting which has, thus far, won widest\n acceptance is that of the former Municipal Organist of Portland, Will\n C. MacFarlane (sold by Cressey and Allen, 534 Congress Street,\n Portland, Maine). His tune, which is played on the city chimes of\n Springfield, Mass., he has made the theme of a spirited march,\n _America the Beautiful_, arranged for band music. In an octavo\n published by Oliver Ditson Company are included four settings, one by\n Clarence G. Hamilton, professor of music at Wellesley College, and\n another by W. W. Sleeper, formerly pastor of the Wellesley\n Congregational Church. Both these settings have found favor with\n choruses and made their way into various hymnals. This octavo carries,\n also, settings by William Arms Fisher, musical editor of the Boston\n house of Ditson. Other tunes that have a strong following are those of\n the celebrated composer, Horatio W. Parker (in the _Methodist Sunday\n School Hymnal_), Charles S. Brown (in _Junior Carols_, Society of\n Christian Endeavor), John Stainer (in the _Pilgrim Hymnal_), J. A.\n Demuth, professor of music at Oberlin (in _Oberlin\u2019s Favorite Hymns_,\n published by Arthur P. Schmidt), and Herbert G. Peabody of Fitchburg,\n Mass., (published by H. W. Gray Company of New York). Other attractive\n settings, published, privately printed or yet in manuscript, have\n their special circles, and the words have been fitted to various old\n tunes, as those of _Auld Lang Syne_, _The Harp that Once through\n Tara\u2019s Halls_, _The Son of God goes forth to War_ and _O Mother Dear\n Jerusalem_. To this last, Materna, by S. A. Ward, in many hymnals and\n well known throughout the country, _America the Beautiful_ is at\n present most often sung.\n\n That the hymn has gained, in these twenty odd years, such a hold as it\n has upon our people, is clearly due to the fact that Americans are at\n heart idealists, with a fundamental faith in human brotherhood.\n\n Katharine Lee Bates\n\n (Quoted by permission.)\n\n_MUSIC._ MATERNA (Mother) was composed for \u201cO mother dear, Jerusalem.\u201d\nThe composer, Samuel Ward, 1847-1903, resided at Newark, N. J., where he\noperated a successful music business and was for 14 years the director\nof the Orpheus Club. The tune has by popular preference become\ninseparably associated with the words.\n\n\n344. My country, \u2019tis of thee _Samuel F. Smith_, 1808-95\n\nThe best loved of our patriotic hymns, widely used, and deeply imbedded\nin the American soul.\n\nHis Harvard classmate, Oliver Wendell Holmes, saluted Smith in a poem\nwritten for their class reunion on the 30th anniversary of their\ngraduation as follows:\n\n And there\u2019s a nice youngster of excellent pith\u2014\n Fate tried to conceal him by naming him Smith:\n But he shouted a song for the brave and the free\u2014\n Just read on his medal, \u201cMy country,\u201d \u201cof thee.\u201d\n\nThe inspiration for this hymn came from the reading of a German\npatriotic poem sent him by Lowell Mason (See 348). The author, then a\nyoung student at Andover Theological Seminary, says:\n\n I instantly felt the impulse to write a patriotic hymn of my own,\n adapted to the tune. Picking up a scrap of waste paper which lay near\n me, I wrote at once, probably within half an hour, the hymn,\n \u201cAmerica,\u201d as it is now known everywhere. The whole hymn stands today\n as it stood on the bit of waste paper.\n\nThe hymn was first sung at a children\u2019s festival in Park Street Church,\nBoston, July 4, 1832.\n\nFor comments on the author, Samuel F. Smith, see Hymn 324.\n\n_MUSIC._ AMERICA is also the tune used with the national anthem of\nBritain, \u201cGod save the king.\u201d The melody is of obscure origin. It has\nbeen known in England for several centuries. In Denmark it was used\ntoward the end of the 18th century for a national hymn, \u201c_Heil dir dem\nliebenden_,\u201d and in Germany it was widely used in Prussian and other\nnorthern states to patriotic words. In earlier days in the United\nStates, the words, \u201cCome Thou Almighty King,\u201d were sung to this tune.\nThe tune has thus nearly come to be an International Anthem.\n\nHenry Carey, 1692-1743, an English musician of considerable ability,\nknown as the composer of the song, \u201cSally in Our Alley,\u201d is sometimes\ncredited with this tune but the evidence is disputed. He wrote songs and\npoems for light and burlesque operas but always with regard for decency\nand good manners. His life was ended by suicide.\n\n\n345. Judge Eternal, throned in splendor _Henry Scott Holland_,\n 1874-1918\n\nA prayer for the nation.\n\nThe hymn was written with the English Empire in mind, but its message\nand concern for the removal of national evils are such as to make it\nappropriate for use nearly everywhere.\n\nHenry Scott Holland had a distinguished career at Oxford and attained to\nnumerous positions of responsibility in the Church of England. He was\nProfessor of Divinity at Oxford and later Canon of St. Paul\u2019s Cathedral.\nThe two chief interests of his fruitful life were social reform and\nmissionary work, both of which are embodied in this, his only hymn. The\npoem was published in July, 1902, in _The Commonwealth_, a Christian\nsocial magazine which Dr. Holland edited, and was included in the\n_English Hymnal_ in 1906.\n\n_MUSIC._ SICILIAN MARINERS. For comments on this tune see Hymn 45.\n\n\n346. Once to every man and nation _James Russell Lowell_, 1819-91\n\nA powerful hymn of national righteousness, taken from Lowell\u2019s poem\ncalled \u201cThe Present Crisis,\u201d 1845, the crisis being the war with Mexico\nwhich the author held to be unjust and would only result in enlarging\nthe area of slavery. To make the meter of the poem regular enough to be\nsung, some alteration was inevitable.\n\nJames Russell Lowell graduated from Harvard in 1838 and was admitted to\nthe bar two years later. He succeeded Longfellow as Professor of Modern\nLanguages and Literature in Harvard, in 1855. From 1857 to 1862 he\nedited the _Atlantic Monthly_ and the nine years following that he was\neditor of the _North American Review_. In 1877 he was appointed minister\nto Spain, and in 1881, to England, remaining at the latter post four\nyears. He wrote various volumes of poetry and was a prominent\nanti-slavery writer both in verse and prose.\n\n_MUSIC._ TON-Y-BOTEL, also known as \u201cEbenezer,\u201d is a \u201csolemn tune, of\nvery simple structure, being formed, throughout, of imitations of the\nfirst bar.\u201d A letter from the copyright owners, W. Gwenlyn Evans and\nSon, Caernarvon, Wales, written by A. Vaughan Evans, throws interesting\nlight on this tune and the origin of the fictitious story which gave\nrise to the name TON-Y-BOTEL. It reads, in part:\n\n ... We have pleasure in granting permission to use the tune Ebenezer\n (Ton-Y-Botel) free of charge in the Mennonite Hymn Book.... It is an\n original Welsh composition by T. J. Williams ... and was part of a\n Memorial Anthem \u2018_Goleu yn y Glyn_\u2019 (Light in the Vale) in memory of a\n friend of the composer....\n\n You will have noticed above that the correct name of the tune is\n Ebenezer and it may be of interest to learn how it acquired the\n \u2018nickname\u2019 Ton-Y-Botel (the bottle tune). Not long after the Welsh\n Revival of 1904 the tune spread all over Wales and then England and\n Scotland \u2018by ear.\u2019 There were no written or printed copies of it. A\n crowd of young men were singing it on a hilltop just outside this town\n of Caernarvon and the usual questions were asked: Who was the\n composer, etc., when a lad for a joke said the tune had been found in\n a bottle washed up by the tide on the beach at Dinas Dinlle (a small\n bathing place in the Irish Sea near here). Ever since the tune has\n been called by the Welsh equivalent of \u201cBottle Tune.\u201d One of the young\n men made a written copy of the music as it was sung all over the\n country, and brought it to us to print. The demand was enormous and we\n published hundred of thousands of copies.... We purchased the\n copyright and now the tune appears in hymnals all over the\n world\u2014except in Wales, the country of its origin. I do not think it is\n a case of the prophet being without honour in his own country, but\n rather that the popularity was so great that it was sung everywhere\u2014in\n taverns and public houses, non-religious words were sung to it,\n etc.\u2014with the result that the tune was regarded as not quite\n \u2018respectable\u2019 by the generation which produced it. No doubt it will be\n valued by later generations of Welsh people. This has happened with\n several of the best-known Welsh hymns as many of them 200 years ago\n were of secular origin.\n\n I am giving the above details so that something of its history may be\n on record in the United States, and hope they may be of interest.\n\n\n347. God of our fathers, whose Almighty hand _Daniel C. Roberts_,\n 1841-1907\n\nA hymn of broadminded patriotism, called forth by the \u201cCentennial\u201d\nFourth of July celebration in 1876, held at Brandon, Vt. It was\npublished in various papers at the time and included in the _Hymnal_ of\nthe Protestant Episcopal Church in 1894. Since then it has appeared in a\nnumber of other church hymnals.\n\nThe hymn was written by Daniel C. Roberts, a graduate of Kenyon College,\nand a clergyman in the Episcopal Church.\n\n_MUSIC._ NATIONAL HYMN was used at the Columbian celebration service at\nSt. Thomas\u2019 Church, New York City, Sunday morning, October 9, 1892. It\nis one of the finest processional tunes in the hymn book. The trumpet\nintroduction and the interludes, making it unique among hymn tunes,\ngives it a quickening martial rhythm yet without losing its spirit of\nsanctity and reverence.\n\nThe composer, George William Warren, 1828-1902, was an American\norganist, born at Albany, N. Y. Though self-taught, he held responsible\npositions as organist in Albany and then at Holy Trinity and St. Thomas\u2019\nchurches in New York.\n\n\n348. God bless our native land _Siegfried A. Mahlmann_, 1771-1826\n _Stanza 3, William E. Hickson_, 1803-70\n\nThe first two stanzas are a free translation of Stanzas 1 and 3 of the\nfollowing patriotic song for Saxony:\n\n 1.\n Gott segne Sachsenland,\n Wo fest die Treue stand\n In Sturm und Nacht!\n Ew\u2019ge Gerechtigkeit,\n Hoch \u00fcberm Meer der Zeit,\n Die jedem Sturm gebeut,\n Sch\u00fctz uns mit Macht!\n\n 2.\n Bl\u00fche, du Rautenkranz\n In sch\u00f6ner Tage Glanz\n Freudig empor!\n Heil, Friedrich August, dir!\n Heil, guter K\u00f6nig, dir!\n Dich, Vater, preisen wir\n Liebend im Chor!\n\n 3.\n Was treue Herzen flehn\n Steigt zu des Himmels H\u00f6h\u2019n\n Aus Nacht zum Licht.\n Der unsre Liebe sah,\n Der unsre Tr\u00e4nen sah,\n Er ist uns huldreich nah,\n Verl\u00e4sst uns nicht.\n\nA fourth stanza, identical with the first, follows.\n\nIt was written by the German song writer, Siegfried Augustus Mahlmann,\nand published in G. W. Fink\u2019s _Musikalischer Hausschatz_, 1842. The hymn\nwas first sung Nov. 13, 1815, in the presence of the King of Saxony. The\nhymn was also the inspiration for Samuel F. Smith\u2019s, \u201cMy country \u2019tis of\nthee.\u201d\n\nThe translation was made in 1834 by Charles T. Brooks, while a student\nat the Divinity School at Cambridge, Mass. It was revised by John\nSullivan Dwight, 1813-93, to form our version. Dwight was a graduate of\nHarvard Divinity School and became a Unitarian minister in Northampton,\nMass., but gave up the ministry to devote himself to literature and\nmusic. For thirty years he owned and edited Dwight\u2019s _Journal of Music_.\n\nThe third stanza, raising the hymn above any narrow patriotism, was\nadded by William E. Hickson, an English shoe manufacturer who retired\nfrom that business to pursue literary and philanthropic interests. Much\ninterested in the musical culture of his people, he published various\nbooks on music and composed numerous musical works of merit. For a time\nhe was editor of the _Westminster Review_.\n\n_MUSIC._ DORT. For comments on the composer of this tune, Lowell Mason,\nsee Hymn 12.\n\n\n349. Great God of nations, now to Thee _Alfred A. Woodhull_, 1810-36\n\nEntitled \u201cThanksgiving Hymn,\u201d this poem was written in 1828 when the\nauthor was only eighteen years old. It was published in the Presbyterian\n_Psalms and Hymns_, 1829, Princeton, N. J. There have been many\nalterations of the lines.\n\nAlfred Alexander Woodhull, son of a Presbyterian minister, graduated\nfrom Princeton at 18 years of age, and then took a medical course at the\nUniversity of Pennsylvania. He began the practice of medicine at\nMarietta, Pennsylvania, then moved to Princeton where within a year he\ncontracted a fever which occasioned his death. Known as a fine Christian\nman as well as a skilled physician, his early death was greatly\nlamented. He was a member of the Presbyterian Church.\n\n_MUSIC._ MENDON. For comments on this tune see Hymn 211.\n\n\n WORLD FRIENDSHIP AND PEACE\n\n\n350. O God, we pray for all mankind _Howard J. Conover_, 1850-1925\n\nA prayer for all the nations.\n\nThe author, Howard J. Conover, was born in New Jersey, the son of devout\nChristian parents. He was educated at Pennington Seminary, Pennington,\nN. J., and Dickinson College. He took up the ministry and was known to\nbe a studious, devout, and thoroughly faithful pastor, serving a number\nof churches in his native state. A nephew, Elbert M. Conover, is the\ndirector of The Interdenominational Bureau of Architecture, with offices\nin New York City, serving twenty-five denominations.\n\n_MUSIC._ ORTONVILLE. For comments on this tune see Hymn 120.\n\n\n351. God the All-Merciful _Henry F. Chorley_, 1808-72\n\nA touching cry for peace, based on the Russian national hymn by Chorley.\nThis paraphrase was written by John Ellerton, in 1870, during the\nFranco-Prussian War. It was published in _Church Hymns_ in 1871.\n\nHenry F. Chorley, an English man of letters, received his education at\nthe Royal Institution, Liverpool. He was a literary and music critic and\na friend and great admirer of Charles Dickens. For 34 years he was on\nthe editorial staff of the _Athenaeum_, published in London.\n\n_MUSIC._ RUSSIAN HYMN was composed for the words, \u201cGod save the Czar,\u201d\nthe national Russian anthem written in 1833. It is a stately, powerful\ntune which most congregations love to sing, especially after it has been\nused often enough to overcome certain of its difficulties. It was\nwritten at the command of the Czar who ordered it adopted for the army.\nBut there is nothing about the tune itself to render it inappropriate\nfor the churches. In his _Memoirs_, Lwoff says that in composing this\ntune he \u201cfelt and fully appreciated the necessity of accomplishing\nsomething which would be robust, stately, stirring, national in\ncharacter, something worthy to reverberate either in a church, through\nthe soldiers\u2019 ranks, or amongst a crowd of people, something which would\nappeal alike to the lettered and the ignorant.\u201d\n\nThe composer, Alexis T. Lwoff, 1799-1871, was an eminent Russian\nmusician, succeeding his father in St. Petersburg as head of the\nimperial choir where he not only maintained the traditions of that great\norganization, but raised it to still greater heights of eminence. He\ncomposed violin concertos, operas, and church music. Lwoff had a\nthorough understanding of the canonical services of the Russian Church,\nand his collection of ritual chants is still considered authoritative.\n\n\n352. O God of love, O King of peace _Henry W. Baker_, 1821-77\n\nAn ardent prayer for universal peace. This noble hymn was contributed by\nthe author to _Hymns Ancient and Modern_, London, 1861, a notable book\nof which Baker was chief editor.\n\nFor comments on the author, Henry W. Baker, see Hymn 143.\n\n_MUSIC._ QUEBEC. For comments on this tune and its composer see Hymn\n171.\n\n\n353. Let there be light, Lord God of hosts _William Merrill Vories_,\n 1880\u2014\n\nA good peace hymn.\n\nThe author, William Merrill Vories, was born in Leavenworth, Kansas. He\nis the founder of an independent mission in the province of Omi, Japan.\nVories published the present poem February, 1909, in the _Advocate of\nPeace_. Since that time, it has found a place in a number of hymn books.\nThe copyright, appropriately enough, is held by the American Peace\nSociety.\n\n_MUSIC._ PENTECOST, a dignified tune, simple in structure, was first\nused with the hymn, \u201cVeni Creator,\u201d and appeared in _Thirty-two Hymn\nTunes, Composed by Members of the University of Oxford_, 1868. It was\nrevised by Arthur Sullivan who set it to Monsell\u2019s hymn, \u201cFight the good\nfight with all thy might,\u201d for the tune lends itself to spirited\nrendition as well as the more devotional and contemplative as required\nby the present hymn.\n\nThe composer, Rev. William Boyd, 1847-1928, was born in Jamaica and\neducated at Oxford where Baring-Gould was his tutor. The latter asked\nhim to compose a tune to \u201cCome, Holy Ghost, our souls inspire,\u201d for a\nmeeting of Yorkshire coal miners on the Day of Pentecost. The result was\nthis tune to which he gave the name PENTECOST. Boyd was ordained priest\nin 1882 and from 1893 until his retirement in 1918, he was vicar of All\nSaints, Norfolk Square, London.\n\n\n354. Father eternal, Ruler of creation _Laurence Housman_, 1865\u2014\n\nOne of the hymns of our time in which, characteristically, the\ninternational note is struck. It was written at the request of the Rev.\nH. R. L. (Dick) Sheppard, minister of St. Martin\u2019s-in-the-Fields,\nLondon, for the Life and Liberty movement after World War I. The bitter\nexperiences of that war, with the subsequent fear and distrust among the\nnations, had intensified the longing for the realization of the petition\nin the Lord\u2019s Prayer, \u201cThy will be done in earth, as it is in heaven.\u201d\nThis hymn gives utterance to that longing.\n\nLaurence Housman is an English artist known chiefly for his book\nillustrations, but he is also known as a writer of poetry and prose of\nmerit. A contemporary wrote of him: \u201cHe has the heart of compassion for\nthe little ones of the earth, the dumb and the helpless, that ought to\nbe, but is not always, an essential part of poetry. His is the true\nFranciscan spirit.\u201d\n\n_MUSIC._ OLD 124TH is from the _Genevan Psalter_, 1551, where it is set\nto Psalm 124. It is commonly attributed to L. Bourgeois (See 34). The\ntune has always been popular in England with the non-conformist churches\nand is one of the few surviving tunes from the _Old Version Psalter._\n\n\n355. Not alone for mighty empire _William Pierson Merrill_, 1867\u2014\n\nA hymn of thanksgiving and of the higher patriotism, glorying not in\nempire nor in battleship and fortress but in the things of the spirit\nwhich have made America great. It was first printed in _The Continent_,\na Presbyterian paper, now defunct, published in Chicago.\n\nConcerning the origin of the hymn, Dr. Merrill wrote in a letter dated\nApril 18, 1947:\n\n The occasion for the writing of this hymn was a Union Thanksgiving\n Service in Chicago, where Jenkin Lloyd Jones made a prayer, in which\n he thanked God more for spiritual values in our national life than for\n any temporal ones. That prayer inspired my hymn.\n\nHoward Chandler Robbins, Professor of Pastoral Theology in the General\nTheological Seminary, New York City, says: \u201cOn Thanksgiving Day we all\nought to be singing Dr. Merrill\u2019s great Thanksgiving hymn, one of the\ngreatest national hymns in the English language.\u201d\n\nFor comments on William Pierson Merrill see Hymn 183.\n\n_MUSIC._ IN BABILONE. For comments on this tune see Hymn 122.\n\n\n356. Thy Kingdom come! O Lord, we daily cry _Henry W. Hawkes_,\n 1843-1917\n\nOne of our few hymns on the petition, \u201cThy Kingdom come.\u201d It is an\nearnest prayer for social righteousness and peace. The hymn was written\nby Henry Warburton Hawkes, an English Unitarian.\n\nNo further information is at hand concerning the author.\n\n_MUSIC._ FFIGYSBREN. For comments on this tune see Hymn 183.\n\n\n357. Peace in our time, O Lord _John Oxenham_, 1852-1941\n\nA beautiful prayer for the peace which is \u201cbased upon Thy will and built\nin righteousness.\u201d The author, having learned that a new hymnary was to\nbe published, and aware of the Mennonite position on war and peace, sent\nthis hymn from England for inclusion in this book with the request that\nit be used with the tune \u201cDiademata.\u201d\n\nFor comments on the author, John Oxenham, see Hymn 320.\n\n_MUSIC._ DIADEMATA. For comments on this tune and its composer, George\nJ. Elvey, see Hymn 118.\n\n\n THE CHRISTIAN HOME AND FAMILY\n\n\n358. O happy home, where Thou art loved the dearest _Carl J. P.\n Spitta_, 1801-59\n _Tr. Sarah L. Findlater_, 1823-1907\n\n O selig Haus, wo man dich aufgenommen,\n Du wahrer Seelenfreund, Herr Jesu Christ;\n Wo unter allen G\u00e4sten, die da kommen,\n Du der gefeiertste und liebste bist;\n Wo aller Herzen dir entgegenschlagen\n Und aller Augen freudig auf dich sehn;\n Wo aller Lippen dein Gebot erfragen\n Und alle deines Winks gew\u00e4rtig stehn!\n\n O selig Haus, wo Mann und Weib in _einer_,\n In deiner Liebe _eines_ Geistes sind,\n Als beide _eines_ Heils gew\u00fcrdigt, keiner\n Im Glaubensgrunde anders ist gesinnt;\n Wo beide unzertrennbar an dir hangen\n In Lieb\u2019 und Leid, Gemach und Ungemach,\n Und nur bei dir zu bleiben stets verlangen\n An jedem guten wie am b\u00f6sen Tag!\n\n O selig Haus, wo man die lieben Kleinen\n Mit H\u00e4nden des Gebets ans Herz dir legt,\n Du Freund der Kinder, der sie als die Seinen\n Mit mehr als Mutterliebe hegt und pflegt;\n Wo sie zu deinen F\u00fcssen gern sich sammeln\n Und horchen deiner s\u00fcssen Rede zu\n Und lernen fr\u00fch dein Lob mit Freuden stammeln,\n Sich deiner freun du lieber Heiland, du!\n\n O selig Haus, wo du die Freude teilest,\n Wo man bei keiner Freude dein vergisst!\n O selig Haus, wo du die Wunden heilest\n Und aller Arzt und aller Tr\u00f6ster bist,\n Bis jeder einst sein Tagewerk vollendet,\n Und bis sie endlich alle ziehen aus\n Dahin, woher der Vater dich gesendet,\n Ins grosse, freie, sch\u00f6ne Vaterhaus!\n\nBased on Luke 19:9: \u201cThis day is salvation come to this house,\u201d the poem\noriginally bore the title, \u201cSalvation is come to this house.\u201d It is\nprobably the best hymn ever written on the Christian home.\n\nThe author of the hymn enjoyed a singularly happy and peaceful home\nlife, not only under the parental roof, but also after he was married\nand had established his own home. Carl Spitta, Lutheran minister and\ngreatest German hymn writer of the nineteenth century, was born in\nHannover. His father came from a Huguenot family that fled France during\nthe Catholic persecutions and died when Carl was only four years old.\nHis mother was a Christian Jewess whose loving care no doubt inspired\nthe son to write this hymn on the home. After completing his theological\nstudies in 1824, Spitta taught school for four years and then was\nordained in 1828 to the Lutheran ministry. He passed through a deep\nspiritual experience about this time which resulted in the composition\nof his finest hymns. \u201cIn the manner in which I formerly sang,\u201d he wrote\na friend in 1826, \u201cI sing no more. To the Lord I dedicate my life, my\nlove, and likewise my song. He gave to me song and melody. I give it\nback to Him.\u201d\n\nHis hymns were received with enthusiasm and held in the same esteem in\nGermany as Keble\u2019s _Christian Year_ in England. His collection of hymns,\n_Psalter und Harfe_, first published in 1833, passed through more than\n50 editions and a second collection printed in 1843 had by 1887 passed\nthrough 42 editions.\n\nSpitta had a family of seven children, one of whom became Professor of\nNew Testament Exegesis and Practical Theology in the University of\nStrassburg, and another, John August Spitta, wrote the monumental\nfour-volume work on the life of J. S. Bach.\n\nThe translator of the hymn, Sarah Findlater, also knew the blessings of\na happy home. Her daughter wrote concerning her mother:\n\n Her home life with my father was almost idyllically happy, in the\n small manse at Lochearnhead, where there never was enough of money,\n yet where my parents exercised unceasing hospitality\u2014almost foolish\n hospitality. They were both great readers, and used to read aloud to\n each other for hours. My mother was an excellent linguist, and her\n German translations were a great pleasure to her. That simple little\n hymn of hers which begins \u201cO happy home,\u201d is really an epitome of her\n home life with my father\u2014they were so single-eyed in their longing to\n serve God: it came first with them always.\n\nFor further comments on Sarah Findlater, see comments on her sister,\nJane Borthwick, Hymn 54.\n\n_MUSIC._ O SELIG HAUS is a popular German melody written in 1854 by\nEdward Niemeyer. Information concerning the composer has not been\ntraced.\n\n\n359. Thou gracious God, whose mercy lends _Oliver Wendell Holmes_,\n 1809-94\n\nWritten by Oliver Wendell Holmes in 1869 to be read or sung at the\nannual meeting of the 1829 college class of Harvard University, of which\nhe was a member. The famous class included in its membership J. Freeman\nClarke, founder of the Disciples, and Samuel F. Smith, author of\n\u201cAmerica.\u201d The forty years of retrospect, mingled with sunshine and\nshadow, are touched here with tenderness and grace.\n\nFor comments on Oliver W. Holmes see Hymn 172.\n\n_MUSIC._ ES KAM DIE GNADENVOLLE appears in the _Gesangbuch mit Noten_ to\nthe words, \u201cFr\u00fch Morgens da die Sonn\u2019 Aufgeht.\u201d\n\nThe composer, Johann Heinrich Egli, 1741-1810, was born in Seegr\u00e4ben,\nSwitzerland. He was a pupil of Pastor Schmiedli at Wetzikon, and became\na music teacher in Zurich, where he died. His compositions for voice,\nboth sacred and secular, won great popularity in Switzerland.\n\n\n360. There is beauty all around _John H. McNaughton_, 1863\n\nA tender lyric in praise of the home where love dwells. Especially fine\nare the lines,\n\n All the earth is filled with love\n When there\u2019s love at home,\n\nfor it recognizes the wide influence of the home, the primary social\ninstitution where the first lessons of the Christian life are learned. A\nnation\u2019s peace and prosperity is rooted in the quality of life found in\nits homes.\n\nThe words and music are by John Hugh McNaughton, who was born 1829, in\nCaledonia, N. Y., of Scottish parentage. His lyrics have some literary\nqualities and Henry W. Longfellow once wrote to McNaughton: \u201cYour poems\nhave touched me very much.\u201d He composed many popular songs, including\n\u201cThe Blue and the Gray,\u201d and \u201cFaded Coat of Blue,\u201d which sold by the\nhundreds of thousands of copies. He is the author of a _Treatise on\nMusic and Onnalinda_, a metrical romance.\n\n\n361. Happy the home when God is there _Henry Ware_, Jr., 1794-1843\n\nOne of the strongest hymns on the Christian home. It first appeared in\n_Selections of Hymns and Poetry_, Boston, 1846, compiled by Mrs. Herbert\nMayo, where it was entitled, \u201cThe Happy Home.\u201d\n\nFor comments on the author, Henry Ware, Jr., see Hymn 13.\n\n_MUSIC._ ST. AGNES. For comments on this tune see Hymn 155.\n\n\n362. Bless the four corners of this house _Arthur Guiterman_,\n 1871-1943\n\nA poem for use in the dedication of a Christian home, first printed in\n_House and Garden_ magazine about thirty years ago. Since then it has\nbecome widely known both here and abroad. Its first use as a hymn was in\nthe _Methodist Hymnal_ of 1935, edited by Dr. Robert McCutchan.\n\nThe author, Arthur Guiterman, was a writer, poet, and speaker. He was\nborn in Vienna, Austria, November 20, 1871, of American parents, his\nmother being a native of Ohio. Most of his education was received in New\nYork City, his college course having been completed in the City College.\nGuiterman was a frequent contributor to _Harper\u2019s Magazine_, _The\nSaturday Evening Post_, _The Youth\u2019s Companion_, _Ladies Home Journal_,\nand other leading magazines. His poetry is written on a large variety of\nsubjects. Joyce Kilmer characterized him as \u201cthe most American of\npoets.\u201d\n\n_MUSIC._ ICH SINGE DIR is a familiar melody in the _Gesangbuch mit\nNoten_ where it appears anonymously, set to the words, \u201c_Ich singe Dir\nmit Herz und Mund_,\u201d by Paul Gerhardt.\n\n\n363. Lord of life and King of glory _Christian Burke_, 1859\u2014\n\nA mother\u2019s prayer, written by Miss Burke in December, 1903, and\npublished the following February in _The Treasury_, where it was headed,\n\u201cPrize Hymn for Mothers\u2019 Union Service.\u201d It was included in _The English\nHymnal_, 1906.\n\nMiss Christian Burke was born in London. She contributed poems to\nvarious periodicals and in 1896 published a collection of her poetic\nwritings, with the title, _The Flowering of the Almond Tree_.\n\n_MUSIC._ The tune was found in _St. Basil\u2019s Hymnal_, published by the\nBasilian Fathers, Chicago, 1918. It bears no name and the composer is\nnot identified. The hymn is also sung to the tune \u201cSilician Mariners\u201d\n(45).\n\n\n MOTHER\u2019S DAY\n\n\n364. Motherhood, sublime, eternal _J. S. Cutler_, 1856-1930\n\nSuitable for Mother\u2019s Day.\n\nThe hymn and tune are found in _Hymns of the Spirit_, published in\nBoston, 1937.\n\nJulian Stearns Cutler, born at Thomaston, Maine, graduated from Tufts\nTheological School, Tufts College, Mass., in 1885, and served\nUniversalist churches in Marblehead, Melrose, and Orange, Mass.,\n1896-1904; in Little Falls, N. Y., 1904-10; and in Pawtucket, R. I.,\n1910-26. He wrote a good deal of occasional verse published in\nnewspapers, especially in the _Boston Transcript_, and his collected\npoems were privately printed under the title, _Songs of Cheer_, about a\nyear after his death. His hymn, \u201cMotherhood, sublime, eternal,\u201d written\nabout 1910, was adapted for use in Universalist hymn books and in\nslightly altered form in _Hymns of the Spirit_, 1937. It was taken from\nthe latter for use in the _Hymnary_.\n\n_MUSIC._ MOTHERHOOD. No information has been traced concerning the\norigin of this tune or its composer, Willis A. Moore, except that Moore\nwas a member of the Universalists but left their fellowship some years\nago. The Universalist Publishing House, Boston, from whom inquiry was\nmade, has no further information at hand.\n\n\n FAREWELL SERVICE\n\n\n365. God be with you till we meet again _Jeremiah E. Rankin,_\n 1828-1904\n\nWritten for the purpose of a Christian good-by.\n\nThe author, Jeremiah E. Rankin, was pastor of the First Congregational\nChurch in Washington, D. C., when he wrote this hymn. Later, in 1889, he\nbecame president of Howard University, a Negro institution in the same\ncity. He was always a friend of the colored people and did what he could\nfor their advancement.\n\nHe has given us the origin of the hymn as follows:\n\n Written in 1882 as a Christian good-by, it was called forth by no\n person or occasion, but was deliberately composed as a Christian hymn\n on the basis of the etymology of \u201cgood-by,\u201d which is \u201cGod be with\n you.\u201d The first stanza was written and sent to two composers\u2014one of\n unusual note, the other wholly unknown and not thoroughly educated in\n music. I selected the composition of the latter, submitted it to J. W.\n Bishoff (the musical director of a little book we were preparing), who\n approved of it but made some criticisms which were adopted. It was\n sung for the first time one evening in the First Congregational Church\n in Washington, of which I was then the pastor and Mr. Bishoff the\n organist. I attributed its popularity in no little part to the music\n to which it was set. It was a wedding of words and music, at which it\n was my function to preside; but Mr. Tomer should have his full share\n of the family honor.\n\n_MUSIC._ FAREWELL was composed by William G. Tomer, 1832-96, an American\njournalist who made music his avocation. In early life he taught school,\nlater becoming the editor of the _Hunterdon Gazette_ at High Ridge, New\nJersey. The hymn he helped make famous was sung at his funeral by a\nlarge assembly of friends and neighbors.\n\n\n OUR FOREFATHERS\n\n\n366. Uplift the song of praise _Frederick L. Hosmer,_ 1840-1929\n\nA hymn of praise for God\u2019s leading of our forefathers. The author traced\nhis own descent from the Pilgrim Fathers, one of his ancestors, James\nHosmer, having come to Concord in 1635. In writing the hymn, he had the\nPilgrims in mind, but his words are fully as applicable to other\nimmigrant groups such as the Mennonites who came at different times from\nEurope to settle here in \u201clands untrod.\u201d\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\n_MUSIC,_ LEONI (Yigdal). For comments on this tune see Hymn 14.\n\n\n367. O God, beneath Thy guiding hand _Leonard Bacon_, 1802-81\n\nWritten for the 200th anniversary of the founding of New Haven, Conn.,\ncelebrated April 25, 1833, in Center Church where the author was pastor.\nDr. Bacon delivered the main historical address on this occasion and\nused the theme of the sermon for the basis of this hymn.\n\nLeonard Bacon, son of missionaries to the Indians at the then frontier\ntrading post of Detroit, graduated from Yale and Andover Theological\nSeminary. He was minister of the Center Congregational Church, New\nHaven, for the forty-one years from 1825 to 1866 and professor and\nlecturer at Yale Divinity School from 1866 till his death in 1881.\nAlways interested in sacred music, he rendered a great service to the\nchurch by the hymns he wrote as well as his compilations of hymns.\n\n_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.\n\n\n368. In pleasant lands have fall\u2019n the lines _James Flint_, 1779-1855\n\nA fine memorial hymn.\n\nThe author, James Flint, was born in Reading, Mass. After graduating\nfrom Harvard, he served as pastor of the Unitarian Church at East\nBridgewater, Mass., 1806-1821, and at the East Church, Salem, Mass.,\nfrom 1821 until his death in 1855. His hymns were published in his\n_Collection of Hymns for the Christian Church and Home_, 1840, the\npresent being the single one which survives today.\n\n_MUSIC._ WAREHAM. For comments on this tune see Hymn 208.\n\n\n369. Eternal One, Thou living God _Samuel Longfellow_, 1819-92\n\nA hymn of the Church Universal, the great company of faithful souls of\nevery age and land. The God who led our fathers, still leads His people\ninto new truth and sets before them new goals.\n\nFor comments on Samuel Longfellow see Hymn 28.\n\n_MUSIC._ WINCHESTER NEW. This tune is also used extensively with\nMilman\u2019s hymn, \u201cRide on! Ride on in majesty\u201d (101). It was set to the\nhymn, \u201c_Wer nur den lieben Gott l\u00e4sst walten_,\u201d in the _Musikalisches\nHandbuch_, printed in Hamburg, 1690. The earlier history of the tune is\nobscure, and its composer is unknown. It appeared in various collections\nunder the name \u201cFrankfurt\u201d and \u201cCrasselius.\u201d In a volume published in\nGlasgow, 1762, entitled, _The Psalm-Singer\u2019s Delightful Pocket\nCompanion_, it was used in long meter and named \u201cWinchester.\u201d It should\nnot be confused with \u201cWinchester Old\u201d (191).\n\n\n HOSPITAL SUNDAY\n\n\n370. Thou to whom the sick and dying _Godfrey Thring_, 1823-1903\n\nA hospital hymn written in 1870 under the text, \u201cAnd they brought unto\nHim all sick people ... and He healed them\u201d (Matt. 4:24).\n\nIt was first published in _Hymns for the Church Service_, 1871, by W. H.\nHutton. Later it was revised for the author\u2019s _Hymns and Sacred Lyrics_,\n1874.\n\nFor comments on Godfrey Thring, see Hymn 89.\n\n_MUSIC._ WALTHAM. The tune appears with its original name, \u201cGott des\nHimmels und der Erden,\u201d at Hymn 573, which see for comments on the tune\nand the composer. The original form of the melody is in triple time.\nBach thought enough of the tune to use it in his _Christmas Oratorio_.\n\n\n TEMPERANCE SUNDAY\n\n\n371. Now to heav\u2019n our pray\u2019r ascending _William E. Hickson_, 1803-70\n\nA crusading hymn full of assurance that the cause of right, though\ndelayed by its foes, will surely succeed in God\u2019s own time.\n\nFor comments on the author, William E. Hickson, see Hymn 348.\n\n_MUSIC._ GOD SPEED THE RIGHT is attributed to Ernst Moritz Arndt,\n1769-1860, a German preacher, editor, professor of history, and writer\nof sacred and secular songs. Julian speaks of him as a \u201cman of learning,\na true patriot, a distinguished poet ... a man of deep religious\nfeeling, and a true-hearted and earnest witness of the Evangelical\nFaith.\u201d The _Dictionary_ notes a number of his hymns but makes no\nmention of musical compositions.\n\n\n LABOR DAY\n\n\n372. Jesus, Thou divine Companion _Henry van Dyke_, 1852-1933\n\nA fine hymn on the dignity of labor, holding up the ideal of Christian\nservice.\n\nFor comments on the author, Henry van Dyke, see Hymn 10.\n\n_MUSIC._ HYFRYDOL. For comments on this Welsh tune see Hymn 69.\n\n\n373. O Son of Man, Thou madest known _Milton S. Littlefield_,\n 1864-1934\n\nA hymn on the sacredness of work, connecting Jesus with the labor of\nmankind. The emphasis on the social aspect of religion in terms of our\ncommon life is a dominant note in twentieth-century hymnody.\n\nThe author, Milton S. Littlefield, was born in New York City; educated\nat Johns Hopkins and Union Theological Seminary; and became an honored\nand prominent Presbyterian minister. Recognized as an authority in the\nfield of hymnology, he edited two hymn books and was elected president\nof the American Hymn Society, 1927-28. Besides the present hymn, he\nwrote another beginning with the line, \u201cCome, O Lord, like morning\nsunlight.\u201d Both are serviceable hymns, and it is singular that neither\nfound its way into the Presbyterian _Hymnal_, 1933.\n\n_MUSIC._ BROOKFIELD. This tune first appeared in the _Congregational\nChurch Hymnal_, London, 1887, edited by Dr. E. J. Hopkins (See 43). The\nbook contained the best hymn tunes for congregational singing then\navailable.\n\nThe composer, Thomas Bishop Southgate, 1814-68, received his musical\neducation under Sir John Goss and Samuel S. Wesley. For many years he\nwas organist at St. Anne\u2019s Church, London.\n\n\n374. Though lowly here our lot may be _William Gaskell_, 1805-84\n\nA hymn on the dignity of all work which is done through faith and trust\nin Christ.\n\nThe author, William Gaskell, studied at Glasgow University and\nManchester College, York, and became a Unitarian minister. His one and\nonly charge was Cross Street Chapel, Manchester. He became Professor of\nEnglish History and Literature in Manchester New College and was an\ninfluential leader in the community in the promotion of education and\nculture. His denomination bestowed upon him its highest honors. Mrs.\nGaskell, a woman of brilliance and unusual literary gifts was encouraged\nby her husband to engage in literary work to distract her mind from the\ngrief caused by the death of their little son. She turned out to be a\npopular writer, publishing works of fiction and the life of Charlotte\nBront\u00eb. A memorial to her bears testimony to her genius, and to the\n\u201ctenderness and fidelity\u201d with which she adorned the minister\u2019s home.\nGaskell, a pioneer in social reform, wrote this hymn sometime before\n1860.\n\n_MUSIC._ ABRIDGE is also known as \u201cST. STEPHEN\u201d (See 266 and 590).\n\nFor comments on the tune see Hymn 266.\n\n\n HARVEST AND THANKSGIVING\n\n\n375. We plow the fields, and scatter _Matthias Claudius_, 1740-1815\n\nThis is one of the finest harvest hymns.\n\nIn 1783 Claudius wrote a sketch called, \u201cPaul Erdman\u2019s Feast,\u201d in which\nthere is an interesting picture of a harvest thanksgiving celebration in\nthe home of a North German farmer. The farm folk gather at the house of\nErdman and as they do so they sing:\n\n Wir pfl\u00fcgen und wir streuen\n Den Samen auf das Land,\n Doch Wachstum und Gedeihen\n Steht nicht in unserer Hand.\n Alle gute Gabe\n Kommt oben her, von Gott\n Vom sch\u00f6nen blauen Himmel herab.\n\nMatthias Claudius, son of a Lutheran pastor in Germany, became\ndistinguished in journalism and literature. He studied theology with a\nview of entering the ministry; but through the influence of the\nrationalistic teachings in Germany at the time, he lost interest in\nreligion and decided to take up journalism. Later, stricken with a\ncritical illness, he realized the spiritual emptiness of the life he had\nbeen living, and again turned to his childhood faith. In the lyrics he\nwrote, though not composed as church hymns, there may be observed a\ntransition from the spiritual impoverishment of the rationalistic period\nto a new type of religious poetry giving expression to a turning once\nmore to the rugged faith of evangelicalism.\n\nThe hymn was translated by Jane Campbell, 1817-78, a successful teacher\nof music to children. She published a _Handbook for Singers_ in which\nare found the musical exercises the author used in her work with London\nchildren. The original hymn is in 17 four-line verses.\n\n_MUSIC._ WIR PFL\u00dcGEN appeared in _Lieder f\u00fcr Volksschulen_, a collection\nof melodies for public schools, published, 1800, in Hannover. It was set\nto an arrangement of verses 3-10 of Claudius\u2019 song, with the chorus sung\nby peasants, altered to suit the melody. The hymn has ever since been\nextraordinarily popular throughout Germany. \u201cThe tune, in spite of its\nwide compass, has become one of the best known and favored of all hymn\ntunes, and fully deserves its popularity.\u201d\n\n\n376. Thank the Lord _G. N. Fischer_, 1748-1800\n _Tr. C. E. Krehbiel_, 1869-1948\n\nBased on Jeremiah 33:11,\n\n Give thanks to the Lord of hosts,\n For the Lord is good,\n For his kindness endures forever.\n (Am. Trans.)\n\n Dankt dem Herrn! mit frohen Gaben\n F\u00fcllet er das ganze Land!\n Alles, Alles, was wir haben,\n Kommt aus seiner Vaterhand.\n\n Dankt dem Herrn! er giebt uns Leben\n Giebt uns Nahrung und Gedeihn.\n O wer wollt ihn nicht erheben\n Und sich seiner G\u00fcte freun!\n\n Dankt dem Herrn! vergisz, O Seele,\n Deines guten Vaters nie!\n Werd ihm \u00e4hnlich und erz\u00e4hle\n Seine Wunder sp\u00e4t und fr\u00fch.\n\nThe author, Gottlob Nath. Fischer, was born at Graba, near Saalfeld. At\nthe time of his death he was head master of the cathedral school and\ncounselor of the consistory at Halberstadt.\n\nThe translation was made by C. E. Krehbiel, Mennonite minister and\neditor who was born at Summerfield, Ill., the son of Rev. Christian and\nSusanna Ruth Krehbiel. After completing his education at the\nPresbyterian Theological Seminary, Bloomfield, N. J., 1898-99, and in\nBerlin University, Germany, 1899-1901, Krehbiel became a member of the\nbusiness firm, The Herald Publishing Co., Newton, Kansas, serving in the\neditorial and business offices for a period of 20 years. He served as\neditor of _Der Christlicher Bundesbote_, 1930-46, and as president of\nthe General Conference of Mennonites for the two trienniums, 1935-41.\nKrehbiel was also a member of the committee that compiled the _Hymnary_.\n\n_MUSIC._ RINGE RECHT. For comments on this tune see Hymn 563.\n\n\n377. Come, ye thankful people, come _Henry Alford_, 1810-71\n\nA popular and widely used hymn at harvest festivals, especially in\nEngland. It was first published under the title \u201cAfter Harvest,\u201d in\n1844. In 1867, it was revised by the author, the form here being this\nrevised version.\n\nFor comments on Henry Alford see Hymn 152.\n\n_MUSIC._ ST. GEORGE\u2019S WINDSOR has long been associated with these words,\nto which it is well suited in every way. Originally, however, the tune\nwas set to the hymn \u201cHark! the song of jubilee.\u201d\n\nFor comments on the composer, George J. Elvey, see Hymn 118.\n\n\n378. To Thee, O Lord, our hearts we raise _William Chatterdon Dix_,\n 1837-98\n\nA popular thanksgiving hymn, written in the author\u2019s most facile and\nmusical style. The hymn was published in St. Raphael\u2019s _Hymns for the\nService of the Church_, Bristol, 1864.\n\nFor comments on the author, William Chatterdon Dix, see Hymn 78.\n\n_MUSIC._ ST. GALL is from _Katolisches Gesangbuch zum Gebrauch bei dem\n\u00f6ffentlichen Gottesdienste_, 1863, the revised edition of the old hymn\nbook used in the Benedictine Monastery founded in 614 A.D. by the Irish\nmonk, St. Gall. It is a fine tune with a good swinging rhythm when sung\nat a fairly lively tempo.\n\n\n NEW YEAR\n\n\n379. Ring out, wild bells _Alfred Tennyson_, 1809-92\n\nFrom Sec. 106 of the poem \u201cIn Memoriam\u201d (See 149).\n\nAfter tracing his grief through successive Christmas celebrations, the\npoet bursts into this song of confident faith in God at the opening of\nthe new year. The poet turns from the past and rises above his private\ngrief to sing of the future and its hopes for mankind.\n\nFor comments on Alfred Tennyson see Hymn 149.\n\n_MUSIC._ WILD BELLS was written for this poem by Henry Lahee, 1826-1912,\norganist at the Holy Trinity Church, Brompton, England, for about 30\nyears. Lahee, a versatile composer, won many prizes for his glees,\nmadrigals, and part songs.\n\nThe tune is very effective but too difficult for ordinary congregational\nsinging. It was included in the _Hymnary_ for use by singing groups\npreparing for special celebrations of New Year.\n\n\n380. Another year is dawning _Frances Ridley Havergal_, 1836-79\n\nA prayer for the New Year, hailing its advent as another opportunity for\nprogress, service, and training in close fellowship with God.\n\nThe poem was written in five stanzas of four lines each as the text of a\nNew Year\u2019s card and distributed by Miss Havergal among friends under the\ntitle, \u201cA Happy New Year! Ever Such May It Be!\u201d\n\nThe omitted fifth stanza reads:\n\n Another year is dawning\n Dear Father, let it be\n On earth, or else in heaven\n Another year for Thee.\n\nFor comments on Frances R. Havergal see Hymn 126.\n\n_MUSIC._ CRUCIFIX, of anonymous composition, was taken from the _Hymns\nof the Spirit_, Boston: Beacon Press, 1938, where it is used as a second\ntune to Miss Havergal\u2019s hymn.\n\n\n381. Another year of setting suns _John W. Chadwick_, 1840-1904\n\nThis poem came from the Unitarian stream of hymnody which was so strong\nduring the middle of the nineteenth century. Chadwick, born at\nMarblehead, Mass., graduated from Harvard in 1864 and the following 40\nyears served as minister of the Second Unitarian Church in Brooklyn. He\nwrote biographies of Channing and Parker and is the author of\nconsiderable poetry. It has been noted that many of his hymns possess\nthe simplicity and spirit of the writings of Whittier, the Quaker poet,\nand might easily pass for his.\n\n_MUSIC._ HOLY CROSS. The source of this tune is not clear. It is\nascribed in various hymnals to Thomas Hastings, to Mendelssohn, to John\nStainer, and to Mozart. James Love, who was well informed on English\nhymn tunes, says that it was adapted from an anonymous organ \u201cAndante\u201d\nwhich was said to be based on a theme by Mozart. The tune, in 3-4 time,\nappears in the _Methodist Hymnal_, 1935, the arrangement credited to\nJames C. Wade, an organist and conductor of choral groups, born in\nStaffordshire, England, 1847.\n\n\n382. The year is gone beyond recall _Latin_\n _Tr. F. Pott_, 1832-1909\n\nFrom a Latin hymn, _Lapsus est annus_, found in a Breviary of Meaux,\n1713 and 1734. It was used for compline after the first vespers of the\nFestival of the Circumcision, which is the last office sung on December\n31. The original reads as follows:\n\n Lapsus est annus: redit annus alter:\n Vita sic mutis fugit acta pennis:\n Tu, Deus, cursum moderaris, unus\n Arbiter, aevi.\n\n Gens tuis plaudit cumulata donis:\n Te simul votis Dominum precatur,\n Servet intactum fidei verendae\n Patriae munus.\n\n Supplices poscunt alimenta cives:\n Finibus morbos patriis repellas:\n Larga securae referas, benignus\n Commoda pacis.\n\n Postulant culpas venia relaxes:\n Limites arctos vitiis reponas;\n Past graves pugnas tua dat salubrem\n Dextera palmam.\n\n Noxiae vitae maculas perosi\n Cor, Deus, nostrum tibi devovemus:\n Da bonos annos, facilemque Patris\n Indue vultum.\n\n Dum dies currunt, redeunt et anni,\n Et gradu certo sibi saecla cedunt,\n Debitas laudes Triadi supremae\n Concinat orbis.\n\nText from Daniel, H. A., _Thesaurus hymnologicus_, 5 vols.; Lipsiae:\n1855-1856, IV, 319.\n\nThe translation was made by Francis Pott, M. A., Curate of Ticehurst,\nSussex, and one of the editors of _Hymns Ancient and Modern_, London,\n1861. The original form of Pott\u2019s translation appeared first in a hymnal\ncompiled by him, _Hymns Fitted to the Order of Common Prayer, etc._,\nLondon, 1864. It reads as follows:\n\n The year is gone beyond recall;\n \u2019Tis gone\u2014with all its hopes and fears,\n With all its joys for those new born,\n With all its troubled mourners\u2019 tears.\n\n We thank Thee, Lord, for countless gifts,\n For dangers we have passed unscathed;\n We thank Thee for Thy Church preserved;\n Oh! seal to us her ancient Faith.\n\n Again we ask Thy goodness, Lord;\n The coming year in mercy bless;\n Guard Thou our land from pestilence;\n And give us grace and plenteousness.\n\n Forgive this nation\u2019s many sins;\n Destroy the strength that sin has gained;\n And give us grace with sin to strive;\n And give us crowns through strife attained.\n\n We hate the sins that stain the past;\n We would henceforth from them be free;\n O grant us peaceful years, good Lord;\n And we will spend them all to Thee.\n\n We would that our good Father\u2019s eye\n Should look on us\u2014but not in wrath;\n And we, Thy children, year by year,\n A purer song of praise pour forth. Amen.\n\nWhen the hymn was selected for _Hymns Ancient and Modern_, the\ntranslation was altered into its present form. The last stanza is\nomitted in the _Hymnary_. The English and Latin are published in _Hymns,\nAncient and Modern_, Historical Edition, London, Clowes, 1909.\n\n_MUSIC._ TALLIS, also called \u201cTallis\u2019 Ordinal,\u201d is from _The Whole\nPsalter translated into English Metre, which contayneth an hundreth and\nfifty Psalmes_, a work by Matthew Parker, Archbishop of Canterbury,\nprinted about 1561. At the end of the book are nine tunes in four parts\nby Thomas Tallis. This is the last of the nine and is set to the version\nof _Veni Creator Spiritus_, which appears in the _English Prayer Book\nOrdinal_. The tune was evidently derived by Tallis from a 15th-century\nEnglish carol tune, \u201cThis endris Nyght\u201d\u2014for it is an adaptation to\ncommon time of the first two lines of this carol melody.\n\nFor comments on Thomas Tallis, see Hymn 33.\n\n\n383. Great God, we sing that mighty hand _Philip Doddridge_, 1702-51\n\nA New Year\u2019s hymn from the posthumous edition of Doddridge\u2019s _Hymns\nfounded on various texts in the Holy Scriptures_, 1745, where it is\nheaded, \u201cHelp obtained from God. Acts 26:22. For the New Year.\u201d\n\nIt is based on Acts 26:22: \u201cHaving therefore obtained help of God, I\ncontinue unto this day, witnessing both to small and great, saying none\nother things than those which the prophets and Moses did say should\ncome.\u201d\n\nMost of Doddridge\u2019s hymns were composed for use in his own congregation\nin connection with his sermons. None of them were published during his\nlife time.\n\nFor further comments on Doddridge see Hymn 56.\n\n_MUSIC._ GERMANY. For this tune see Hymn 222.\n\n\n WINTER\n\n\n384. \u2019Tis winter now _Samuel Longfellow_, 1819-92\n\nA \u201cdelicately etched winter hymn\u201d which appeared in _Hymns of the\nSpirit_, 1864, by Samuel Longfellow and Samuel Johnson.\n\nFor comments on the author, Samuel Longfellow, see Hymn 28.\n\n_MUSIC._ MELROSE. For comments on the composer, Frederick C. Maker, see\nHymn 112. This combination of hymn and tune was made by the editors of\nthe _Hymnary_.\n\n\n SPRING\n\n\n385. The glory of the spring, how sweet _Thomas Hornblower Gill_,\n 1819-1906\n\nBased on Psalm 104:30: \u201c... thou renewest the face of the earth,\u201d and\nEphesians 4:23: \u201c... be renewed in the spirit of your mind.\u201d\n\nIt is an exquisite lyric, expressing not only the glory of the\nspringtime with its newborn life, but depicting also, with rare beauty\nand power, the renewal of life which God works in the soul\u2014a new birth\nof faith and love, prayer and song. The author himself wrote that, as a\nresult of the study of the New Testament, \u201ctruth upon truth brake upon\nmy gaze and God put a new song into my mouth.\u201d\n\nThomas Hornblower Gill, born in Birmingham, England, was brought up a\nUnitarian, but, unsatisfied with the Unitarian view of the person of\nChrist, he withdrew from that church and joined the Evangelical party in\nthe Church of England. One of the major influences leading him to this\ndecision was his study of the hymns of Isaac Watts. He saw \u201cthe contrast\nbetween their native force and fulness and their shrunken and dwindled\npresentation in the mutilated version in Unitarian hymnbooks.\u201d Gill\npublished a number of books of poems which R. W. Dale, in compiling a\nhymnbook for his congregation at Carr\u2019s Lane, Birmingham, found \u201ca very\nmine of wealth.\u201d\n\n_MUSIC._ KING\u2019S LANGLEY, \u201ca delightfully gay tune,\u201d is an arrangement of\na traditional English May-day carol. It appeared in the _English Hymnal_\nof 1906. The arrangement is by Miss L. E. Broadwood, an English lady of\nconsiderable musical talent.\n\n\n SUMMER\n\n\n386. Summer suns are glowing _William W. How_, 1823-97\n\nOne of the most welcome of the hymns of the changing year. It was\nwritten for _Church Hymns_, 1871.\n\nThe author wrote a hymn for each of the four seasons, another appearing\nat No. 387.\n\nFor comments on W. W. How see Hymn 144.\n\n_MUSIC._ RUTH, composed by Samuel Smith, privately printed in 1865, was\nset to the present hymn in 1874 by Arthur Sullivan when he was editing\nthe music for _Church Hymns_.\n\nSamuel Smith, 1821-1917 (not to be confused with the author of \u201cMy\ncountry, \u2019tis of thee\u201d), was an English organist, serving Trinity\nChurch, Windsor, for 34 years. He succeeded Sir George Elvey as\nconductor of the Windsor and Eton Choral Society.\n\n\n AUTUMN\n\n\n387. The year is swiftly waning _William W. How_, 1823-97\n\nA hymn for the autumn season. Like No. 386, it was written for the\nauthor\u2019s _Church Hymns_, 1871.\n\nFor comments on W. W. How see Hymn 144.\n\n_MUSIC._ WAS KANN ES SCH\u00d6N\u2019RES GEBEN is from the _Gesangbuch mit Noten_\nwhere it appears anonymously, set to a hymn by Philipp Spitta, \u201cWas kann\nes sch\u00f6n\u2019res geben.\u201d\n\n\n SCHOOLS AND COLLEGES\n\n\n388. Father of men, in whom are one _Henry Cary Shuttleworth_,\n 1850-1900\n\nA deeply sympathetic Christian hymn, written for the Friendly Societies\nof the Church of England, but may appropriately be used for many\noccasions of a more general character. It is especially useful in the\nlife of a college campus.\n\nThe author, Henry Cary Shuttleworth, was educated at Oxford for the\nAnglican ministry. He was a minor canon in St. Paul\u2019s Cathedral,\n1876-84, and rector of St. Nicholas Cole Abbey, London, from 1883.\nConcerned for the poor and down-trodden of London, Shuttleworth became a\nprominent member of the Christian Social movement. For a time he was\nProfessor of Pastoral and Liturgical Theology in King\u2019s College, London.\nAn able musician, he wrote many carols and hymns and published a book,\n_The Place of Music in Public Worship_. The present hymn appeared in the\nSt. Nicholas Cole Abbey _Hymnal Appendix_, 1897, and in the _Church\nMonthly_, 1898, with music by the author.\n\n_MUSIC._ ST. LO is a unique melody, constructed on three phrases of\nthree measures each. It is a simple, diatonic tune, moving within the\npitch range of a sixth, with the third phrase a repetition of the first.\nIt should be sung in a quiet manner, and is well adapted for unison\nsinging. The tune, an old Breton melody, appeared in _School Worship_,\nLondon, 1926, from whence it was introduced into the _Presbyterian\nHymnal_ of 1935 and from thence to the _Hymnary_.\n\n\n389. O grant us light that we may know _Lawrence Tuttiett_, 1825-97\n\nA prayer for the light from God to illuminate the mind in its search for\ntruth.\n\nThe author wrote many of his hymns on returning from visiting the sick\nand bereaved, expressing in them thoughts of consolation for families in\nsorrow and trouble. That this hymn may have had a similar origin is\nindicated by the omitted Stanzas 4 and 5, which are as follows:\n\n O grant us light, in grief and pain,\n To lift our burdened hearts above,\n And count the very cross a gain,\n And bless our Father\u2019s hidden love.\n\n O grant us light, when, soon or late,\n All earthly scenes shall pass away,\n In Thee to find the open gate\n To deathless home and endless day.\n\nLawrence Tuttiett, son of a surgeon in the English Royal Navy, at first\nintended to follow his father into the medical profession, but, after\nstudying at Christ\u2019s Hospital and King\u2019s College, London, he decided to\nbecome a minister. He was ordained in 1848 and devoted his life to the\nEpiscopal Church, ministering in various parishes in England and\nScotland. His publications include _Hymns for Churchmen_, 1854; _Hymns\nfor Children of the Church_, 1862; and _Gems of Thought on the Sunday\nServices_, 1864. The present hymn appeared in the last-named\npublication.\n\n_Music._ CANONBURY. For comments on this tune see Hymn 296.\n\n\n390. Almighty Lord, with one accord _Melancthon Woolsey Stryker_,\n 1851-1929\n\n\u201cA College Hymn\u201d was the title given this poem, first printed in _The\nNew York Evangelist_, February 27, 1896. It was included in _The College\nHymnal_, New York, the same year and in the _Methodist Hymnal_ of 1905.\n\nThe author, Melancthon Woolsey Stryker, a prominent Presbyterian\nminister, was educated at Hamilton College, New York, and Auburn\nTheological Seminary. After serving churches in Auburn and Ithaca, New\nYork; Holyoke, Mass.; and Chicago, Ill., he became president of his Alma\nMater, Hamilton College. A student of hymnology, he compiled several\nhymnals and books of sacred songs.\n\nThe hymn is appropriately used for commencement programs at Christian\ncolleges. On such occasions it is often sung to the familiar tune\n\u201cAzmon\u201d (397).\n\n_MUSIC._ PATTEN was written for this hymn for use in _The Methodist\nHymnal_, 1905. The composer, Peter C. Lutkin, 1858-1931, the youngest of\nsix children, was born of Danish parents, at Thompsonville, Wis., March\n27, 1858. He was only a lad when both his parents died, shortly after\nthe family had moved to Chicago. His ability at the organ and his\nsuccess as boy soloist at the Protestant Episcopal Cathedral in Chicago\nopened to him attractive opportunities for the study of music, and he\nadvanced rapidly. After teaching piano at Northwestern University for\nseveral years, he left for Europe to study music in Berlin, Paris, and\nVienna, returning after four years to Chicago where he held various\npositions as organist and choirmaster. In 1896, he organized the\nNorthwestern University School of Music and was given the title of\n\u201cDean.\u201d An authority in the field of church music and hymnology, Dean\nLutkin did much through his teaching and writing to raise the standards\nof music throughout all the churches.\n\n\n YOUTH\n\n\n391. I feel the winds of God today _Jessie Adams_, 1863\u2014\n\nFor many years the authorship of this hymn was unknown since the writer\npreferred to remain anonymous. It finally came to light that the lines\nwere penned by Miss Jessie Adams, a member of the Society of Friends in\nEngland. She was a progressive teacher and a leader of the local Adult\nSchool at Frimley, England, where she long resided. Miss Adams wrote the\nhymn after a long period of service as teacher in which she felt a\nconsiderable measure of disappointment and failure, as if tugging and\nlaboring at the oars of a boat without making much headway. She wrote:\n\n If then, quitting the labors at the oars, we humbly believe that God\u2019s\n Spirit still leads us aright, we shall pass the point of danger and\n helplessness. Some little act of kindness may be as the upturned sail\n which that spirit waits to fill, in spite of past and future.\n\nThe message of the hymn is for our time. Many in our day labor at the\noars, in their own strength, only to find themselves worn and\ndiscouraged. Progress comes by lifting the sails and permitting the\ninvisible power of God to carry life forward.\n\n_MUSIC._ HARDY NORSEMEN is an anonymous Norse melody, the origin of\nwhich has not been traced. It is a popular tune among the Dutch\nMennonites where it is often sung at their young people\u2019s gatherings.\n\n\n392. \u201cAre ye able,\u201d said the Master _Earl Marlatt_, 1892\u2014\n\nWritten for a consecration service at Boston University School of\nReligious Education, in 1926, where the author was Professor of\nReligious Education.\n\nIt is based on Jesus\u2019 question of James and John, and their answer: \u201cAre\nye able to drink of the cup that I shall drink of and to be baptized\nwith the baptism that I am baptized with? They say unto Him, Lord, we\nare able\u201d (Matt. 20:22).\n\nThe second verse came to the author\u2019s mind as a result of seeing the\nPassion Play at Oberammergau, where he was greatly moved by the scene\nwhere the dying thief turned to Jesus and said, \u201cRemember me when Thou\ncontest into Thy Kingdom.\u201d \u201cAs Anton Lang, playing the part of Christ,\nsaid, \u2018Today, shalt thou be with me in paradise,\u2019\u201d the author writes,\n\u201cImmortality suddenly became as real to me as the sunlight at that\nmoment driving the clouds from the mountains, and I knew that nothing,\nnothing could ever shake my faith in that vision.\u201d\n\nThe hymn was written for the tune \u201cBeacon Hill.\u201d The combination of\nwords and tune was adopted as one of the school songs of Boston\nUniversity School of Theology, whose students have carried it all over\nthe world. It was incorporated into the _Methodist Hymnal_ of 1935, from\nwhence it came into the _Hymnary_.\n\nEarl Bowman Marlatt, son of a Methodist minister, was born at Columbus,\nIndiana. He graduated from De Pauw University and then studied at Boston\nUniversity, Harvard, Oxford, and the University of Berlin, becoming\nProfessor of Philosophy at Boston University in 1923 and later Professor\nof Religious Education in that institution.\n\n_MUSIC._ BEACON HILL received its name from Beacon Hill, Boston, where\nMarlatt resided when he wrote the words for this tune. The composer,\nHarry Silvernale Mason, born in 1881, was a student at Boston University\nwhen he wrote the tune. He is now serving as instructor in Fine Arts in\nReligion at Auburn Theological Seminary, Auburn, N. Y.\n\n\n393. Just as I am, Thine own to be _Marianne Hearn_, 1834-1909\n\nA young people\u2019s consecration hymn, contributed to _The Voice of\nPraise_, 1887, published by the Sunday School Union of London. Verses 5\nand 6, omitted here, read as follows:\n\n With many dreams of fame and gold,\n Success and joy to make me bold,\n But dearer still my faith to hold,\n For my whole life I come.\n\n And for Thy sake to win renown,\n And then to take the victor\u2019s crown,\n And at Thy feet to cast it down,\n O Master, Lord, I come.\n\nIt was written by an Englishwoman, Marianne Hearn (_nom de plume_,\nMarianne Farningham), who, in early life, was a teacher in the primary\nschools, and later became a successful writer of articles for various\nperiodicals, including _The Christian Herald_, published by James Clarke\nand Co. For a time she edited the London _Sunday School Times_. Miss\nHearn published a half dozen or more volumes of poetry and an\nautobiography, _A Working Woman\u2019s Life_.\n\n_MUSIC._ JUST AS I AM. For comments on the composer, Joseph Barnby, see\nHymn 21.\n\n\n394. Savior, while my heart is tender _John Burton, the younger_,\n 1803-77\n\nA hymn of dedication to Christian service, suitable for use with young\npeople\u2019s groups.\n\nThe author, John Burton, usually called \u201cthe younger\u201d to distinguish him\nfrom another English hymn writer of the same name, was born and died in\nStratford, England. From his 15th to 25th year he suffered greatly from\nill health but recovered sufficiently to spend the next 50 years in\nbusiness as a cooper and basket-maker in his home town. A devout\nCongregationalist, he served as deacon in his church and as a Sunday\nschool teacher for 27 years. While visiting a poor chimney sweeper, he\ncontracted small pox and died of that disease. He published several\nvolumes of religious works, including _One Hundred Original Hymns for\nthe Young_, 1850, in which the present hymn is found.\n\n_MUSIC._ LILLE is an old French melody, the origin of which has not been\ntraced.\n\n(Correction: second last soprano note in the first score should be on B,\nnot A as in the earlier editions of the _Hymnary_.)\n\n\n395. Savior, like a shepherd lead us _Dorothy Ann Thrupp_, 1779-1847\n\nPublished anonymously in the author\u2019s _Hymns for the Young_, 1836.\nDorothy Ann Thrupp was born and reared in London where she spent all her\nlife. She had a special gift for writing hymns suited to the worship\nexperiences of children. A modest person, always avoiding personal\npublicity. Miss Thrupp did not always receive full credit for her work.\nThis hymn is sometimes wrongly credited to H. F. Lyte.\n\n_MUSIC._ BRADBURY was written for this hymn and derives its name from\nthe composer. It first appeared in a popular Sunday school book,\n_Oriola_, published in 1859 by W. B. Bradbury.\n\nFor comments on the composer, W. B. Bradbury, see Hymn 103.\n\n\n396. O Son of man, our hero _Frank Fletcher_, 1870-1936\n\nA hymn deeply sympathetic with the aspirations and needs of young\nChristians, and appealing to the heroism of youth.\n\nFrank Fletcher was Head Master of Charterhouse School, Godalming,\nEngland, the first layman elected to such a position. He wrote these\nwords in 1921, while on a motor drive between London and Charterhouse.\nAfter having been sung for some time in Charterhouse School, the poem\nwas sent to a church newspaper, _The Challenge_, and from thence it\nfound its way into the hymnals of England and America. The word \u201cmate\u201d\nin the last line comes from an explanation of the trinity given by a\nBishop in answer to a working man\u2019s question on that subject: \u201cGod our\nFather, God our Brother, God our Mate.\u201d Fletcher heard the Bishop give\nthis answer and the phrase stuck in his mind.\n\n_MUSIC._ LONDONDERRY, the famous Irish traditional melody, is a tune\nwhich every congregation loves to sing. It rises gradually and skilfully\nto an effective climax near the end. The tune, unfortunately, has\nsuffered at the hands of arrangers who have employed it, with various\ndegrees of merit, for many different combinations of voices and\ninstruments. Its appropriateness for church use is questioned only by\nthose who have long associated it with secular words and occasions.\n\n\n397. Lord in the fulness of my might _Thomas Hornblower Gill_,\n 1819-1906\n\nA consecration hymn for young people, much used in schools and colleges.\nIt was written by Gill in 1855 and published in his _Golden Chain of\nPraise_, 1869, under the title, \u201cEarly Love. \u2018How good it is to close\nwith Christ betimes!\u2019 Oliver Cromwell.\u201d The original poem has eight\nstanzas.\n\nFor comments on Thomas Hornblower Gill see Hymn 385.\n\n_MUSIC._ AZMON. For comments on this tune see Hymn 12.\n\n\n398. Shepherd of eager youth _Clement of Alexandria_, _c._ 170-_c._\n 220\n _Tr. Henry M. Dexter_, 1821-90\n\nA hymn to Christ, based on a Greek poem attributed to Clement of\nAlexandria, beginning with the line\n\n \u03a3\u03c4\u03cc\u00b5\u03b9\u03bf\u03bd \u03c0\u03ce\u03bb\u03c9\u03bd \u1f00\u03b4\u03b1\u1ff6\u03bd.\n\nThe poem is one of two which Clement attached to his book, _The Tutor_.\nSome say it is the earliest Christian hymn extant. (But see comments on\nHymn 34).\n\nTitus Flavius Clemens, known as St. Clement of Alexandria, _c._ 170-_c._\n220, remains something of an enigmatic figure in church history. It is\nnot known where or exactly when he was born. He was a pagan philosopher\nin his younger days. After his conversion to Christianity, he became\nhead of the Cathedral School at Alexandria, then the center of Christian\nscholarship. Here he remained until A.D. 203 when he was driven out by\npersecution under Septimus Severus. Clement then became a wanderer and\nnothing is known of his later life.\n\nHenry Martyn Dexter was a graduate of Yale and Andover Theological\nSeminary, a Congregational minister and editor. He translated the text\nof Clement\u2019s hymn into prose and then made a free rendering of it into\nverse, in 1846. The hymn was written for use in a service in Dexter\u2019s\nchurch in which he preached on the text, Deut. 32:7: \u201cRemember the days\nof old,\u201d his sermon topic being, \u201cSome Prominent Characteristics of the\nEarly Christians.\u201d\n\nHymnbook editors have made a few changes in the text: \u201ceager youth\u201d for\n\u201ctender youth\u201d in the first stanza; and \u201clet all the holy throng\u201d for\n\u201cinfants and the glad throng\u201d in Stanza 4. The third stanza, omitted\nhere, reads as follows:\n\n Thou art the great High Priest;\n Thou hast prepared the feast\n Of holy love;\n And in our mortal pain\n None calls on Thee in vain;\n Help Thou dost not disdain,\n Help from above.\n\n_MUSIC._ KIRBY BEDON was composed by Edward Bunnett, 1834-1923, a\nprominent English organist and composer of church music. The tune first\nappeared in _The Congregational Hymnary_ of the Congregational Union of\nEngland and Wales.\n\n\n399. Lead on, O King Eternal _Ernest W. Shurtleff_, 1862-1917\n\nWritten upon request of the author\u2019s classmates at Andover Theological\nSeminary, as a hymn for their graduation in 1887. It has come into wide\nuse as a processional and a recessional on baccalaureate and other\noccasions.\n\nErnest W. Shurtleff, graduate of Harvard University and Andover\nTheological Seminary, held Congregational pastorates in Massachusetts\nand at Minneapolis, Minn. He then went to Frankfurt, Germany, where he\ndid his finest work as founder and pastor of the American Church at that\nplace. He also served as spiritual counselor to a large group of\nAmerican students in Paris. During the first World War, he and his wife\nwere active in relief work in Europe. Besides his gifts as preacher, and\npastor, Shurtleff also possessed ability as musician and writer, and\npublished several volumes of poetry.\n\n_MUSIC._ LANCASHIRE. For comments on this tune see Hymn 115.\n\n\n400. Give of your best to the Master _Howard B. Grose_, 1851\u2014\n\nA challenge to youth to give heart and strength to the service of the\nMaster.\n\nThe author, Howard B. Grose, was born in Millerton, N. Y. After\ngraduating from the University of Rochester, he served successively as\npastor of the First Baptist Church, Poughkeepsie, N. Y., the First\nBaptist Church, Pittsburgh, Pa.; president of the University of South\nDakota; and teacher of history in the University of Chicago. In 1910 he\nbecame editor of the Baptist magazine, _Missions_. He was a leader in\nthe Christian Endeavor movement and wrote this hymn for a Christian\nEndeavor hymnal that he was then editing.\n\n_MUSIC._ BARNARD was composed by Charlotte A. (Mrs. Charles C.) Barnard,\n1820-69, an Englishwoman who after her marriage in 1851 began composing\nsongs and ballads under the pseudonym of \u201cClaribel.\u201d These were very\npopular in their day. She composed a hymn tune, \u201cBrocklesbury,\u201d which is\nwidely used with the hymn, \u201cJesus, tender Shepherd, hear me.\u201d\n\nThe descant was written by Professor W. H. Hohmann, head of the music\ndepartment of Bethel College. The \u201cdescant\u201d is an old variation in the\nuse of tunes. It consists of a second melody over that of the tune and\nis to be sung by a few sopranos. It is only an embellishment and should\nbe no more than audible, otherwise it will detract from the melody which\nshould remain as the main center of interest.\n\n\n401. Father in heav\u2019n who lovest all _Rudyard Kipling_, 1865-1936\n\n\u201cThe Children\u2019s Hymn,\u201d in Kipling\u2019s _Puck of Pook\u2019s Hill_, published in\n1906. It was written for boys, but is suitable also for adults.\nPermission to use the hymn in the _Hymnary_ was granted by Mrs. Kipling\non condition that all eight stanzas, unaltered, be used.\n\nRudyard Kipling, famous English writer, was born in Bombay, India, and\ndied in Sussex, England. After receiving his education in England, he\nreturned to India to engage in journalism and became widely known for\nhis short stories, novels, children\u2019s books, histories, and books of\ntravel. The Nobel Prize for Literature was awarded him in 1907, and he\nreceived honorary degrees from universities all over the world. His\n_Jungle Book_, _Just-So Stories_, _Puck of Pook\u2019s Hill_, _Rewards and\nFairies_ made him beloved of all children. His writings extol the\nvirtues of clean living and manly duty which make a nation great.\nHowever, his passionate patriotism made him pen the unfortunate lines:\n\n \u201cO East is East and West is West\n And ne\u2019er the twain shall meet\u201d\n\na prophecy completely discredited by the world events of recent years.\n\n_MUSIC._ HEBRON. For comments on Lowell Mason, the composer of this\ntune, see Hymn 12.\n\n\n402. Lord, through changing days, unchanging _W. Russell Bowie_, 1882\u2014\n\nThis hymn was written originally for the hymn book of the Hill School,\nof Pottstown, Pa., from which the author graduated as a boy in 1900, and\nwhere he afterward taught for a year. The motto of the school is\n\u201cWhatsoever things are true\u201d (Phil. 4:8). The hymn is built around that\ntheme.\n\nW. Russell Bowie was born in Richmond, Va. After taking an A.B. and an\nA.M. at Harvard and teaching for a year at the Hill School, he spent\nmost of three years at the Theological Seminary of Virginia, near\nAlexandria, graduating with the B.D. degree in 1908. Part of his senior\nyear was spent in special study at Union Theological Seminary in New\nYork. For many years he was rector of Grace Church (Episcopal) in New\nYork, a post he resigned in 1939 to become Jesup Graduate Professor of\nPractical Theology and Dean of Students at Union Seminary. He is the\nauthor of a number of books, the most widely known of which is the\n_Story of the Bible_, published by the Abingdon-Cokesbury Press. Among\nhis other volumes are _The Children\u2019s Year_, _The Inescapable Christ_,\n_The Master: A Life of Christ_ (1928) and _Which Way Ahead_ (1943). In\nthe late 1920\u2019s he was elected Bishop Coadjutor of Pennsylvania, but did\nnot accept.\n\n_MUSIC._ REGENT SQUARE. For comments on this tune see Hymn 81.\n\n\n\n\n BOOK II\n Hymns for Children\n\n\n403. A gladsome hymn of praise we sing _Ambrose N. Blatchford_,\n 1842-1924\n\nWritten by the pastor of the Lewin\u2019s Mead Unitarian Church, Bristol,\nEngland, for use in a Sunday school anniversary, 1876, in his church.\nThe hymn is suitable for adults as well as for children.\n\nAmbrose N. Blatchford, born in Devonshire, England, was educated at\nTavistock Grammar School and Manchester New College, London. After\nserving as assistant minister at Lewin\u2019s Mead Unitarian Church for ten\nyears, he took full charge in 1876 and continued until his retirement in\n1915, an unusual record of nearly 50 years of service in one church. He\nwas a man of sympathy with all classes of people, possessed unusual\nvitality, and was a trusted friend and pastor. Blatchford was interested\nin the life and progress of the community and became one of the most\ninfluential and most-loved men in the city.\n\n_MUSIC._ CANAAN. The tune was taken from the _Hymnary_ of the United\nChurch of Canada. The composer is unknown. It is a good, fluent melody\nconstructed on a straightforward melodic line which is repeated three\ntimes.\n\n\n404. Children of Jerusalem _John Henley_, 1800-42\n\nA children\u2019s hymn of praise, based on Matthew 21:15-16:\n\n And when the chief priests and scribes saw the wonderful things that\n he did, and the children crying in the temple, and saying, Hosanna to\n the son of David; they were sore displeased, and said unto him,\n Hearest thou what these say? And Jesus saith unto them, Yea; have ye\n not read, Out of the mouth of babes and sucklings thou hast perfected\n praise?\n\nThe hymn was written by Rev. John Henley, an English Methodist minister,\nknown widely for his deep spirituality and entire consecration to\nChrist. Henley gave much of his time and energy in behalf of the\nsuffering and poor in his parishes.\n\n_MUSIC._ INFANT PRAISE, also known as \u201cChildren of Jerusalem,\u201d first\nappeared in John Curwen\u2019s _Tune Book to the Hymns and Chants for Sunday\nSchools_, published in 1842. The hymn and tune appeared a year later in\n_The Juvenile Harmonist: A Selection of Tunes and Pieces for Children_,\nby Thomas Clark of Canterbury.\n\nJohn Curwen, 1816-80, was a minister in the Independent Church in\nEngland, and an ardent advocate of congregational singing. He developed\nand promoted the Tonic Sol-Fa method of teaching to sing, using it in\nhis own church and schools, and lecturing upon it in various parts of\nthe country. Resigning his ministry on account of ill health, in 1867,\nhe established a printing and publishing business and assisted in the\nfounding of a Tonic Sol-Fa Association for the promotion of that method\nof singing. Curwen compiled and edited popular collections of songs for\nuse in Sunday schools.\n\n\n405. Around the throne of God in heaven _Anne Shepherd_, 1809-57\n\nThe author of this hymn was born on the Isle of Wight, the daughter of\nRev. Edward H. Houlditch, a minister in the Church of England. In 1843\nshe married S. Saville Shepherd. The hymn, originally in five stanzas,\nis one of 64 hymns written by Mrs. Shepherd and published in 1836 under\nthe title, _Hymns Adapted to the Comprehension of Young Minds_.\n\n_MUSIC._ GLORY was published in England in Curwen\u2019s _Tune Book to the\nHymns and Chants for Sunday Schools_, 1842, with these words. The\ncombination of hymn and tune has continued to the present.\n\n\n NATURE\n\n\n406. A little seed lay fast asleep _Clara Writer_, 1859-1915\n\nA song of growth under God\u2019s daily care.\n\nThe lyric is a poetic description of the development of a seed from its\nfirst awakening to life under the touch of God\u2019s sunshine, to the tall,\nfair plant with its golden ear of corn.\n\nNo biographical information is at hand concerning the author, Clara\nWriter.\n\n_MUSIC._ KING\u2019S LANGLEY. For comments on this tune see Hymn 385.\n\n\n407. See the shining dewdrops _Anonymous_\n\nNo information is at hand concerning the origin of this children\u2019s poem\non the theme, \u201cGod is good.\u201d\n\n_MUSIC._ The melody appeared anonymously in _Kleiner Liederschatz_, a\nsmall but useful book of songs for use in German schools and homes. The\nbook was compiled and edited by several Kansas teachers and school\nfriends who preferred to withhold their names. It was first published in\n1901, Newton, Kansas.\n\nThe arrangement was made especially for the _Hymnary_, by E. Shippen\nBarnes, in 1939.\n\nFor comments on Barnes see Hymn 48.\n\n\n408. God sees the little sparrow fall _Maria Straub_, 1838-98\n\nA hymn of God\u2019s love, based on Jesus\u2019 teaching that God notes the fall\nof the sparrow and arrays the flowers in beauty and loveliness.\n\nNo information has been traced concerning the author, Maria Straub, or\nher contemporary, S. W. Straub, 1842-99, who composed the music.\n\n\n409. Birds are singing, woods are ringing _L. F. Cole_\n\nA joyous song of praise. No information has been found concerning L. F.\nCole, author of the words.\n\n_MUSIC._ The tune, BIRDS ARE SINGING, is anonymous.\n\n\n410. All things bright and beautiful _Cecil Frances Alexander_,\n 1823-1895\n\nA nature song. It was written, as were Hymns 104, \u201cThere is a green hill\nfar away,\u201d and 412, \u201cOnce in royal David\u2019s city,\u201d to illustrate the\nApostle\u2019s Creed, the present being a comment on the phrase, \u201cMaker of\nheaven and earth.\u201d It is based on Gen. 1:31: \u201cAnd God saw everything\nthat He had made, and, behold, it was very good.\u201d\n\nOne of her stanzas,\n\n The rich man in his castle\n The poor man at his gate;\n God made them high and lowly\n And ordered their estate\n\nis omitted in most hymn books because it is obviously not in keeping\nwith Christian teachings concerning wealth and poverty. (_Cf._ the\nParable of Dives and Lazarus). The author grew up in the wealthy\natmosphere of an Irish estate where her father was a land agent.\n\nFor further comments on Mrs. Alexander see Hymn 104.\n\n_MUSIC._ GREYSTONE. The first stanza, which serves as a \u201crefrain,\u201d is to\nbe sung after each verse. The hymn is an interesting study in metre. In\nthe refrain, the first line is trochaic (\u2014 -), but the second changes to\nthe more common iambic (- \u2014). The tune is written to take care of this.\nIt owes its unique effect to this refrain, which keeps coming in with\nthis change of metre accompanied by a change of key from C to G.\n\nNo information is at hand concerning the composer.\n\n\n CHRISTMAS\n\n\n411. The happy Christmas comes once more _Nikolai F. S. Grundtvig_,\n 1783-1872\n\nA charmingly fresh Christmas hymn written by the greatest of Danish hymn\nwriters. An omitted stanza reads:\n\n O let us go with quiet mind,\n The gentle Babe with shepherds find,\n To gaze on him who gladdens them,\n The loveliest flower of Jesse\u2019s stem.\n\nNikolai F. S. Grundtvig was born in Udby, Denmark, 1783, the son of a\nLutheran pastor. He lived in a day when rationalistic \u201cnew theology\u201d had\ndried up the stream of spirituality in the church. The church worship\nhad lost its evangelical glow, and the sermons had deteriorated into\nlectures on science and domestic economy. Young Grundtvig, in the course\nof his studies for the ministry, had come under the influence of this\nrationalism and for a time lost all interest in religion. Various\ninfluences opened his eyes to the spiritual poverty existing in the\nchurch, and he became an indefatigable worker for the dawn of a new day\nin the life of the people. His zeal sometimes led him into extravagances\nwhich put him at odds with his fellow ministers, but his preaching and\nwritings, nevertheless, became a powerful influence in Denmark and\nresulted in fresh stirring of the Spirit in the church. His poems and\nhymns, entitled _Hymns and Spiritual Songs_, were published in five\nvolumes.\n\n_MUSIC._ The melody is found in a book, _Children\u2019s Voices_, published\nby the Augsburg Press (Lutheran). No information is at hand regarding\nthe composer, C. Belle. The arrangement was made by E. Shippen Barnes\nfor the _Hymnary_.\n\nFor comments on Barnes see Hymn 48.\n\n\n412. Once in royal David\u2019s city _Cecil Frances Alexander_, 1823-95\n\nOne of a series of children\u2019s songs written by Mrs. Alexander to\nillustrate the Apostles\u2019 Creed, this being a comment on the second\nclause, \u201cAnd in Jesus Christ his only Son, our Lord, who was conceived\nby the Holy Ghost, born of the Virgin Mary.\u201d Others in the series are\n\u201cThere is a green hill far away\u201d (No. 104) and \u201cAll things bright and\nbeautiful\u201d (No. 410).\n\n_MUSIC._ IRBY was written for this hymn to be sung by voices in unison,\nwith harmonized accompaniment. It has become one of the best-known hymn\ntunes for children, and is always associated with these words.\n\nHenry John Gauntlett, 1805-76, the composer, was an English musician who\ngave up law in 1844 to devote himself to music. He became a noted\norganist and prolific composer, his tunes running into thousands. He was\nmuch in demand for editing the music of hymn books and made a notable\ncontribution to the promotion of hymnody of the church. Mendelssohn said\nof him: \u201cHis literary attainments, his knowledge of the history of\nmusic, his acquaintance with acoustical laws, his marvelous memory, his\nphilosophical turn of mind, as well as his practical experience,\nrendered him one of the most remarkable professors of the age.\u201d\n\n\n413. Come hither, ye children _Christian Schmidt_, 1768-1854\n\nA popular Christmas song which all children love to sing.\n\nChristian Schmidt was born in Dinkelsb\u00fchl, the oldest son of the city\nclerk. In 1791, he was ordained to the ministry and given the headship\nof the school and made school inspector in Thannhausen at Mindel. His\nwas a singularly fruitful ministry in which he devoted most of his\ntalent to the benefit of the young people. He was in the habit of using\nthe hours from four until eight in the morning in writing for young\npeople, this being the only time of the day that he considered his own.\nAs a child of ten years, he was greatly impressed with the nativity\nscenes which had been built in the corridors of the state church in\nDinkelsb\u00fchl and which he saw daily during the Advent season. The vivid\nrecollection of this childhood experience resulted in the composition of\nthis beloved Christmas song for children:\n\n Ihr Kinderlein, kommet, o kommet doch all\u2019!\n Zur Krippe her kommet, in Bethlehems Stall,\n Und seht, was in dieser hoch-heiligen Nacht\n Der Vater im Himmel f\u00fcr Freude uns macht.\n\n O seht in der Krippe, im n\u00e4chtlichen Stall,\n Seht hier bei des Lichtleins hellgl\u00e4nzendem Strahl,\n In reinlichen Windeln das himmlische Kind,\n Viel sch\u00f6ner und holder als Engel es sind.\n\n O betet: du liebes, du g\u00f6ttliches Kind,\n Was leidest du Alles f\u00fcr unsere S\u00fcnd\u2019!\n Ach, hier in der Krippe schon Armut und Not,\n Am Kreuze dort endlich den bitteren Tod!\n\n Was geben wir Kinder, was schenken wir dir,\n Du bestes und liebstes der Kinder, daf\u00fcr?\n Nichts willst du von Sch\u00e4tzen und Reichtum der Welt;\n Ein Herz nur voll Demut allein dir gef\u00e4llt.\n\nOur translation, appearing anonymously, employs the first stanza and two\nothers from the original not given here.\n\nThe poem first appeared in the second edition of _Christliche Ges\u00e4nge\nzur \u00f6ffentlichen Gottesverehrung_, Augsburg, 1811.\n\n_MUSIC._ IHR KINDERLEIN KOMMET should be sung with lively tempo. No\ninformation is at hand concerning the composer of the tune.\n\n\n414. Away in a manger _Anonymous_\n\nA beautiful Christmas carol which has long been ascribed to Martin\nLuther. However, many of our best hymnologists\u2014among them Percy Dearmer,\nJames Moffatt, and Robert McCutchan\u2014hold that it has never been traced\nto any of Luther\u2019s works, and that it does not resemble anything that\nLuther ever wrote. The words must, therefore, be classed \u201canonymous\u201d\nuntil more information is forthcoming.\n\n_MUSIC._ The music, too, is of unknown origin. The name of the composer,\nCarl Mueller, to whom it is attributed, is German and the tune is in the\nstyle of a German folk song. Other than this there seems to be no\ninformation regarding the composer or the tune.\n\n\n EASTER\n\n\n415. Joy dawned again on Easter Day _Latin_\n _Tr. John Mason Neale_, 1818-66\n\nThe Latin original of this hymn comprises stanzas 9, 10, and 11 of\n_Aurora lucis rutilat_, one of the most ancient Easter hymns in\nexistence. It is found in the earliest monastic hymnaries of the sixth\nto the ninth centuries with a wide diffusion in continental as well as\nAnglo-Saxon and Celtic sources. Its authorship is unknown.\n\nThe Latin text may be found in _Analecta Hymnica Medii Aevi_, v. 51, p.\n89; A. S. Walpole, _Early Latin Hymns_, Cambridge University Press,\n1922, p. 356; or _Hymns Ancient and Modern, Historical Edition_, London:\nClowes, 1909, p. 199.\n\n\n _Aurora lucis rutilat_\n\n Stanza 9.\n Claro paschali gaudio\n Sol mundo nitet radio,\n Cum Christum iam apostoli\n Visu cernunt corporeo.\n\n 10.\n Ostensa sibi vulnera\n In Christi carne fulgida\n Resurexisse Dominum\n Voce fatentur publica.\n\n 11.\n Rex Christe clementissime,\n Tu corda nostra posside,\n Ut tibi laudes debitas\n Reddamus omni tempore.\n\n Doxology\n Quaesumus, auctor omnium,\n In hoc paschali gaudio\n Ab omni mortis impetu\n Tuum defendas populum.\n\n Gloria tibi, Domine,\n Qui surrexisti a mortuis,\n Cum Patre et sancto Spiritu\n In sempiterna saecula.\n\nThe full hymn was used at first as a morning hymn throughout the Easter\nseason. Later it was broken up into parts for various services during\nthe day, as follows: _Aurora lucis rutilat_, stanzas 1-4; _Tristes erant\napostoli_, stanzas 5-8; _Claro paschali gaudio_, stanzas 9-11. A\ntraditional double doxology of two stanzas which varies in form but\nwhich is always present, completes the third hymn. The subject matter\nfollows the Biblical narrative of the events of Easter morning.\n\nThe entire hymn was translated by John Mason Neale, _Collected Poems of\nJohn Mason Neale_, London: Hodder and Stoughton, 1914, pp. 121-122, and\npublished in _The Hymnal Noted_, in 1852. The full translation which has\nbeen greatly altered may also be found in _Hymns Ancient and Modern_,\npp. 198-199, in a traditional form.\n\nThose who sing this hymn at Eastertide may be assured that it has been\nin unbroken use for fourteen centuries, a universal expression of the\nseason\u2019s unchanging faith and joy.\n\n_MUSIC._ PUER NOBIS. For comments on this tune see Hymn 87.\n\n\n LOYALTY AND CONSECRATION\n\n\n416. Hushed was the evening hymn _James D. Burns_, 1823-64\n\nBased on the incident of the call of Samuel in I Samuel 3. The verses\nwere published in _The Evening Hymn_, 1857, a small volume consisting of\nan original hymn and an original prayer for every evening of the month,\nby Burns when he was minister of the Hampstead Presbyterian Church,\nLondon. The hymn lends itself well to dramatization.\n\nJames Drummond Burns received his training for the ministry at the\nUniversity of Edinburgh. When the Disruption took place in the Scottish\nChurch, he followed his teacher, Dr. Chalmers, into the Free Church in\n1843. For reasons of health he went to France and some years later, his\nhealth improved, he returned to London and built up a strong\ncongregation at Hampstead where a church had been newly organized. His\nwinsome character and broadmindedness, together with an especially\nbeautiful voice, made his work unusually effective. He published several\nbooks and is the author of an article on \u201cHymns\u201d in the eighth edition\nof the _Encyclopaedia Brittanica_.\n\n_MUSIC._ SAMUEL was composed for this hymn, the original arrangement,\nmade in 1874, being for treble voices in unison, with organ\naccompaniment. The composer later made the present four-part arrangement\nin which form it has come into many church hymnals.\n\nFor comments on Arthur Sullivan see Hymn 113.\n\n\n417. In our work and our play _Whitefield Glanville Wills_, 1841-91\n\nA beautiful prayer of consecration.\n\nThe author, Whitefield Glanville Wills, an Englishman, was born in\nBristol. He published a small collection, _Hymns for Occasional Use_ in\n1881. The present hymn, entitled \u201cChildren of God,\u201d was contributed by\nhim to _School Hymns_, England, 1891.\n\n_MUSIC._ ROSSLYN is an English melody taken from the Supplement to the\n_Primitive Methodist Hymnal_, 1912. The composer is not known.\n\n\n418. The wise may bring their learning _Anonymous_\n\nA hymn setting forth the important lesson that children, however poor,\nmay bring useful gifts to the King. It appeared anonymously in _The Book\nof Praise for Children_, published in England, 1881.\n\n_MUSIC._ ELLON is a perfectly adapted tune for these words, though it\nwas written originally for another hymn. The tune is popular with\nchildren and is sung with interest also by adults.\n\nThe composer, George F. Root, 1820-95, an American musician, studied\nmusic in Boston and then became a teacher and organist. In 1841, he\nbecame associated with Lowell Mason in teaching music in the public\nschools of Boston. Three years later he moved to New York, where he\ntaught in various institutions, including Union Theological Seminary and\nthe New York Institution for the Blind. In the latter place, the blind\nhymn writer, Fanny Crosby, was one of his pupils. Root organized and\nconducted many music institutes and joined his brother, E. T. Root, and\nC. M. Cady in the publishing of music in Chicago under the firm name,\nRoot and Cady. He composed many tunes for religious and secular use, and\nduring the Civil War wrote numerous \u201cwar songs\u201d which became popular. He\nalso wrote cantatas\u2014_Under the Palms, David, the Shepherd Boy_, and\nothers\u2014which have been used by singing organizations all over America.\n\n\n419. Tell me the stories of Jesus _W. H. Parker_, 1845-1929\n\nA hymn for children on the life of Christ. It first appeared in _The\nSunday School Hymnary_, published in England, 1885. It was written by\nWilliam Henry Parker, a member of the General Baptist Church in England,\na layman, interested especially in Sunday school work. He was a\nmachinist by trade, working nearly all his life in a large lace-making\nplant in Nottingham. For many years he composed hymns for anniversary\nfestivals in the Sunday school. These were published in 1882 in a volume\nentitled, _The Princess Alice and Other Poems_.\n\n_MUSIC._ STORIES OF JESUS was written for these words and included in a\nvolume published by the National Sunday School Union, London.\n\nThe composer, Frederic Arthur Challinor, was born in Staffordshire,\nEngland, 1866, the son of a miner. Poverty compelled him in childhood to\nseek employment to supplement the family income. At the age of ten he\nbegan working in a brick yard. Two years later he found employment in a\ncoal mine and then in a china manufacturing plant. All the while he was\ninterested in music and spent his spare time studying harmony. By hard\nwork and perseverance, he finally won his Mus. Bac. degree in 1903.\nChallinor has composed several popular cantatas and published more than\nfour hundred compositions for voices.\n\n\n420. Jesus bids us shine _Susan Warner_, 1819-85\n\nA hymn for small children, which first appeared, anonymously, in _The\nLittle Corporal_, Chicago.\n\nThe author, Susan Warner, sister of Anna B. Warner (see Hymn 201), was\nthe daughter of a reputable attorney in New York State. Her father fell\ninto undeserved misfortune which left the daughters as the breadwinners\nof the household. This burden they fulfilled by writing stories and\nbooks. Susan\u2019s first book, _The Wide, Wide World_, published in 1865\nunder the pseudonym of \u201cElizabeth Wetherall,\u201d became one of the most\nwidely read of American novels, second in popularity only to _Uncle\nTom\u2019s Cabin_. It was translated into French and German and became a\nbest-seller on both sides of the Atlantic. She also wrote a number of\ndefinitely religious books for children. Like her sister, Anna, she was\nburied at West Point, where the two had conducted a Bible class for many\nyears for the cadets of the U. S. Military Academy.\n\n_MUSIC._ The tune is by Edwin O. Excell, 1851-1921, an American composer\nof Gospel song tunes. In England, the hymn is sung to \u201cLumetto,\u201d a tune\nby Edward Arthur, composed in 1927.\n\n\n421. Here we come with gladness _Julia H. Johnston_, 1852\u2014\n\nIntended to be sung as a collection march.\n\nThe author, Julia Harriette Johnston, born at Salineville, Ohio, was\neducated at Gettysburg and Peoria, Illinois, High School. She was much\ninterested in missions and Sunday-school work and frequently contributed\narticles to magazines, on those subjects. Among her publications were\n_The School of the Master_, _Bright Threads_, and the _Life of Adoniram\nJudson_.\n\n_MUSIC._ AUS DEM HIMMEL FERNE is a traditional German melody of unknown\nauthorship. It appeared in the _Gesangbuch mit Noten_ and in _Kleiner\nLiederschatz_, and is a well known children\u2019s tune.\n\n\n PRAYER\n\n\n422. We thank Thee, O our Father _Catherine Mary McSorley_\n\nA prayer of thanksgiving, especially for the flowers which, growing in\nthe most unlikely places, make the world so bright and fair and reveal\nthe power and love of God.\n\nJulian attributes the hymn to Catherine Mary McSorley but gives no\ninformation concerning her. The hymn appeared in the Appendix of the\nIrish _Church Hymnal_, 1891, and was published in _Church Hymns_,\nEngland, 1903.\n\n_MUSIC._ ENDSLEIGH. For comments on this tune see Hymn 283.\n\n\n423. Father, we thank Thee for the night _Rebecca J. Weston_, _c._\n 1890\n\nA morning prayer. The words were written by Rebecca J. Weston, about\n1890, but no information concerning her has been traced. This seems to\nbe her only hymn. It appeared in a music-book, _The Tonic Sol-fa\nCourse_, published by the Oliver Ditson Company. The editor of that book\nwas the Rev. D. Batchellor, who composed the tune. The hymn was included\nin _Songs of Praise_, London, 1933.\n\n\n424. Savior, teach me, day by day _Jane Eliza Leeson_, 1807-82\n\n\u201cLove\u2019s sweet lesson\u201d has never been presented more beautifully to the\nyoung than in this lyric from Miss Leeson\u2019s _Hymns and Scenes of\nChildhood_, 1842, where it is entitled \u201cObedience.\u201d The Scriptural basis\nis I John 4:19: \u201cWe love him because he first loved us.\u201d\n\nFor comments on the author, Jane Eliza Leeson, see Hymn 298.\n\n_MUSIC._ POSEN is a short, vigorous tune which children, as well as\nadults, love to sing. The bass is no less interesting than the melody.\n\nThe composer, George C. Strattner, 1650-1705, was an able German\nmusician whose most important work consisted in editing the fifth\nedition of Joachim Neander\u2019s _Collected Hymns_, with music, published\n1691, in which POSEN first appeared.\n\n\n425. Jesus, tender Shepherd, hear me _Mary L. Duncan_, 1814-40\n\nA beautiful evening prayer, written by the author for her own children.\n\nMrs. Mary Duncan was the daughter of Rev. Robert Lundie, minister at\nKelso, England. In 1836, she married the Rev. William Wallace Duncan,\nminister of the Scottish parish of Cleish. Between July and December of\n1839, the year before her death, she wrote a number of hymns for her\nsmall children. These were published in a _Memoir_ by her mother and\nlater issued separately\u2014twenty-three in all\u2014as _Rhymes for My Children_,\n1842. Mrs. Duncan, whose life ended so prematurely, was a woman of fine\nintellect and lovable character, the memory of whom has been described\nas one of the \u201caids to the devout life\u201d of Scotland in the last\ngeneration. Her sister married Dr. Horatius Bonar (Hymn 129), minister\nand hymn writer.\n\n_MUSIC._ EVENING PRAYER. For comments on the composer, John Stainer, see\nHymn 111. The tune was composed for this hymn in the first edition of\n_The Church Hymnary_, London.\n\n\n426. Praise Him! Praise Him! _Anonymous_\n\nA simple song, of unknown origin, which tiny tots love to sing. The\ntruth the song enforces\u2014\u201cGod is love\u201d\u2014is one the child will carry into\nadulthood and into eternity.\n\nThe tune is an arrangement by Hubert P. Main, 1839-1925, American\ncomposer of popular Sunday school and evangelistic music, and editor of\nmany hymn books. For sixty years, Main was connected with the Bigelow\nand Main publishing house in Chicago, now out of business. His private\nlibrary of song and hymn books, consisting of over 7,000 volumes, is one\nof the largest of its kind to be found anywhere. Nearly one-half of it\nis in the Chicago Public Library where it is known as the \u201cMain\nCollection.\u201d Among his most popular tunes are: \u201cWe shall Meet Beyond the\nRiver,\u201d \u201cThe Bright Forever,\u201d and \u201cIn the Fadeless Springtime.\u201d\n\n\n427. I think when I read that sweet story _Jemima Luke_, 1813-1906\n\nA hymn that has gone all over the world and has been learned by a\ncountless number of children of many nations and races. Concerning its\norigin, Mrs. Luke has written:\n\n I went one day on some missionary business to the little town of\n Wellington, five miles from Taunton, in a stage coach. It was a\n beautiful spring morning, it was an hour\u2019s ride, and there was no\n other inside passenger. On the back of an old envelope I wrote in\n pencil the first two of the verses now so well known, in order to\n teach the tune to the village school supported by my stepmother, and\n which it was my province to visit. The third verse was added\n afterwards to make it a missionary hymn.\n\nJemima Luke was the daughter of Thomas Thompson, one of the founders of\nthe British and Foreign Sailors\u2019 Society and a \u201cfriend of every good\ncause.\u201d She volunteered to do missionary work in India, but ill health\nmade that impossible. All her life, however, she maintained an active\ninterest in foreign missions. In 1843, she married the Rev. Samuel Luke,\na Congregational minister in Clifton, England.\n\n_MUSIC._ SWEET STORY is an arrangement by Wm. B. Bradbury (see Hymn 103)\nof a Greek tune known as \u201cSalamis\u201d or \u201cAthens.\u201d Mrs. Luke heard the\nmelody (in its original form) used as a marching song by a group of\nchildren in a school near her home where she had gone to learn something\nof the teaching methods used. She was intrigued by the tune and wrote\nthe words to fit it. The words and music are inseparably associated, the\noriginal form of the melody being used in England, and Bradbury\u2019s\nadaptation (easier but less interesting) in America.\n\n\n428. Jesus loves me! this I know _Anna B. Warner_, 1820-1915\n\nA hymn beloved by all the children. It was composed about 1860.\n\nFor comments on the author, Anna Bartlett Warner, see Hymn 201.\n\n_MUSIC._ JESUS LOVES ME. Bradbury\u2019s tune was composed for this hymn in\n_The Golden Choir_, 1861.\n\nFor comments on William B. Bradbury, see Hymn 103.\n\n\n429. Loving Shepherd of Thy sheep _Jane Eliza Leeson_, 1807-82\n\nFrom Miss Leeson\u2019s _Hymns and Scenes of Childhood_, 1842. Based on John\n10:27: \u201cMy sheep hear my voice, and I know them and they follow me.\u201d\n\nFor comments on the author, Jane Eliza Leeson, see Hymn 298.\n\n_MUSIC._ INNOCENTS. For comments on this tune, see Hymn 64.\n\n\n430. I am Jesus\u2019 little lamb _Henriette Luise von Hayn_, 1724-82\n\nA song of the Good Shepherd\u2019s care of His lambs, based on Isa. 40:11:\n\u201cHe shall feed his flock like a shepherd: he shall gather the lambs with\nhis arm, and carry them in his bosom.\u201d\n\nHenriette Luise von Hayn, born in Idstein, Nassau, early in life gave\nher heart to Christ and often rose at night to spend hours on her knees\nin prayer. Influenced by the writings of Zinzendorf, she became\ninterested in joining the \u201cBrotherhood,\u201d against the wishes of her\nparents. One morning, after reading Matthew 10:37, \u201cHe that loveth\nfather or mother more than me is not worthy of me,\u201d she decided to leave\nhome and did so, mailing a letter in the neighboring village to her\nparents explaining her intention to go to Herrnhag to join the Moravian\ncolony at that place. However, she was detained at Frankfurt and\nreturned to her home. Her parents now granted her wish to join the\nMoravians and the rest of her life was spent as a useful and influential\nmember of the Brotherhood, first at Herrnhag and later at Herrnhut,\nwhere she received spiritual instruction from Zinzendorf himself. On\nAugust 8, 1776, she wrote \u201cWeil ich Jesu Sch\u00e4flein bin,\u201d a poem of seven\nstanzas, in honor of Sister Christine Petersen\u2019s thirty-sixth birthday.\nOur hymn is a selection of three stanzas from this poem.\n\nThe German version of the poem is as follows:\n\n Weil ich Jesu Sch\u00e4flein bin\n Freu ich mich nur immerhin\n Ueber meinen guten Hirten\n Der mich wohl weiss zu bewirten,\n Der mich liebet, der mich kennt\n Und bei meinem Namen nennt.\n\n Unter seinem sanften Stab\n Geh\u2019 ich aus und ein, und hab\u2019\n Unaussprechlich s\u00fcsse Weide\n Dass ich keinen Mangel leide;\n Und so oft ich durstig bin,\n F\u00fchrt Er mich zum Brunnquell hin.\n\n Sollt\u2019 ich denn nicht fr\u00f6hlich sein,\n Ich begl\u00fccktes Sch\u00e4felein?\n Denn nach diesen sch\u00f6nen Tagen\n Werd\u2019 ich endlich heimgetragen\n In des Hirten Arm und Schoss:\n Amen, ja mein Gl\u00fcck ist gross!\n\nNo information concerning the translator, William F. Stevenson, has been\ntraced.\n\n_MUSIC._ WEIL ICH JESU SCH\u00c4FLEIN BIN is a popular melody, from the\n_Gesangbuch mit Noten_ where it appears anonymously. It also appears\nwith the same words and translation in the United Lutheran _Common\nService Book_, 1918, where the tune is credited to D\u00f6lker\u2019s _Geistliche\nLieder_, 1876.\n\n\n431. Sleep, baby, sleep _Ferdinand F. Buermeyer_\n\nThe author of this lullaby, Ferdinand F. Buermeyer, has not been traced.\nThe words were written in 1876.\n\n_MUSIC._ SCHLAF\u2019, KINDLEIN, SCHLAF\u2019 is a German melody composed by\nLouise Reichardt, 1788-1826, a German musician, born in Berlin. Her\nfather, Johann Friedrich Reichardt, was a composer of operas and other\nmusic, and editor of a number of musical periodicals. Louise was a\nsinging teacher in Hamburg from 1814 until her death. She composed many\nsongs, a collection of which was published by G. Rheinhardt, Munich,\n1922.\n\n\n432. When He cometh, when He cometh _Wm. O. Cushing_, 1823-1903\n\nBased on Malachi 3:17: \u201cThey shall be mine, saith the Lord of hosts, in\nthat day when I make up my jewels.\u201d\n\nThe author, William Orcutt Cushing, was a minister of the Christian\nChurch and served congregations of that denomination in various cities\nin New York State. Towards the close of his life, however, he joined the\nMethodist church. He is the author of more than 300 hymns of the gospel\nsong type.\n\n_MUSIC._ JEWELS. For comments on the composer of this tune, George F.\nRoot, see Hymn 418.\n\n\n433. From yon distant heaven _W. Hey_, 1789-1854\n _Tr. J. R. Thierstein_, 1867-1941\n\n Aus dem Himmel ferne,\n Wo die Englein sind,\n Schaut doch Gott so gerne\n Her auf jedes Kind.\n\n H\u00f6ret seine Bitte\n Treu bei Tag und Nacht,\n Nimmt\u2019s bei jedem Schritte\n V\u00e4terlich in Acht.\n\n Gibt mit Vaterh\u00e4nden\n Ihm sein T\u00e4glich Brot\n Hilft an allen Enden\n Ihm aus Angst und Not.\n\n Sagt\u2019s den Kindern allen\n Dass ein Vater ist,\n Dem sie wohlgefallen,\n Der sie nie vergisst.\n\nA popular song for children which appeared originally in the author\u2019s\n_Noch 50 Fabeln f\u00fcr Kinder, nebst einem ernsthaften Anhang_, 1857.\n\nWilhelm Hey was born in Laucha, near Gotha, where he later became\nminister of the local parish. He received his education at Jena and\nG\u00f6ttingen Universities and became a well-known writer, minister, and\nteacher. His stories for children and young people were widely read. As\na minister he was especially helpful to the poor and sick in the\nparishes he served, and took much interest in the distribution of Bibles\nwhere needed.\n\nThe translation was made by John R. Thierstein, Ph.D., Professor of\nGerman and French, Bethel College, North Newton, Kansas. Dr. Thierstein\nwas born in Bowil, Bern, Switzerland. In addition to his work as college\nprofessor, he served the church for a time as editor of _The Mennonite_,\nand at the time of his death he was chairman of the Board of\nPublications of the General Conference of Mennonites, a position he held\nfor some years. In the latter capacity it became his duty to see the\n_Mennonite Hymnary_, 1940, through the press, a responsibility he\ndischarged with efficiency and enthusiasm.\n\n_MUSIC._ AUS DEM HIMMEL FERNE. For comments on this tune see Hymn 421.\n\n\n434. Lo! the heavens are breaking _Anonymous_\n\nA spring song, setting forth the love and goodness of God.\n\nBoth words and melody are anonymous.\n\n\n435. Can a little child like me _Ascribed to Mary Mapes Dodge_,\n 1831-1905\n\nA children\u2019s hymn of thanksgiving.\n\nMary Mapes Dodge, to whom the poem is ascribed, wrote stories and poetry\nfor children. _Hans Brinker of the Silver Skates_ is her best-known\nwork. She was also first editor of _St. Nicholas_ magazine.\n\nNo information has been traced concerning the composer of the tune, W.\nK. Basswood. Words and music were taken from _The Hymnary_, Toronto,\n1930, published by the United Church of Canada.\n\n\n MISSIONS\n\n\n436. Remember all God\u2019s children _Percy Dearmer_, 1867-1936\n\nA missionary hymn for children, but suitable also for adults. It was\nwritten at the request of the Church Missionary Society (London) for\ntheir children\u2019s magazine, _The Round World_. A few months later,\nJanuary 1, 1930, it was reprinted in _Songs of Praise for Boys and\nGirls_. The original is in three stanzas of eight lines each. The first\nstanza and the first half of the second, omitted in the _Hymnary_, are\nas follows:\n\n Remember all the people\n Who live in far-off lands\n In strange and lovely cities,\n Or roam the desert sands,\n Or farm the mountain pastures,\n Or till the endless plains\n Where children wade through rice-fields\n And watch the camel-trains:\n\n Some work in sultry forests\n Where apes swing to and fro,\n Some fish in mighty rivers,\n Some hunt across the snow.\n\nPercy Dearmer, prominent figure in the Church of England, was educated\nat Oxford, served important posts as minister, and in 1919 became\nProfessor of Ecclesiastical Art in King\u2019s College, London. He was editor\nof two epoch-making hymn books in England\u2014_The English Hymnal_ and\n_Songs of Praise_\u2014and wrote an unexcelled handbook to the latter,\nentitled _Songs of Praise Discussed_. He is the author of a number of\nreligious books.\n\n_MUSIC._ EINTRACHT is a melody from the _Gesangbuch mit Noten_, arranged\nfor unison or two-part singing by Prof. W. H. Hohmann, head of the Music\nDepartment of Bethel College.\n\nWalter H. Hohmann, born at Halstead, Kansas, received his education at\nBethel College and Bush Conservatory of Music, Chicago, the latter\ngranting him the degree of Bachelor of Music in 1922, and Master of\nMusic in 1928. After teaching several years at Freeman Junior College,\nand one year at Nebraska State Teachers College, he joined the Bethel\nCollege faculty in 1923. In recognition of his long years of service,\nBethel College gave him the honorary degree of Doctor of Music, in 1947.\nHe has composed a number of songs and served as co-editor of the\n_Mennonite Hymnary_, 1940. He is the author of a booklet, _Outlines in\nHymnology with Emphasis on Mennonite Hymnology_, 1941.\n\n\n\n\n BOOK III\n Gospel Songs\n\n\n437. We praise Thee, O God _Wm. Paton Mackay_, 1839-85\n\nA popular song in the Moody and Sankey revivals. It has few equals as a\n\u201crouser\u201d in a revival or prayer meeting. To create interest and add\nvariety in a special song service, Rodeheaver suggests that the leader\ntry having the choir sing the chorus all the way through, the\ncongregation joining only in the \u201cHallelujah,\u201d and the last phrase,\n\u201cRevive us again.\u201d\n\nThe author, Wm. Paton Mackay, received his education in the University\nof Edinburgh. For some time he was interested in medicine but gave that\nup to become the minister of the Prospect Street Presbyterian Church,\nHull, England. He came to an untimely death through an accident.\nSeventeen of his hymns appeared in W. Reid\u2019s _Praise Book_, 1872. Among\nthese was the present hymn, the author\u2019s most widely known work.\n\n_MUSIC._ REVIVE US AGAIN is well suited to the text, though it is also\nused with Horatio Bonar\u2019s hymn:\n\n Rejoice and be glad! for our King is on high;\n He pleadeth for us on his throne in the sky.\n\n Rejoice and be glad! for He cometh again;\n He cometh in glory, the Lamb that was slain.\n\n Refrain: Sound His praises! tell the story of Him who was slain!\n Sound His praises! tell with gladness, \u201cHe liveth again.\u201d\n\nThe composer, John Jenkins Husband, 1760-1825, born in Plymouth,\nEngland, was clerk at Surrey Chapel. In 1809, he came to the United\nStates and settled in Philadelphia, where he taught music and served as\nclerk of St. Paul\u2019s Protestant Episcopal Church. Husband is the\ncomposer, also, of several anthems.\n\n\n438. Praise Him! Praise Him! _Fanny J. Crosby_, 1820-1915\n\nOne of the many fine lyrics by the blind poet, Fanny Crosby, first\npublished in Bigelow and Main\u2019s _Bright Jewels_, 1869. A useful and\npopular praise song.\n\nFor comments on Fanny Crosby, see Hymn 313.\n\n_MUSIC._ ALLEN, a favorite tune wherever gospel songs are in use, was\ncomposed by Chester Allen, 1812-77, who belongs to an American group of\npopular hymn-tune writers composed of Lowry, Bliss, Webb, H. P. Main,\nand others. No biographical information concerning him is at hand.\n\n\n439. Come, let us all unite to sing _Anonymous_\n\nA hymn built around the theme \u201cGod is love,\u201d I John 4:8, 16.\n\nThe author is unknown.\n\n_MUSIC._ GOD IS LOVE. This tune was composed by Rev. Edmund S. Lorenz, a\nprolific writer of gospel hymn-tunes, and founder and president of the\nLorenz Publishing Company, Dayton, Ohio. Lorenz was born in Stark\nCounty, Ohio, July 13, 1854, and received his education at Otterbein\nUniversity, Union Theological Seminary, Yale Divinity School, and the\nUniversity of Leipzig. He was a pastor in the United Brethren Church for\na time and then became president of Lebanon Valley College, a post he\nwas compelled to resign on account of illness. Regaining his health, he\nwent into the publishing business. He prepared _The Church Hymnal_ for\nthe United Brethren in Christ in 1935. His publications include\n_Practical Church Music_, _The Singing Church_, 1937, and other volumes\non sacred music.\n\n\n440. There is no name so sweet on earth _George W. Bethune_, 1805-62\n\nA hymn honoring the name of Jesus. John Wesley always objected to words\nlike \u201cdear\u201d and \u201csweet\u201d applied to Jesus, as being too sentimental, and\nthe terms are never so used in the New Testament. But the gospel song\nwriters have employed them frequently and many good Christians have no\nhesitancy in singing them.\n\nGeorge W. Bethune was the son of a prominent merchant, philanthropist,\nand churchman in New York City. On the day of his birth he was dedicated\nto God by his godly parents, their prayer being that the child may \u201cbe\nmade a faithful, honored and zealous minister of the everlasting\ngospel.\u201d The son was given many educational advantages and made good use\nof them. He was admitted to college at 14 and graduated from Princeton\nTheological Seminary when only 20 years of age. After serving for a year\nas chaplain to the seamen in the port of Savannah, he returned north to\naccept the pastorate of a Dutch Reformed Church and later served\nchurches in Philadelphia, Brooklyn, and elsewhere. A man of fine\nliterary taste and good scholarship, he was offered, but declined, the\nProvostship of the University of Pennsylvania and the Chancellorship of\nNew York University. He preferred to be a preacher of the Gospel. To his\nson and sons-in-law, he gave this dying charge: \u201cMy sons, preach the\nGospel. Tell dying sinners of a Saviour. All the rest is but folly.\u201d He\nwent to Florence, Italy, for his health and died there on a Sunday night\nafter having preached in the Scottish Church in the morning on the text,\n\u201cBe of good cheer: thy sins be forgiven thee.\u201d The following poem, found\nin his portfolio, was written on the Saturday before his death:\n\n When time seems short and death is near,\n And I am pressed by doubt and fear,\n And sins, an overflowing tide,\n Assail my peace on every side,\n This thought my refuge still shall be,\n I know the Saviour died for me.\n\n His name is Jesus, and he died,\n For guilty sinners crucified;\n Content to die that he might win\n Their ransom from the death of sin:\n No sinner worse than I can be,\n Therefore I know he died for me.\n\n If grace were bought, I could not buy;\n If grace were coined, no wealth have I;\n By grace alone I draw my breath,\n Held up from everlasting death;\n Yet, since I know his grace is free,\n I know the Saviour died for me.\n\n I read God\u2019s holy Word, and find\n Great truths which far transcend my mind;\n And little do I know beside\n Of thoughts so high, so deep, so wide:\n This is my best theology,\n I know the Saviour died for me.\n\n My faith is weak, but \u2019tis Thy gift;\n Thou canst my helpless soul uplift,\n And say, \u201cThy bonds of death are riven,\n Thy sins by Me are all forgiven;\n And thou shalt live from guilt set free,\n For I, thy Saviour, died for thee.\u201d\n\nHis body was brought to New York for burial. Among the directions he had\nleft for his funeral was this: \u201cSing my own hymn, \u2018It is not death to\ndie,\u2019 to a cheerful tune.\u201d The request was carried out. The hymn\nreferred to is a translation he had made of a poem by the distinguished\nSwiss preacher, C\u00e9sar Malan.\n\n_MUSIC._ SWEETEST NAME. The name of the tune is obviously derived from\nthe words for which it was composed. For comments on the composer, Wm.\nB. Bradbury, see Hymn 103.\n\n\n441. Take my heart, O Father, take it _Anonymous_\n\nA simple hymn of consecration and devotion whose author evidently\npreferred to remain anonymous.\n\n_MUSIC._ DORRNANCE. The tune is simplicity itself. Concerning his tunes,\nWoodbury wrote in the preface to his _New Lute of Zion_, 1856:\n\n The music is not designed for the fastidious and scientific musician\n whose highest delight, and perhaps sole worship, is music as an art,\n but for those who love to worship God in the simple song of praise.\n\nFor comments on the composer, Isaac B. Woodbury, 1819-58, see Hymn 261.\n\n\n442. \u2019Tis the promise of God, full salvation to give _Philip P.\n Bliss_, 1838-76\n\nA hymn with a curious origin which became popular in revival meetings.\nIt voices the spontaneous thanksgivings that break out at the\nannouncement of a conversion. Bliss wanted to include \u201cHallelujah! Thine\nthe glory\u201d (No. 437) in his _Gospel Songs_, 1874. The owner of the\ncopyright refused permission whereupon Bliss wrote \u201cHallelujah! \u2019tis\ndone\u201d\u2014both words and music\u2014as a substitute.\n\nPhilip P. Bliss, a Congregationalist, born in Rome, Pa., was reared in\nthe country. He had only the meagerest early advantages for the\ndevelopment of his musical talents but he made the most of them and\nbecame one of the greatest leaders and writers of evangelistic songs.\nCombining the gift of poet and musician, he succeeded in putting gospel\ntruths in poetic and singable form, usually writing both words and\nmusic. In his early career he conducted musical conventions throughout\nthe Middle West, served as director of music for the First\nCongregational Church in Chicago, and was connected with the music\npublishing house of Root and Cady in Chicago. Through the influence of\nD. L. Moody, he gave up his business and professional pursuits and\nentered the evangelistic field. He assisted Sankey in the editing of the\nseries called _Gospel Hymns_, in which some of his own celebrated hymns\nand songs first appeared. His rare gifts as a singer and leader,\ncombined with an impressive personality, made him one of the outstanding\nleaders in the evangelistic movement. His life came to an early and\ntragic end December 29, 1876, in a railroad disaster near Ashtabula,\nOhio, while he and Mrs. Bliss were returning to Chicago from Rome, Pa.,\nwhere the two had spent Christmas. A railroad bridge gave way, resulting\nin a wreck which took the lives of one hundred passengers. Bliss had\nescaped unhurt, but going back to rescue his wife, he was evidently\novercome by the flames which had spread and was not seen again. His\npremature death at the age of 38 was widely lamented.\n\n\n443. Come, we that love the Lord _Isaac Watts_, 1674-1748\n\nThis hymn, entitled by Watts, \u201cHeavenly Joy on Earth,\u201d appeared in his\n_Hymns and Sacred Songs_, 1707.\n\nFor comments on Isaac Watts, see Hymn 11.\n\n_MUSIC._ The tune is by Robert Lowry, 1826-99, a Baptist minister who\nheld a pastorate in Brooklyn, N. Y., and did much to promote the gospel\nsong movement. He edited a series of eight books for Bigelow and Main,\nwith such titles as _Bright Jewels_ and _Pure Gold_, to which he added a\nlarge number of tunes of his own composition. The public bought these\nbooks by the hundreds of thousands. Lowry had no serious training in\nmusic and did not take up composition until middle life. He was\nconcerned mostly with the production of music which was popularly\neffective.\n\nWatts\u2019 hymn appears in many hymn books with the more dignified tune,\n\u201cSt. Thomas,\u201d by Williams (No. 269).\n\n\n444. I lay my sins on Jesus _Horatius Bonar_, 1808-89\n\nThe hymn, entitled \u201cThe Fulness of Jesus,\u201d was written for children in a\ndesire to provide something which children could sing and appreciate in\ndivine worship. It is generally supposed to be the first hymn Bonar\nwrote. He used to say of this hymn that it might be good gospel but that\nit was not good poetry. Bonar loved children and for them his first\nhymns were written.\n\nFor further comments on Horatius Bonar see Hymn 129.\n\n_MUSIC._ PRYSGOL, composed by W. Owen, 1814-93, was taken from the\n_Hymnary_ of the United Church of Canada. No information regarding the\ncomposer or the origin of the hymn has been traced.\n\n\n445. I\u2019ve found a Friend, O such a Friend _James G. Small_, 1817-88\n\nThis hymn was written by a minister of the Free Church of Scotland and\nappeared in _The Revival Hymn Book_, 2d series, 1863, and later in the\nauthor\u2019s _Psalms and Sacred Songs_, 1866.\n\nJames Grindlay Small was educated at Edinburgh University where Dr.\nThomas Chalmers was one of his professors. He became minister of a\nchurch in 1847, but owing to peculiarities of voice and manner, he never\nsucceeded well as a preacher. However, he was a man of fine Christian\ncharacter and had the confidence of his brethren. Small was interested\nin hymnology and is the author of a number of hymns and poems.\n\n_MUSIC._ FRIEND. The tune was written by Stebbins while he and Dr.\nPentecost were conducting an evangelistic campaign in Providence, R. I.\nIt was first published in _Gospel Hymns No. 3_, one of a series of\npopular books with which the composer\u2019s name was associated as\nco-editor.\n\nFor comments on George Stebbins see Hymn 38.\n\n\n446. I have found a Friend in Jesus _C. W. Fry_\n\nA song of the friendship of Jesus and its meaning to one who experiences\nit. The words are based on Song of Songs 2:1-2:\n\n \u201cI am the rose of Sharon, and the lily of the valleys. As the lily\n among the thorns, so is my love among the daughters.\u201d Also on\n Revelation 22:16: \u201cI am the root and offspring of David, and the\n bright and morning star.\u201d\n\nThe author, C. W. Fry, was prominent in Salvation Army circles in\nLondon.\n\n_MUSIC._ LILY OF THE VALLEY is an English melody of anonymous\ncomposition.\n\n\n447. One is kind above all others _Marianne Nunn_, 1778-1847\n\nA hymn on the love of Jesus, which has been used extensively as a song\nfor children, especially in England. It was originally written to adapt\nJohn Newton\u2019s hymn:\n\n \u201cOne there is above all others,\n Well deserves the name of friend,\u201d\n\nto the Welsh air, \u201cAr hyd y nos\u201d (No. 35), and the hymn may well be sung\nto this tune.\n\nMarianne Nunn was an English woman of refinement and culture. She is the\nauthor of _The Benevolent Merchant_, and of several hymns. The latter\nwere published in _Psalms and Hymns_, 1817, a collection compiled by her\nbrother, Rev. John Nunn, who also contributed some of his own hymns to\nthe same volume.\n\n_MUSIC._ CARITAS. No information has been traced concerning Richard W.\nBeaty, 1799-1883, composer of the tune. The editors of the _Hymnary_\nfound the tune and words in the _Hymnary_ of the United Church of\nCanada.\n\n\n448. Brightly beams our Father\u2019s mercy _Philip P. Bliss_, 1838-76\n\nA song which is best understood by people living on the sea-coast or\nlakeshore, or whose lives are spent in work which keeps them upon the\nwater.\n\nThe words were suggested by an illustration given by D. L. Moody in one\nof his sermons:\n\n On a dark, stormy night, when the waves rolled like mountains and not\n a star was to be seen, a boat, rocking and plunging, neared the\n Cleveland harbor. \u201cAre you sure this is Cleveland?\u201d asked the captain,\n seeing only one light from the lighthouse. \u201cQuite sure, sir,\u201d replied\n the pilot. \u201cWhere are the lower lights?\u201d \u201cGone out, sir.\u201d \u201cCan you\n make the harbor?\u201d \u201cWe must, or perish, sir!\u201d With a strong hand and a\n brave heart the old pilot turned the wheel. But, alas, in the darkness\n he missed the channel, and with a crash upon the rocks the boat was\n shivered, and many a life lost in a watery grave. Brethren, the Master\n will take care of the great lighthouse; let us keep the lower lights\n burning.\n\n_MUSIC._ LOWER LIGHTS. There is awakening power in the tune and\ncongregations love to sing it. It is especially effective when sung by a\nlarge number of voices. The chorus lends itself to interesting\nantiphonal effects in a special song service. Let the whole congregation\nsing the first phrase, a smaller group the second; the whole\ncongregation again the third phrase, and the smaller group the last.\n\nFor comments on the author and composer, Philip P. Bliss, see Hymn 442.\n\n\n449. Lead me gently home, Father _Will L. Thompson_, 1847-1909\n\nWritten by the author of \u201cSoftly and tenderly, Jesus is calling.\u201d\n\nFor comments on Will L. Thompson, who wrote both words and music, see\nHymn 456.\n\n\n450. I know whom I have believed _Daniel W. Whittle_, 1840-1901\n\nThe hymn is built around the verse: \u201cI know whom I have believed, and am\npersuaded that he is able to keep that which I have committed to him\nagainst that day\u201d (II Tim. 1:12), which serves as a refrain. The general\nstructure of the hymn is similar to Farrington\u2019s \u201cI know not how that\nBethlehem\u2019s Babe\u201d (No. 99).\n\nDaniel W. Whittle was born in Chicopee Falls, Mass. At the age of 15, he\nwent to Chicago to work in a bank, but at the outbreak of the Civil War\nhe became attached to the Illinois Infantry and served for the duration,\ngoing with Sherman, as a lieutenant, on his \u201cMarch to the Sea.\u201d At the\nclose of the war he was promoted to the rank of major. He was the\ntreasurer of a business firm, when, in 1873, he heeded the call of God\nto enter the evangelistic field where he became associated with D. L.\nMoody. He was a powerful speaker and lecturer; and frequently, with the\nassistance of singers like P. P. Bliss, James McGranahan, and George\nStebbins, continued evangelistic campaigns begun by Moody, under the\nlatter\u2019s direction. Whittle was a great friend of children and knew how\nto put evangelical truth in words they understood, supplementing his\ntalks with wall maps, illustrations, and chemical experiments. His\ndaughter, Mary, became the wife of Will L. Moody, son of the evangelist.\nHe was a member of the Congregational Church. His hymns, written after\n1877, mostly for McGranahan, reveal true poetic talent, though he made\nno claim to be a poet. Among his best known hymns are: \u201cI know whom I\nhave believed,\u201d \u201cDying with Jesus,\u201d \u201cMoment by moment,\u201d \u201cFierce and\nwild.\u201d The latter was translated into German by Ernst Gebhardt,\ntranslator of \u201c_Ich weiss einen Strom_.\u201d\n\n_MUSIC._ The tune is by James W. McGranahan, 1840-1907, who succeeded\nthe lamented P. P. Bliss as song leader in the evangelistic campaigns\nconducted by Major Whittle. Between 1881 and 1885, Whittle and\nMcGranahan made two successful tours of England, Scotland, and Ireland,\nand the chief cities of America. McGranahan, born at Adamsville, Pa.,\nreceived only an elementary-school education. His native musical talent\nand some assistance from men like Bassini, Webb, Root, and Zerrahn\nenabled him to make rapid progress in music; and he soon taught music\nclasses of his own. He was gifted with a beautiful tenor voice and an\nimpressive personality to add to his power as a song leader.\n\n\n451. O Christ, in Thee my soul hath found _Anonymous_\n\nThe authorship of this hymn remains unknown. That \u201cgospel songs\u201d are\noften appreciated by highly educated and cultured people is illustrated\nby the fact that this hymn was a favorite of Professor Henry Drummond,\nwho used it frequently at meetings for university students in Edinburgh,\n1885-89.\n\n_Music._ NONE BUT CHRIST was composed for this hymn and published in\nMcGranahan\u2019s _Sacred Songs and Solos_, 1883.\n\nFor comments on James McGranahan see Hymn 450.\n\n\n452. Low in the grave He lay _Robert Lowry_, 1826-99\n\nThe words and music of this Easter song are by Rev. Robert Lowry,\nwritten while he was pastor of a Baptist church in Brooklyn, N. Y.\n\nLowry was a faithful and successful minister of the Gospel, but is more\nwidely known as a composer of sacred music. \u201cI felt a sort of meanness\nwhen I began to be known as a composer,\u201d he said. His first love was\npreaching. Music was to him a \u201cside issue,\u201d and the making and delivery\nof a sermon ranked far above the writing of a hymn. He is the author of\nthe popular song, \u201cWhere is my wandering boy tonight,\u201d and wrote the\ntune to \u201cI need Thee every hour,\u201d and edited many successful Sunday\nschool and evangelistic hymn books.\n\nFor further comments on Lowry see Hymn 187.\n\n\n453. I know that my Redeemer liveth _Jessie H. Brown_, 1861-1921\n\nA popular Easter song based on Job 19:25: \u201cI know that my redeemer\nliveth, and that he shall stand at the latter day upon the earth.\u201d\n\nJessie H. Brown was born in Hiram, a college suburb of Cleveland, Ohio.\nDue to ill health in childhood, she gained most of her education at\nhome. At 15 years of age, she began to write for Cleveland newspapers\nand religious weeklies and for many years wrote hymns for Fillmore Bros.\nIn 1896 she married Rev. John E. Pounds, at that time pastor of the\nCentral Christian Church in Indianapolis, and later college pastor at\nHiram. Her early poems bear her maiden name, while the later ones (No.\n498, for example) are signed \u201cJessie B. Pounds.\u201d She is the author of 9\nbooks, 50 librettos for cantatas and operettas, and nearly 400 hymns.\nHer best known song poems are \u201cAnywhere with Jesus, I can safely go,\u201d\n\u201cThe way of the Cross leads home,\u201d \u201cBeautiful Isle of Somewhere,\u201d and\nthe present, \u201cI know that my Redeemer liveth.\u201d The latter appeared first\nin an Easter cantata entitled, _Hope\u2019s Messenger_.\n\n_MUSIC._ FILLMORE was composed by James H. Fillmore who was born June 1,\n1849, in Cincinnati, Ohio, into a musical family. After his father\u2019s\ndeath, James headed the Fillmore music publishing business in Cincinnati\nfor many years. His compositions include numerous popular titles: \u201cI am\nresolved,\u201d \u201cI know that my Redeemer liveth,\u201d \u201cOnly waiting,\u201d and many\nmore.\n\n\n454. O the unsearchable riches of Christ _Fanny J. Crosby_, 1820-1915\n\nThe well-known fact that Fanny Crosby was blind all her life adds pathos\nto the power of her songs. The hymn reveals the spiritual riches in her\nlife notwithstanding the cross of affliction laid on her through the\nloss of her eyesight. Frances Ridley Havergal (See Hymn 126), the gifted\nEnglish poet and hymn writer, paid her tribute to Fanny Crosby in the\nfollowing lines:\n\n How can she sing in the dark like this?\n What is her fountain of light and bliss?\n With never the light of a loving face\n Must not the world be a desolate place?\n\n O, her heart can see, her heart can see!\n And its sight is strong and swift and free.\n Never the ken of mortal eye\n Could pierce so deep and far and high\n As the eagle vision of hearts that dwell\n In that lofty, sunlit citadel.\n\n For the King himself, in his tender grace,\n Hath shown her the brightness of his face;\n She can read his law as a shining chart,\n For his finger hath written it on her heart;\n And she reads his love, for on all her way\n His hand is writing it every day.\n O, this is why she sings so free:\n Her heart can see, her heart can see!\n\n_MUSIC._ For comments on the composer, John R. Sweney, 1837-99, see Hymn\n342.\n\n\n455. It may be at morn, when the day is awaking _H. L. Turner_\n\nA song of the imminent return of our Lord, based on I Thess. 5:2: \u201cThe\nday of the Lord so cometh as a thief in the night,\u201d\u2014and the lengthier\npassage in I Thess. 4:15-18.\n\nInformation concerning the author, H. L. Turner, has not been traced.\n\n_MUSIC._ CHRIST RETURNETH. For comments on the composer, James\nMcGranahan, see Hymn 450.\n\n\n456. Softly and tenderly Jesus is calling _Will L. Thompson_,\n 1847-1909\n\nA song which has wide use as an invitational hymn at revival meetings.\n\nWill Lamartine Thompson was born at East Liverpool, Ohio, and made his\nhome there all his life. He attended Mt. Union College, Alliance, Ohio,\nand studied music at the Boston Conservatory of Music. His greatest\ninterest was in sacred song, but he also wrote secular songs, among them\nthe popular, \u201cCome where the lilies bloom.\u201d A successful businessman and\nsong writer, Thompson was known also as a man of beautiful and sterling\nChristian character. \u201cSimplicity, sincerity, humility, and righteousness\nmarked his life.\u201d He once called to inquire of D. L. Moody at a time\nwhen the latter lay very ill and visitors were forbidden. Moody insisted\nthat Thompson be admitted and said to him in the course of their brief\nconversation: \u201cI would rather have written \u2018Softly and tenderly Jesus is\ncalling\u2019 than anything I have been able to do in my whole life.\u201d\n\n\n457. Come, every soul by sin oppressed _John H. Stockton_, 1813-77\n\nAn invitation hymn that has been a help and blessing to many. The\noriginal refrain:\n\n \u201cCome to Jesus, come to Jesus,\n Come to Jesus now.\u201d\n\nwas changed by Ira Sankey to\n\n \u201cOnly trust Him, only trust Him.\u201d\n\nIn leading this song, Sankey sometimes changed the chorus to\n\n \u201cI will trust Him,\u201d or \u201cI do trust Him.\u201d\n\nJohn H. Stockton, composer of words and music, was born at New Hope,\nPa., and reared in a Presbyterian family. At the age of 19 he was\nconverted in a Methodist camp meeting and became a Methodist preacher.\nAfter many years of pastoral and evangelistic work, as a member of the\nNew Jersey Annual Conference, he retired in 1874. He had considerable\nmusical ability and published two gospel song books, _Salvation\nMelodies_, 1874, and _Precious Songs_, 1875. He rendered valuable\nassistance in the Moody and Sankey meeting held in Philadelphia, after\nwhich Sankey wrote him:\n\n I thank my Heavenly Father for enabling you to write so much sweet\n music, as well as words; and I hope you may long be spared to bless\n the world with your \u201cprecious songs.\u201d I wish you to accept our regards\n for one whose songs have been blessed to tens of thousands in the\n lands beyond the seas.\n\nStockton died suddenly while talking to friends just after having\nattended the morning service at Arch Street Church, Philadelphia, on\nMarch 25, 1877.\n\n\n458. Just as I am, without one plea _Charlotte Elliott_, 1789-1871\n\nAn immortal hymn expressing the feelings and needs of all penitent\nbelievers. It has been a source of comfort and help to multitudes of\npeople.\n\n\u201cYou must come to Christ just as you are.\u201d These words, spoken to Miss\nElliott by Dr. C\u00e9sar Malan of Geneva, at a time when she was suffering\nand spiritually depressed, resulted in a new birth and formed the basis\nof her hymn, written twelve years later, in 1834, and now known all over\nthe world. The hymn was first published in the author\u2019s _Invalids\u2019 Hymn\nBook_, 1836, headed with the text, John 6:37: \u201cAll that the Father\ngiveth me shall come to me; and him that cometh to me I shall in no wise\ncast out.\u201d\n\nThe words were written one day when other members of her family were\nbusy arranging for a bazaar to be held for a school banquet. The\nimmediate circumstances are related by Dr. Handley C. G. Moule, Bishop\nof Durham, as follows:\n\n The night before the bazaar she was kept wakeful by distressing\n thoughts of her apparent uselessness; and these thoughts passed into a\n spiritual conflict till she questioned the reality of her whole\n spiritual life and wondered whether it were anything better, after\n all, than an illusion of the emotions\u2014an illusion ready to be\n sorrowfully dispelled. The next day, the busy day of the bazaar, the\n troubles of the night came back upon her with such force that she felt\n they must be met and conquered in the grace of God. She gathered up in\n her soul the grand certainties, not of her emotions, but of her\n salvation: her Lord, his power, his promise. And taking pen and paper\n from the table, she deliberately set down in writing for her own\n comfort the formulae of her faith. So in verse she restated to herself\n the gospel of pardon, peace, and heaven. As the day wore on, her\n sister-in-law, Mrs. H. V. Elliott, came in to see her and bring news\n of the work. She read the hymn and asked (she well might) for a copy.\n So it first stole out from that quiet room into the world, where now\n for sixty years it has been sowing and reaping till a multitude which\n only God can number have been blessed through its message.\n\nThough a helpless invalid, Miss Elliott probably did more that day for\nher Lord and the upbuilding of His Kingdom than the rest of the family,\nall strong in body.\n\nThe hymn was sent to Dora Wordsworth, daughter of the poet, while she\nwas on her death bed. Her husband, Edward Quillinan, has written of the\nincident in a letter to Miss Elliott, dated July 28, 1847. He tells of\nDora\u2019s appreciation of the hymn and her continual use of it during her\nlast days on earth.\n\nAfter Miss Elliott died, more than a thousand letters, thanking her for\nthis hymn, were found.\n\nFor further comments on Charlotte Elliott see Hymn 233.\n\nA translation of this hymn has had wide use in Germany where it is sung\nto the tune, \u201cJesus, meine Zuversicht.\u201d\n\n Wie ich bin, komm\u2019 ich zu dir\u2014\n Nichts hat mir die T\u00fcr erschlossen,\n Als dein Ruf: \u201cKommt her zu mir,\u201d\n Und dein Blut, f\u00fcr mich geflossen;\n Diesz allein ermutigt mich\u2014\n Gotteslamm, hier komme ich!\n\n Wie ich bin, komm\u2019 ich zu dir!\n Auch nicht einen meiner Fehle\n Auszutilgen, steht bei mir;\n Meine schuldbefleckte Seele\n Wird gereinigt nur durch dich,\n Gotteslamm, hier komme ich!\n\n Wie ich bin, komm\u2019 ich zu dir,\n Ob auch Zweifel mich umfangen;\n Umgetrieben bin ich hier\n Von so manchem Kampf und Bangen,\n Tr\u00fcbsal in\u2014und \u00e4uszerlich\u2014\n Gotteslamm, hier komme ich!\n\n Wie ich bin, tret\u2019 ich herzu\u2014\n Elend, arm, am Geist erblindet;\n Meinen Mangel stillest du;\n Heilung, Reichtum, der nicht schwindet,\n Alles finde ich durch dich\u2014\n Gotteslamm, hier komme ich!\n\n Wie ich bin, komm\u2019 ich zu dir,\n Deine Liebe sonder Gleichen\n Ist zu stark geworden mir,\n Alle Schranken m\u00fcssen weichen;\n Dir, nur dir verschreib\u2019 ich mich\u2014\n Gotteslamm, hier komme ich!\n\n_MUSIC._ WOODWORTH was first published in Hastings\u2019 and Bradbury\u2019s\nhymnal, _The Third Book of Psalms_, 1849, set to the words, \u201cThe God of\nlove will surely indulge.\u201d The tune became widely known after its\nassociation with \u201cJust as I am, without one plea.\u201d It is the most\npopular of Bradbury\u2019s tunes and appears in nearly all American hymnals.\n\nFor comments on Wm. Bradbury see Hymn 103.\n\n\n459. Come, ye sinners, poor and needy _Joseph Hart_, 1712-68\n\nAn evangelistic song, written by a Congregational minister. Hart, born\nin London and brought up in a devout Christian home, was well educated\nand taught the classics for many years. Early in life he departed from\nhis religious training and fell into a life of \u201ccarnal and spiritual\nwickedness, irreligious and profane.\u201d After continuing in this state for\na long period of years, during which he exerted a pernicious influence\nupon all with whom he associated, Hart became deeply convicted, in his\nfortieth year, and betook himself to daily prayer and Bible reading. He\nwas finally converted upon hearing a sermon on Rev. 3:10: \u201cBecause thou\nhast kept the word of my patience, I also will keep thee from the hour\nof temptation, which shall come upon all the world, to try them that\ndwell upon the earth\u201d\u2014preached in the Moravian Chapel in Fetter Lane,\nLondon. Becoming an earnest and consecrated Christian, and writer of\nhymns, he was importuned to become a preacher, which he did, although in\nhis 48th year. From 1760 till his death in 1768, he preached regularly\nas pastor of an Independent Congregation in London, drawing large\ncrowds. He died in the midst of labors and successes almost\nunprecedented, and it is said that 20,000 people came to his funeral. He\nis remembered chiefly, however, for his hymns, most of them of the\nevangelistic type.\n\n_MUSIC._ GREENVILLE, a beautifully quaint and popular tune, was not\nwritten for sacred use but for a little song in the opera _Le Devin du\nVillage_, by Rousseau. It was once popular in a piano arrangement known\nas \u201cRousseau\u2019s Dream.\u201d\n\nJean Jacques Rousseau, 1712-78, philosopher and musician, was born at\nGeneva. Though not a religious man, he greatly influenced education in\nEurope and became one of the great forces in modern literature. A\npolitical radical, he was forced to leave France and for a time lived in\nEngland. His opera, _Le Devin du Village_, was a success, but none of\nhis later musical efforts came to anything. He lived an unhappy life and\nis thought to have committed suicide. His death occurred near Paris,\nJuly 3, 1778.\n\n\n460. I have a Savior, He\u2019s pleading in glory _S. O\u2019Maley Cluff_\n\nA favorite prayer-meeting hymn for many years, in many churches.\n\nSankey came across these words in a printed leaflet while he was on his\nfirst visit with D. L. Moody to Ireland in 1874. It was the second hymn\nto which he wrote music and was much used in later Moody-Sankey revival\nservices.\n\nNo definite information has been traced by hymnologists concerning\nSamuel O\u2019Malley Clough to whom the words are attributed. He is believed\nto have been an Irish clergyman who left the Established Church to unite\nwith the Plymouth Brethren in Ireland; later (1881) seceding from that\nbody to lead a \u201choliness\u201d schism which has since become extinct. Julian\nand others spell the name \u201cClough\u201d; Sankey spells it \u201cCluff.\u201d\n\n_MUSIC._ CLUFF derives its name from the author of the words to which\nSankey set the tune.\n\nIra David Sankey, 1840-1908, famous singer of \u201cgospel songs,\u201d was born\nin Edinburg, Pa., and was a member of the Methodist Church. For many\nyears he was associated with D. L. Moody in evangelistic work in America\nand England. He composed many gospel tunes, the most popular of which is\nhis \u201cNinety and Nine,\u201d and edited numerous songbooks. Concerning his own\ngift of singing and songs suited to his purpose, he wrote:\n\n I am no musician, I am no singer; I was never taught to sing.... As to\n my singing there is no art or conscious design in it. I never touch a\n song that does not speak to me in every word and phrase. Before I sing\n I must feel, and the hymn must be of such a kind that I know I can\n send home what I feel into the hearts of those who listen. I find it\n much more difficult to get good words than good music. Our best words\n come from England; the music which best suits our purpose comes from\n America. Your composers, apparently, do not care to write simple songs\n such as we need. We can get plenty of the grand and solid style, but\n though that is useful now and again, our services could not thrive on\n it.\n\nHomer Rodeheaver has used this song with antiphonal effects by letting\nthe choir sing the first phrase of the refrain, the audience responding\nwith the second; or, if the audience is large, letting one side, then\nthe other side, then the whole congregation, then the gallery sing,\nsuccessively, one phrase each of the refrain.\n\n\n461. A ruler once came to Jesus by night _W. T. Sleeper_\n\nBased on our Lord\u2019s words to Nicodemus: \u201cVerily, verily, I say unto you,\n... ye must be born again\u201d (John 3:3-7).\n\nThe hymn was written by Rev. W. T. Sleeper, one of the pastors in the\ncity of Worcester, Mass., upon the request of Geo. C. Stebbins, who was\nassisting Dr. Pentecost in a revivalistic campaign in that city. One of\nthe latter\u2019s sermon themes was \u201cThe New Birth.\u201d As the truth of this\ngreat theme was being enforced and illustrated, it occurred to Stebbins\nthat a musical setting of this Scripture passage in John 3 would be an\neffective means of emphasizing the truth of the new birth. He asked the\nRev. Sleeper to write some verses on the subject and the result was this\nhymn. Before the meetings closed, Stebbins had composed this tune for\nthe words. The song was published in _Gospel Hymns, No. 3_, and has been\nwidely used as solo, choir number, and congregational song in revival\nmeetings and otherwise.\n\n_MUSIC._ BORN AGAIN. For comments on George C. Stebbins, 1846-1945, a\ncomposer of the tune, see Hymn 38.\n\n\n462. I hear the Savior say _Elvina M. Hall_, 1818-?\n\nA much-used and much-loved revival hymn which came into use, especially\nin Methodist churches, several years before Moody\u2019s great revivalistic\nmovement.\n\nMrs. Elvina M. Hall (later Mrs. Myers), author of the words, was born in\nAlexandria, Va., in 1818. She composed this hymn, strangely enough,\nwhile sitting in the choir of the M. E. Church, Baltimore, pencilling\nthe first draft on a fly-leaf of a hymn book, _The New Lute of Zion_,\nduring the pastor\u2019s prayer! It is the only hymn known that can be traced\nto such an origin. The author\u2019s mind, indeed, wandered from the\nimmediate service of worship, but it did not stray from God and prayer.\n\n_MUSIC._ ALL TO CHRIST. John T. Grape, born in Baltimore, Md., 1833, was\nchoir director in his church when he wrote the tune, after having made\nit \u201ca matter of prayer and study.\u201d He writes that \u201cit was pronounced\nvery poor by my choir and my friends, but my dear wife persistently\ndeclared it was a good piece of music and would live.\u201d Mrs. Grape\u2019s\nfaith was justified by the wide reception and use the tune has enjoyed.\nThe minister of the church, Rev. Mr. Schrick, liked the tune upon\nhearing it and suggested that it be used with the words written by Mrs.\nElvina M. Hall. This was done, and the song started on its career. It\nwas first published in a volume called, _Sabbath Chords_.\n\n\n463. Amazing grace! how sweet the sound _John Newton_, 1725-1807\n\nThe original has six stanzas and is entitled, \u201cFaith\u2019s Review and\nExpectation.\u201d\n\nThe hymn reminds one of Newton\u2019s words: \u201cI can never forget two things:\nfirst, that I was a great sinner, and second, that Jesus is a great\nSaviour.\u201d It is based on I Chron. 17:16, 17:\n\n Who am I, O Lord God, and what is mine house, that Thou hast brought\n me hitherto? And yet this was a small thing in thine eyes, O God; for\n thou hast also spoken of thy servant\u2019s house for a great while to\n come, and hast regarded me according to the estate of a man of high\n degree, O Lord God.\n\nFor comments on John Newton, see Hymn 274.\n\n_MUSIC._ MCINTOSH, also known as \u201cAmazing Grace,\u201d is believed to be an\nold Southern melody. It appeared in _Southern Harmony_, by William\nWalker, 1835, anonymously. Dr. Robert McCutchan thinks it may be a\nvariant of an old tune called \u201cLoving Lamb.\u201d\n\nFor comments on Edwin O. Excell, 1851-1921, who arranged the tune, see\nHymn 420.\n\n\n464. Down at the cross where my Savior died _Elisha A. Hoffman_,\n 1839-?\n\nThe words are by the Rev. Elisha A. Hoffman who was born of Pennsylvania\nGerman parents. Hoffman became a Congregational minister and served\nchurches of his denomination in Lebanon, Pa., and other places, and\nwrote a number of hymns and tunes.\n\n_MUSIC._ GLORY TO HIS NAME. For comments on the composer of this tune,\nRev. John H. Stockton, see Hymn 457.\n\n\n465. O happy day, that fixed my choice _Philip Doddridge_, 1702-51\n\nThis hymn, reflecting spiritual joy, is often used at baptismal services\nand is also one of the best revival hymns. It is based on II Chron.\n15:15: \u201cAnd all Judah rejoiced at the oath; for they had sworn with all\ntheir heart, and sought him with their whole desire; ... and the Lord\ngave them rest round about.\u201d\n\nThe original title was \u201cRejoicing in our covenant engagements to God.\u201d\nIt was published in 1819, by the author\u2019s great-grandson, John Doddridge\nHumphreys.\n\nThe hymn was chosen by Prince Albert, the consort of Queen Victoria, to\nbe sung always on occasions when members of the royal family were\nconfirmed. It reflects a deep and rich experience of God. \u201cBlessed is\nthe man,\u201d says James Montgomery, \u201cwho can take the words of the hymn and\nmake them his own from similar experience.\u201d\n\nFor comments on Philip Doddridge see Hymn 56.\n\n_MUSIC._ HAPPY DAY is an adaptation from a work by E. F. Rimbault,\n1816-76, a London scholar, musician and writer. He became organist at\nSwiss Church, Soho, London, and was offered, but declined, the chair of\nprofessor of music at Harvard University. The tune was originally a\npopular secular melody. The English _Hymnary_ uses this hymn set to a\ntune called \u201cHeaton Norris,\u201d with refrain omitted.\n\n\n466. Sinners Jesus will receive _Arr. from Erdmann Neumeister_,\n 1671-1756\n _Tr. Emma Frances Beaven_, 1827-1909\n\nAn English version of a popular German hymn which appeared first in the\nauthor\u2019s _Evangelische Nachkl\u00e4nge_, Hamburg, 1719. The hymn is\nappropriate for missionary services. The original in eight stanzas,\nwritten by Neumeister as a conclusion to a sermon on Luke 15:1, \u201cThen\ndrew near to him all the publicans and sinners for to hear him,\u201d is as\nfollows:\n\n 1.\n Jesus nimmt die S\u00fcnder an;\n Saget doch dies Trostwort allen,\n Welche von der rechten Bahn\n Auf verkehrten Weg verfallen!\n Hier ist, was sie retten kann:\n Jesus nimmt die S\u00fcnder an.\n\n 2.\n Keiner Gnade sind wir wert,\n Doch hat er in seinem Worte\n Eidlich sich dazu erkl\u00e4rt\n Sehet nur, die Gnadenpforte\n Ist hier v\u00f6llig aufgetan:\n Jesus nimmt die S\u00fcnder an.\n\n 3.\n Wenn ein Schaf verloren ist,\n Suchet es ein treuer Hirte;\n Jesus, der uns nie vergisst,\n Suchet treulich das Verirrte,\n Dass es nicht verderben kann:\n Jesus nimmt die S\u00fcnder an.\n\n 4.\n Kommet alle, kommet her,\n Kommet, ihr betr\u00fcbten S\u00fcnder!\n Jesus rufet euch, und er\n Macht aus S\u00fcndern Gottes Kinder.\n Glaubet\u2019s doch und denket dran:\n Jesus nimmt die S\u00fcnder an.\n\n 5.\n Ich Betr\u00fcbter komme hier\n Und bekenne meine S\u00fcnden.\n Lass, mein Heiland, mich bei dir\n Gnade zur Vergebung finden,\n Dass dies Wort mich tr\u00f6sten kann:\n Jesus nimmt die S\u00fcnder an.\n\n 6.\n Ich bin ganz getrostes Muts.\n Ob die S\u00fcnden blutrot w\u00e4ren,\n M\u00fcssten sie kraft deines Bluts\n Dennoch sich in Schneeweiss kehren\n Da ich gl\u00e4ubig sprechen kann:\n Jesus nimmt die S\u00fcnder an.\n\n 7.\n Mein Gewissen beisst mich nicht,\n Moses darf mich nicht verklagen;\n Der mich frei und ledig spricht,\n Hat die Schulden abgetragen,\n Dass mich nichts verdammen kann:\n Jesus nimmt die S\u00fcnder an.\n\n 8.\n Jesus nimmt die S\u00fcnder an,\n Mich hat er auch angenommen\n Und den Himmel aufgetan,\n Dass ich selig zu ihm kommen\n Und auf den Trost sterben kann:\n Jesus nimmt die S\u00fcnder an.\n\nThe four stanzas of our text correspond to stanzas 1, 4, 7, and 8 of the\noriginal. The translation is by Mrs. Emma Frances Beaven, 1827-1909,\nconcerning whom no biographical information has been traced. Her work\nwas altered somewhat to fit McGranahan\u2019s tune.\n\nErdmann Neumeister was a distinguished student and afterwards lecturer\nat Leipzig University. Later he achieved fame as a court preacher and as\npastor of St. James\u2019 Church, Hamburg. An eloquent preacher and a strong\nHigh Lutheran, he opposed the Moravians and the Pietists of his day,\nholding that their teachings were too subjective. Besides being a gifted\npreacher, he was also a musician of ability and eminence. He originated\nthe cantata form of church music and composed a number of works in that\nform. He is the author of 650 hymns, many of them of the highest rank\nand still in general use in Germany though only a few have been\ntranslated into English.\n\n_MUSIC._ NEUMEISTER. For comments on the composer of this popular gospel\ntune with its change of rhythm in the refrain, James McGranahan, see\nHymn 450.\n\nThe German words are set to the tune, \u201c_Grosser Gott wir loben Dich_\u201d in\nthe _Gesangbuch mit Noten_.\n\n\n467. The whole world was lost _Philip P. Bliss_, 1838-76\n\nBased on the incident in John 9, in which Jesus restored the sight to\nthe man born blind, and the saying of Jesus, \u201cI am the light of the\nworld\u201d (John 9:5).\n\nFor comments on Philip P. Bliss, author and composer, see Hymn 442.\n\n\n468. Jesus, my all, to heaven is gone _John Cennick_, 1718-55\n\nA hymn which has had wide use in prayer-meeting and camp-meeting\nassemblies. A hearty unison \u201ccrescendo\u201d on the last stanza is\nimpressive:\n\n \u201cThen will I tell to sinners round\n What a dear Savior I have found;\n I\u2019ll point to His redeeming blood,\n And say, \u2018Behold, the way to God.\u2019\u201d\n\nThe author had known the joy of finding Christ and his hymn reflects his\npersonal experience. While frequenting London, as a youth, in a vain\nsearch for employment,\n\n He became addicted, in consequence, to sight-seeing, song-singing,\n play-going, card-playing, horse-racing, ball-frequenting, and the\n like. But on an Easter visit to London, in 1735, he was seriously\n impressed as he was walking hastily in Cheapside. He became greatly\n distressed on account of his sins, broke off from his sinful course,\n and walked softly before God; but he found no peace until September 6,\n 1737, in his nineteenth year, when he was enabled to trust in Christ\n alone and find joy and peace in believing.\n\nFor further comments on John Cennick, see Hymn 130.\n\n_MUSIC._ DUANE STREET, a stirring revival tune, was composed by Rev.\nGeorge Coles, in 1835, for one of James Montgomery\u2019s hymns, but has been\nassociated with this hymn for many years.\n\nGeorge Coles, 1792-1858, was born in Stewkley, England, and died in New\nYork City. He came to America as a young man and spent all his life in\nthe Methodist ministry. He was editor of the _New York Christian\nAdvocate_ and the _Sunday School Advocate_, for some years, and was a\ncomposer of ability, besides being a good singer.\n\n\n469. Lord Jesus, I long to be perfectly whole _James Nicholson, 19th\n cent._\n\nA hymn that has brought joy and release to many sin-burdened souls,\nespecially encouraging with its promise in stanza 4:\n\n \u201cTo those who have sought Thee\n Thou never saidst, No.\u201d\n\nIt is built around the verse\n\n \u201cWash me, and I shall be whiter than snow\u201d (Psalm 51:7).\n\nThe hymn appeared in Sankey\u2019s _Songs and Solos_.\n\nThe author, James Nicholson, was an American Methodist minister of the\n19th century.\n\n_MUSIC._ FISCHER. The composer, William Gustavus Fischer, 1835-1912, was\nborn in Baltimore, Md. Moving to Philadelphia in early life, he received\na good musical education and became a teacher of piano and singing, and\nconductor of choral groups and Welsh singing societies in that city. For\nten years he was Professor of Music at Girard College, and at the same\ntime became associated with J. E. Gould in a flourishing piano business,\nunder the firm name of Gould and Fischer. In 1876, he led the Moody and\nSankey choir in the great building at Thirteenth and Market Streets in\nPhiladelphia.\n\n\n470. O Thou, in whose presence my soul takes delight _Joseph Swain_,\n 1761-96\n\nSwain entitled this hymn, \u201cA Description of Christ by His Grace and\nPower,\u201d which was suggested to him by the description of the \u201cShepherd\u201d\nin Solomon\u2019s Song 1:7. The original poem has nine stanzas of eight lines\neach.\n\nFor comments on the author, John Swain, see Hymn 323.\n\n_MUSIC._ MY BELOVED, also called \u201cBeloved\u201d and \u201cMeditation,\u201d is of\nuncertain origin. It appeared in a book, _The Beauties of Harmony_,\ncompiled by Freeman Lewis in 1813 and was arranged by Hubert P. Main in\n1869. Lewis, 1780-1859, was by profession a surveyor at Uniontown, Pa.\nMusic was his avocation.\n\nFor comments on Hubert P. Main see Hymn 426.\n\n\n471. I do not ask, O Lord, that life may be _Adelaide A. Proctor_,\n 1825-64\n\nA hymn reflecting the quiet strength resulting from faith and trust in\nGod. It is the most admired of Miss Proctor\u2019s hymns.\n\nFor comments on Adelaide Anne Proctor, see Hymn 177.\n\n_MUSIC._ SUBMISSION, a tune well suited to the meaning and spirit of the\npoem, was composed for this hymn.\n\nFor comments on the composer, Albert L. Peace, see Hymn 175.\n\n\n472. More love to Thee, O Christ _Elizabeth Prentiss_, 1818-78\n\nA simple prayer put into verse, written hastily, as many hymns have\nbeen, and, after some years, printed as a leaflet. It was then included\nby Dr. Doane in his _Songs of Devotion_, in four stanzas, the third\nbeing omitted here. In form and sentiment, the hymn is an echo of\n\u201cNearer, my God, to Thee,\u201d and is more explicitly Christian, for the\nlatter omits the name of Christ completely.\n\nElizabeth Payson Prentiss was born in Portland, Maine, the daughter of\nthe famous minister, Rev. Edward Payson. After teaching school for some\nyears, she married Dr. George L. Prentiss, eminent Presbyterian\nclergyman, and professor at Union Theological Seminary in New York City,\nwho published her _Life and Letters_ soon after her death. Mrs. Prentiss\nwrote poetry and prose for the _Youths\u2019 Companion_ and published several\nvolumes of poems.\n\n_MUSIC._ MORE LOVE TO THEE was written for this hymn and published in\nDr. Doane\u2019s _Songs of Devotion_, 1870.\n\nFor comments on Wm. Howard Doane see Hymn 313.\n\n\n473. What a wonderful Savior _Elisha A. Hoffman_\n\nA hymn on the atonement.\n\nWords and music are by the Rev. Elisha A. Hoffman.\n\nFor comments on Hoffman, see Hymn 464.\n\n\n474. Pass me not, O gentle Savior _Fanny J. Crosby_, 1820-1915\n\nOne of Fanny Crosby\u2019s best and most popular songs. Ira D. Sankey says of\nit: \u201cNo hymn in our collection was more popular than this at our\nmeetings in London in 1874.\u201d Miss Crosby wrote it in 1868 at the request\nof Dr. W. H. Doane, who gave her the first line as a theme. Doane\npublished the hymn in his _Songs of Devotion_, 1870.\n\nFor comments on Fanny Crosby see Hymn 313.\n\n_MUSIC._ PASS ME NOT was written for this hymn. For comments on the\ncomposer, W. H. Doane, see Hymn 313.\n\n\n475. I am Thine, O Lord _Fanny J. Crosby_, 1820-1915\n\nA song of consecration, based on Heb. 10:22, \u201cLet us draw near with a\ntrue heart.\u201d It was written one evening while Miss Crosby was visiting\nin the home of Dr. William H. Doane in Cincinnati, Ohio. The latter\ncomposed for it the tune by which the song has become familiar to a\nmultitude of worshippers.\n\nFor comments on Fanny Crosby and W. H. Doane see Hymn 313.\n\n\n476. Are you weary, are you heavy-hearted _Jeremiah E. Rankin_,\n 1828-1904\n\nA song that has touched many a burdened heart, written by the author of\n\u201cGod be with you till we meet again.\u201d For comments on Jeremiah E.\nRankin, see Hymn 365.\n\n_MUSIC._ TELL IT TO JESUS. For comments on the composer, E. S. Lorenz,\nsee Hymn 439.\n\n\n477. Yield not to temptation _Horatio R. Palmer_, 1834-1907\n\nA song that has been a source of strength to many in time of temptation.\n\nThe words and tune are by Horatio Richmond Palmer, Mus. Doc., an\nAmerican musician born at Sherburne, New York. He studied music in\nBerlin and Florence and became the director of the Rushford Academy of\nMusic, New York, in 1857. In 1884, he took charge of the Church Choral\nUnion in New York, an organization which grew to a membership of 4,000\nsingers devoted to the improvement of church music. He was dean, for a\ntime, of the school of music at Chautauqua, N. Y., and compiled a number\nof popular choral collections. He is the author of _A Theory of Music_\nand _A Manual for Teachers_.\n\nConcerning the composition of this hymn and tune, Dr. Palmer wrote:\n\n This song is an inspiration. I was at work on the dry subject of\n \u201cTheory\u201d when the complete idea flashed upon me, and I laid aside the\n theoretical work and hurriedly penned both words and music as fast as\n I could write them. I submitted them to the criticism of a friend\n afterward, and some changes were made in the third stanza, but the\n first two are exactly as they came to me. The music was first written\n in A flat; but I soon saw that B flat was better, and for many years\n it has appeared in that key. I am reverently thankful it has been a\n power for good.\n\n_MUSIC._ YIELD NOT TO TEMPTATION. The tune, composed for the hymn by Dr.\nPalmer himself, appeared in _Sabbath School Songs_ (1868). It is also\nnamed \u201cFortitude.\u201d\n\n\n478. He leadeth me, O blessed thought _Joseph H. Gilmore_, 1834-1918\n\nA widely used hymn, based on Psalm 23:2: \u201cHe leadeth me beside the still\nwaters.\u201d \u201cIt has the true hymn quality, combining all the simplicity of\nspontaneous thought and feeling with perfect accent and liquid rhythm\u201d\n(Brown and Butterworth).\n\nJoseph Henry Gilmore, a Baptist minister, was born in Boston, the son of\nJoseph A. Gilmore. He graduated from Brown University in 1858 and from\nNewton Theological Seminary in 1861. In 1863-64 he served as private\nsecretary to his father, then governor of New Hampshire. From 1865 to\n1867, he was pastor of the Second Baptist Church at Rochester, N. Y.,\nand Acting Professor of Hebrew in Rochester Theological Seminary,\n1867-68. In 1868, he became Professor of Logic, Rhetoric, and English\nLiterature in the University of Rochester, a position he held for about\nforty years. One of his published volumes is _Outlines of English and\nAmerican Literature_, 1905.\n\nThe hymn was written after Dr. Gilmore had conducted the Wednesday\nevening service at the First Baptist Church, Philadelphia, where he\nexpounded the twenty-third Psalm. After the service, the discussion of\nthe subject was continued in the home where he was stopping. The author\nsays:\n\n During the conversation, the blessedness of God\u2019s leadership so grew\n upon me that I took out my pencil, wrote the hymn just as it stands\n today, handed it to my wife, and thought no more about it. She sent\n it, without my knowledge, to the _Watchman and Reflector_. Three years\n later, I went to Rochester to preach for the Second Baptist Church. On\n entering the chapel, I took up a hymn book, thinking: \u201cI wonder what\n they sing.\u201d The book opened at \u201cHe Leadeth Me,\u201d and that was the first\n I knew my hymn had found a place among the songs of the Church.\n\n_MUSIC._ HE LEADETH ME. Finding the hymn in a Christian periodical,\nBradbury composed for it this popular tune with which it has since been\nassociated. In singing the tune, holds should be observed at the end of\nlines 2, 3, and 4 of the stanzas, and at the end of lines 2 and 4 of the\nrefrain. \u201cFew composers have so exactly caught the tone and spirit of\ntheir text as Bradbury did when he vocalized the gliding measures of \u2018He\nLeadeth Me.\u2019\u201d\n\nFor comments on the composer, Wm. Bradbury, see Hymn 103.\n\n\n479. Joys are flowing like a river _M. P. Ferguson_\n\nA song of comfort and joy useful for the quiet hour. The presence of\nJesus brings to the trusting soul a blessed quietness as it did to the\ndisciples on the stormy lake when He awoke and spoke the word of peace\n(Mark 4:37-41).\n\nNo information has been traced concerning the author of the words, M. P.\nFerguson, or the composer, W. S. Marshall, from whose work the tune is\nan arrangement.\n\n\n480. Blessed assurance, Jesus is mine _Fanny J. Crosby_, 1820-1915\n\nAnother of Fanny Crosby\u2019s fine lyrics, sung the world over, in which is\nrevealed the secret of the author\u2019s own serene trust and cheerful faith.\nIn her _Memories of Eighty Years_, Miss Crosby makes the following\nreference to this hymn:\n\n Often I take in my mind some tune already well known as a model or,\n perhaps, more accurately speaking, as a guide, and work to it. This,\n however, does not imply that the tune will ultimately be chosen as the\n companion of the words; for it has probably already its own true and\n lawful mate, with which it is to be happy and useful. Sometimes a tune\n is furnished me for which to write the words. The hymn titled \u201cBlessed\n Assurance\u201d was made in this manner. My dear friend, Mrs. Joseph F.\n Knapp, so well-known as a writer and singer of most excellent music\n and as an aid and inspiration to all who knew her, had composed the\n tune; and it seemed to me one of the sweetest I had heard for a long\n time. She asked me to write a hymn for it, and I felt while bringing\n the words and tones together that the air and the hymn were intended\n for each other. In the many hundred times that I have heard it sung,\n this opinion has been more and more confirmed.\n\nFor comments on Fanny Crosby, see Hymn 313.\n\n_MUSIC._ ASSURANCE was written by Mrs. Joseph Fairchild Knapp,\n1839-1908, the daughter of Dr. Walter and Mrs. Phoebe Palmer. Her\nhusband was the founder of the Metropolitan Life Insurance Company in\nNew York City. Both Mr. and Mrs. Knapp were members of the Methodist\nEpiscopal church and gave much of their wealth to charitable and\nreligious work. Mrs. Knapp, a close friend of Fanny Crosby, was an\nexcellent singer, an accomplished organist, and an earnest Christian\nworker.\n\n\n481. Sweet are the promises _Wm. A. Ogden_, 1841-97\n\nThe third stanza is based on Matt. 11:28: \u201cCome unto me, all ye that\nlabor and are heavy laden, and I will give you rest,\u201d but the author has\nsubstituted \u201cweary\u201d for the word \u201clabor.\u201d\n\nWm. A. Ogden, who wrote the words and music of this song, was born in\nFranklin County, Ohio. At the age of six, he moved with his parents to\nIndiana where he enlisted, at the outbreak of the Civil War, in the 13th\nIndiana Volunteer Infantry. After the close of the war, he resumed his\nmusical studies under Lowell Mason, Thomas Hastings, E. E. Bailey, and\nB. F. Baker, President of the Boston School of Music. In 1870, he\npublished _Silver Song_ which reached the enormous sale of 500,000\ncopies. Ogden won distinction as a teacher and conductor of large\nconvention choruses. For six years he was director of music at Iowa\nNormal School but his greatest musical work was done at Toledo, Ohio,\nwhere he moved in 1881 and served as superintendent of public school\nmusic from 1887 until his death. He loved children and enjoyed teaching\nthem. His training of 3,000 children in 1894 was the distinct triumph of\nthe great _Saengerfest_ held that year in Toledo. Ogden wrote scores of\npopular songs, always composing both the words and music.\n\n\n482. Will your anchor hold _Priscilla J. Owens_, 1829-_c._ 99\n\nA hymn setting forth life in terms of the sea and its billowing waves,\nand the confidence one may have if anchored to the Rock, which is\nChrist.\n\nFor comments on the author, Priscilla Jane Owens, and the composer of\nthe tune, William J. Kirkpatrick, 1838-1921, see Hymn 334.\n\n\n483. Hide me, O my Savior, hide me _Fanny J. Crosby_, 1820-1915\n\nFor comments on Fanny Crosby and Wm. H. Doane who wrote tunes for many\nof Miss Crosby\u2019s hymns, see Hymn 313.\n\n\n484. When peace, like a river, attendeth my way _Horatio G.\n Spafford_, 1828-88\n\nA hymn of resignation and submission, written out of bitter experiences\nof loss and suffering.\n\nHoratio Gates Spafford, born in New York State, was a lawyer who had\nestablished himself in Chicago. He lost most of his fortune during the\ngreat fire in that city. Then on November 22, 1873, to add to his\ntrials, he lost four of his children when the French steamer, \u201cVilla de\nHavre,\u201d on which Mrs. Spafford and the children were sailing for Europe,\nsank in mid-ocean, half an hour after colliding with a large sailing\nvessel. Mrs. Spafford was rescued and, landing at Cardiff, Wales, ten\ndays later, cabled her husband, \u201cSaved Alone.\u201d Spafford started\nimmediately for Europe to bring his wife to Chicago. D. L. Moody, under\nwhose preaching the Spafford children had been converted in North\nChicago shortly before sailing, travelled from Edinburgh to Liverpool to\ncomfort the bereaved parents and was pleased to hear them say, \u201cIt is\nwell: the will of God be done.\u201d\n\nMr. and Mrs. Spafford later became much interested in the second coming\nof Christ, becoming so enthusiastic that in 1881 they went to Jerusalem\nwith their remaining daughter, to witness the coming of the Lord. After\nseven years in Palestine, Spafford died there, September 5, 1888, his\nwidow continuing to live there as the head of a communistic society with\nheadquarters in a building outside of Jerusalem. The daughter, very\npopular among the natives, became the teacher of a large body of\nchildren, instructing them in English and in American ways.\n\n_MUSIC._ IT IS WELL WITH MY SOUL. The music, \u201ca gentle, gliding melody\nthat suits the mood of the words,\u201d was written especially for Spafford\u2019s\nwords and published in _Gospel Hymns No. 3_. The hymn and tune\nimmediately became popular.\n\nFor comments on the composer, P. P. Bliss, see Hymn 442.\n\n\n485. Take the name of Jesus with you _Lydia Baxter_, 1809-74\n\nA popular gospel song widely used in the Moody and Sankey revivals.\n\nLydia Baxter, born in Petersburg, New York, was converted under the\npreaching of a Baptist missionary, the Rev. Eben Tucker, and, with her\nsister, became a leader in the organization of a Baptist Church in her\nnative town. After her marriage she moved to New York City. Though an\ninvalid for many years, she was known for her astonishing cheerfulness\nand to her home came many a Christian worker for inspiration and advice.\nA volume of her poems, _Gems by the Wayside_, was published in 1855.\n\n_MUSIC._ PRECIOUS NAME was written for this hymn. It is inseparably\nassociated with these words and has done much to give the hymn the\nwidespread popularity which it enjoys.\n\nFor comments on the composer, W. H. Doane, also a Baptist, see Hymn 313.\n\n\n486. When we walk with the Lord _James H. Sammis_, d. 1919\n\nThe origin of this hymn is related in Ira Sankey\u2019s _Story of the Gospel\nHymns_:\n\n \u201cSome years ago,\u201d says Professor Towner, musical director of Moody\n Bible Institute, \u201cMr. Moody was conducting a series of meetings in\n Brockton, Mass., and I had the pleasure of singing for him there. One\n night a young man rose in a testimony meeting and said, \u2018I am not\n quite sure\u2014but I am going to trust and obey.\u2019 I just jotted that\n sentence down, and sent it with the little story to the Rev. J. H.\n Sammis, a Presbyterian minister. He wrote the hymn and the tune was\n born. The chorus,\n\n \u2018Trust and obey\n For there\u2019s no other way\n To be happy in Jesus\n But to trust and obey.\u2019\n\n was written before the hymn was.\u201d\n\nJames H. Sammis was born in Brooklyn, N. Y., and became a business man\nin Logansport, Indiana. As an active Christian layman, he was much\ninterested in the Young Men\u2019s Christian Association, and finally gave up\nhis business connections to serve as a General Secretary in the \u201cY\u201d.\nAfter further education at Lane and McCormick Seminaries, he entered the\nministry and served as pastor of Presbyterian churches in Indiana,\nMichigan, and Minnesota. In 1909, he went to California as a teacher in\nthe Bible Institute of Los Angeles, continuing there until his death,\nJune 12, 1919.\n\n_MUSIC._ TRUST AND OBEY. The composer of this tune, D. W. Towner,\n1850-1919, was born in Rome, Pa., and became a member of a group of\nsingers and evangelists associated with D. L. Moody. He was a capable\nleader of choirs and large assemblies. In 1893, he became director of\nthe musical department of Moody Bible Institute in Chicago, a position\nhe held until his death. In recognition of his services, the University\nof Tennessee honored him with the degree of Doctor of Music, in 1900.\n\n\n487. My hope is built on nothing less _Edward Mote_, 1797-1874\n\n\u201cA grand hymn of faith\u201d is the characterization given by Bishop\nBickersteth of this poem. Written in 1834, and printed as a leaflet, it\nwas later included in the author\u2019s _Hymns of Praise_, 1836, entitled,\n\u201cThe Immutable Basis of a Sinner\u2019s Hope.\u201d The hymn is reminiscent of the\nwords of Paul: \u201cOther foundation can no man lay than that is laid, which\nis Jesus Christ\u201d (I Cor. 3:11).\n\nEdward Mote, born in London, worked as a cabinet-maker for some years\nbut at length entered the ministry and from 1852 until his death in 1874\nserved the Baptist Church at Horsham, Essex.\n\nThe refrain of this hymn came into his mind one morning as he was\nwalking up Holborn Hill on his way to work. Four stanzas were completed\nthat day and two more were added the following Sunday.\n\n_MUSIC._ SOLID ROCK. For comments on the composer of this tune, Wm. B.\nBradbury, see Hymn 103.\n\n\n488. \u2019Tis so sweet to trust in Jesus _Louisa M. R. Stead_\n\nA hymn of simple trust. Information concerning the author, Louisa M. R.\nStead, has not been traced.\n\n_MUSIC._ TRUSTING was composed for these words by the gospel singer and\ncomposer, Wm. J. Kirkpatrick, 1838-1921.\n\nFor comments on Kirkpatrick see Hymn 334.\n\n\n489. What a fellowship, what a joy divine _Elisha A. Hoffman_\n\nFor comments on the author, Elisha A. Hoffman, see Hymn 464.\n\n_MUSIC._ LEANING ON JESUS was composed by Anthony J. Schowalter, who was\nborn at Cherry Grove, Pa., May 1, 1858. The following from his pen tells\nthe story of the origin of this hymn and tune:\n\n While I was conducting a singing-school at Hartsells, Alabama, I\n received a letter from two of my former pupils in South Carolina,\n conveying the sad intelligence that on the same day each of them had\n buried a wife. I tried to console them by writing a letter that might\n prove helpful in their hour of sadness. Among other Scriptures, I\n quoted this passage, \u201cUnderneath are the everlasting arms.\u201d Before\n completing the writing of the sentence, the thought came to me that\n the fact that we may lean on these everlasting arms and find comfort\n and strength, ought to be put in a song; and before finishing that\n letter, the words and music of the refrain were written. The\n manuscript was sent to Elisha Hoffman ... in a few days his completion\n of the poem was received.\n\n\n490. Jesus, keep me near the cross _Fanny J. Crosby_, 1820-1915\n\nA hymn on \u201cthe cross.\u201d The refrain suggests the words of Paul: \u201cGod\nforbid that I should glory save in the cross of our Lord Jesus Christ\u201d\n(Gal. 6:14). This is another instance in which the words of the blind\nhymn writer and the music of Mr. Doane were combined to make a popular\ngospel song.\n\nFor comments on Fanny Crosby and Wm. H. Doane, composer of the tune, see\nHymn 313.\n\n\n491. Nearer the cross _Fanny Crosby_, 1820-1915\n\nFor comments on the author of these words, Fanny Crosby, see Hymn 313.\n\nFor Mrs. J. F. Knapp, composer of the tune, see Hymn 480.\n\n\n492. There is a fountain filled with blood _William Cowper_, 1731-1800\n\nThe imagery in the first verse is drawn from Zechariah 13:1: \u201cIn that\nday there shall be a fountain opened to the house of David and to the\ninhabitants of Jerusalem for sin and for uncleanness.\u201d The dislike which\nsome have for this Old Testament phraseology has given rise to much\ndispute concerning the hymn, but all attempts to revise it have been\nwithout success. It is excellent poetry and should be left as Cowper\nwrote it.\n\nThe hymn was published in Conger\u2019s _Collection of Psalms and Hymns_,\n1772, and later in the _Olney Hymns_ (See Hymn 60).\n\nFor comments on William Cowper see Hymn 60.\n\n_MUSIC._ CLEANSING FOUNTAIN, also called \u201cWestern Melody\u201d in some of the\nolder books, is a stirring tune reminiscent of the early American camp\nmeeting songs. It is attributed here to Lowell Mason, but it is not\ncertain whether he wrote it or whether it is an adaptation from his\ntune, \u201cCowper,\u201d which it resembles and to which the hymn is set in _The\nHymnal_, 1933 (Presbyterian).\n\nFor comments on Lowell Mason see Hymn 12.\n\n\n493. I love to tell the story _Katherine Hankey_, 1834-1911\n\nA simple song which became popular and has been translated into several\ndifferent languages, because it expresses what is in the hearts of\nmultitudes of people.\n\nThe words are from a long poem of 50 stanzas, in two parts, on the life\nof Jesus. Part I, dated January 29, 1866, is entitled, \u201cThe Story\nWanted.\u201d Part II, dated November 18, 1866, is entitled, \u201cThe Story\nTold.\u201d The author composed the poem during a long period of convalescing\nafter a serious illness. This hymn and \u201cTell me the old, old story\u201d (No.\n495) are selections from Part II and Part I, respectively, of the\nabove-mentioned poem.\n\nKatherine Hankey, born in Clapham, England, was the daughter of a\nbanker. She was a refined, consecrated woman, a Sunday school teacher,\nand organizer of Bible classes among working girls. She travelled in\nSouth Africa to look after an invalid brother and became so interested\nin mission work that she devoted thereto the income from her writings.\n\n_MUSIC._ HANKEY was composed for these words. For comments on the\ncomposer, Wm. G. Fischer, see Hymn 469. The melody, written in 1869, was\nharmonized by Hubert P. Main (No. 426) and became popular at revival\nmeetings. It is one of the gospel song tunes that is included in the\nmore dignified church hymnals.\n\n\n494. Sing them over again to me _Philip P. Bliss_, 1838-76\n\nWritten especially for use in the first issue of _Words of Life_, a\nSunday school paper published by Fleming H. Revell. Two years later,\nGeorge Stebbins introduced the song in an evangelistic campaign which he\nand Dr. Pentecost were conducting in New Haven, Conn., the two men\nsinging the song as a duet. The song was received with enthusiasm and\nimmediately became popular. It was published in _Gospel Hymns, No. 3_\nand has had a wide use in evangelistic services and in the Sunday\nschools throughout the country.\n\nFor comments on Philip P. Bliss, author and composer, see Hymn 442.\n\n\n495. Tell me the old, old story _Katherine Hankey_, 1834-1911\n\nFor comments on the author, Katherine Hankey, and an account of the\norigin of this hymn, see Hymn 493.\n\n_MUSIC._ Dr. W. H. Doane heard the poem read at a Y.M.C.A. Conference at\nMontreal in 1867 and was so impressed by it that he copied it and later\nset it to music while riding on a stage coach during a vacation in the\nWhite Mountains.\n\nFor comments on W. H. Doane, see Hymn 313.\n\n\n496. There is a Name I love to hear _Frederick Whitfield_, 1829-1904\n\nA hymn on the name of Jesus which was published in 1855 in hymn-sheets\nand leaflets in various languages. In 1861, it appeared in the author\u2019s\n_Sacred Poems and Prose_, a volume containing twenty-six hymns.\n\nFrederick Whitfield, born at Threapwood, Shropshire, was a minister in\nthe Anglican Church. Educated at Trinity College, Dublin, where he took\nhis B.A. degree in 1859, he became, successively, curate of Otley, vicar\nof Kirby-Ravensworth, senior curate of Greenwich, and vicar of St.\nJohn\u2019s, Bexley. He is the author of nearly thirty volumes of prose and\npoetry.\n\n_MUSIC._ O HOW I LOVE JESUS is a traditional melody of unknown\nauthorship.\n\n\n497. Rescue the perishing _Fanny J. Crosby_, 1820-1915\n\nA rallying song for Christian workers in all parts of the world. This is\nthe only one of Fanny Crosby\u2019s hymns to be included in the famous\nEnglish publication, _Hymns Ancient and Modern_. It was a great favorite\nof Frances E. Willard and Frances Murphy, temperance crusaders, and D.\nL. Moody was very fond of it.\n\nThe hymn had its origin in a visit which the blind poet made to one of\nthe worst slum districts in New York City. When she addressed the men at\na rescue mission, Miss Crosby heard harrowing tales of lost and\nperishing people. She wrote:\n\n \u201cWhile I sat there that evening the line came to me, \u2018Rescue the\n perishing, care for the dying.\u2019 I could think of nothing else that\n night. When I arrived at my home, I went to work at once, and before I\n retired the entire hymn was ready for a melody.\u201d\n\nFor comments on Fanny J. Crosby see Hymn 313.\n\n_MUSIC._ RESCUE was composed by Dr. Doane for this hymn. The hymn and\ntune have resounded through many thousands of mission services.\n\nFor comments on Wm. H. Doane see Hymn 313.\n\n\n498. O scatter seeds of loving deeds _Jessie Brown Pounds_, 1861-1921\n\nFor comments on Jessie Brown Pounds, see Hymn 453.\n\nHer song poem has gone around the world on the wings of this tune\ncomposed by Fred A. Fillmore, of the musically famous Fillmore brothers.\nSee comments at Hymn 453. Fred A. was born May 15, 1856, at Paris,\nIllinois.\n\n\n499. Judge me, God of my salvation _Psalm 43_\n\nA metrical version of Psalm 43 which may be compared with the version\nfrom the Scottish Psalter at No. 587. The fifth verse of the Psalm is\nmade to serve as the refrain. The poet who made the version has not been\nidentified. The hymn and tune were taken from the _Psalter_ of the\nUnited Presbyterian Church.\n\n_MUSIC._ AMARA was composed by William O. Perkins, concerning whom no\ninformation has been found.\n\n\n500. I can hear my Savior calling _E. W. Blandy_\n\nAn intimate hymn of personal consecration. The repetition of the phrases\nand the close harmony of the music have made the use of this song, even\nwithout the aid of an accompanying instrument, easy and enjoyable. No\ninformation has been found concerning the author, E. W. Blandy\n(misspelled Blandly in the _Hymnary_).\n\n_MUSIC._ WHERE HE LEADS ME is admirably suited to the words. No\ninformation has come to light concerning the composer, J. S. Norris.\n\n\n501. And must I be to judgment brought _Charles Wesley_, 1707-88\n\nThe hymn, originally in eight stanzas, was entitled \u201cA Thought on\nJudgment\u201d and was written for children! Why Wesley wrote such\nserious-minded hymns for children is explained in his preface to _Hymns\nfor Children_, from which this hymn is taken:\n\n There are two ways of writing or speaking to children. The one is to\n let ourselves down to them; the other, to lift them up to us. Dr.\n Watts wrote in the former way, and has succeeded admirably well,\n speaking to children as children and leaving them as he found them.\n The following hymns are written on the other plan. They contain strong\n and manly sense, yet expressed in such plain and easy language as even\n children may understand. But when they do understand them, they will\n be children no longer\u2014only in years and in stature.\n\nFor comments on Charles Wesley, see Hymn 6.\n\n_MUSIC._ MARLOW was composed by Rev. John Chetham, 1700-63, an English\nclergyman, curate of Skipton.\n\n\n502. Savior, lead me lest I stray _Frank M. Davis_, 1839-96\n\nThe words and music were written on the deck of a steamer that plied\nbetween Baltimore and Savannah.\n\nFrank M. Davis was born on a farm near Marcellus, New York, the youngest\nof a family of ten children. He began composing tunes at an early age\nand became a teacher of vocal and instrumental music. He travelled\nextensively through the eastern and southern states, directing chorus\nchoirs and teaching vocal classes. He compiled several Sunday school\ncollections, among them _New Pearls of Song_, 1877, and _Notes of\nPraise_, of which more than 100,000 copies were sold. Davis is the\nauthor of over 100 vocal and instrumental compositions. He died suddenly\nof heart failure at Chesterfield, Indiana, where he was attending a camp\nmeeting.\n\n\n503. My days are gliding swiftly by _David Nelson_, 1793-1844\n\nA hymn written by a preacher while hiding from pursuing slave-holders\nwhose anger and violence were aroused by Nelson\u2019s aggressive\nanti-slavery views.\n\nDavid Nelson, a surgeon in the U. S. Army during the war of 1812, left\nhis profession to become a minister, meanwhile owning and operating a\nplantation in Missouri. After listening to an address on slavery, he\ndeclared himself in favor of freeing the slaves and advocated the plan\nof colonizing them in Africa. This so enraged some of the slave-holders\nthat they drove Nelson from his home. To avoid mob violence, he escaped,\nreaching, after three days and nights of wandering, the Mississippi\nRiver opposite Quincy, Illinois. Hiding there in the bushes, with his\npursuers near but unable to find him, the river gliding swiftly before\nhim, he wrote this hymn on the back of old letters he had in his pocket.\nHe was finally rescued by members of the Quincy Congregational Church\nwho, having learned of his plight, took him on a fishing canoe and rowed\nhim across the river, still pursued, to safety and friends, on the\nhospitable shore of a free state.\n\n_MUSIC._ SHINING SHORE, one of the composer\u2019s most popular tunes, has\nbeen given various arrangements for voice and instruments. Root has\nwritten concerning the origin of the tune:\n\n One day, I remember, as I was working at a set of graded part-songs\n for singing classes, mother passed through the room and laid a slip\n from one of the religious newspapers before me, saying, \u201cGeorge, I\n think that would be good for music.\u201d I looked at the poem which began,\n \u201cMy days are gliding swiftly by,\u201d and a simple melody sang itself in\n my mind as I read. I jotted it down and went on with my work. That was\n the origin of the music of \u201cThe Shining Shore.\u201d Later, when I took up\n the melody to harmonize it, it seemed so very simple and commonplace,\n that I hesitated about setting the other parts to it. I finally\n decided that it might be useful to somebody, and I completed it,\n though it was not printed until some months afterward. In after years\n I examined it in an endeavor to account for its great popularity\u2014but\n in vain. To the musician there is not one reason in melody or harmony\n scientifically regarded, for such a fact. To him hundreds of others,\n now forgotten, were better.\n\nFor comments on George F. Root, 1820-95, see Hymn 418.\n\n\n504. There\u2019s a land that is fairer than day _S. F. Bennett_, 1836-98\n\n\u201cIt\u2019ll be all right _by and by_.\u201d This trivial remark by Webster, when\none morning, seemingly depressed, he was asked by his partner, Bennett,\nwhat was wrong with him, was the occasion for the writing of this hymn.\nThe author and composer were friends and partners in the music\npublishing business in the village of Elkhorn, Wis. Webster, the\nmusician of the firm, was inclined to be nervous and subject to periods\nof depression. His partner understood this and often effected a cure, as\non this occasion, by putting him to work on a new song. Upon Bennett\u2019s\nsuggestion, the two agreed that morning to make a hymn out of the idea,\n\u201cThe sweet by and by.\u201d Bennett penned the words and handed them to\nWebster, who promptly wrote the music. Words and music were thus\nproduced in the incredibly short time of about thirty minutes. The song\nwas published soon afterward in a Sunday school song book, _The Signet\nRing_, which the two men were compiling. From there it found its way\ninto numerous collections of songs until today \u201cit is translated into\nvarious foreign languages and sung in every land under the sun.\u201d\n\nSanford Filmore Bennett was a native of the West. He settled in Elkhorn,\nWis., in 1861, to devote himself to music but later studied medicine and\npracticed in Richmond, Ill.\n\n_MUSIC._ SWEET BY AND BY. Joseph Philbrick Webster, 1819-75, composer of\nthis tune, was born in New Hampshire. He was an active member of the\nHandel and Haydn Society and various other musical organizations. He\nlived in Madison, Indiana, and Racine, Wisconsin, before finally moving\nto Elkhorn, in 1857.\n\n\n\n\n BOOK IV\n The Christian Year in Chorales\n\n\n CALL TO WORSHIP\n\n\n505. Open now Thy gates of beauty _Benjamin Schmolck_, 1672-1737\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Tut mir auf die sch\u00f6ne Pforte,\n F\u00fchrt in Gottes Haus mich ein!\n Ach, wie wird an diesem Orte\n Meine Seele fr\u00f6hlich sein!\n Hier ist Gottes Angesicht,\n Hier ist lauter Trost und Licht.\n\n 2.\n Herr, ich bin zu dir gekommen;\n Komme du nun auch zu mir!\n Wo du Wohnung hast genommen\n Ist der Himmel hell vor mir.\n Zeuch in meinem Herzen ein,\n Lass es deinen Himmel sein!\n\n 3.\n Mache mich zum guten Lande,\n Wenn dein Saatkorn auf mich f\u00e4llt;\n Gib mir Licht in dem Verstande,\n Und was mir wird vorgestellt,\n Pr\u00e4ge du dem Herzen ein;\n Lass es mir zur Frucht gedeihn.\n\n 4.\n St\u00e4rk in mir den schwachen Glauben,\n Lass dein teures Kleinod mir\n Nimmer aus dem Herzen rauben,\n Halte mir dein Wort stets f\u00fcr;\n Ja, das sei mein Morgenstern,\n Der mich f\u00fchret zu dem Herrn!\n\n 5.\n Rede, Herr, so will ich h\u00f6ren,\n Und dein Wille werd\u2019 erf\u00fcllt!\n Lass nichts meine Andacht st\u00f6ren,\n Wenn der Brunn\u2019 des Lebens quillt.\n Speise mich mit Himmelsbrot,\n Tr\u00f6ste mich in aller Not!\n\nA beautiful worship hymn, first published in the author\u2019s\n_Kirchen-Gef\u00e4hrte_, 1732, in seven stanzas, entitled, \u201cThe First Step\ninto the Church.\u201d Its joyous spirit is characteristic of many of\nSchmolck\u2019s poems.\n\nBenjamin Schmolck, the most popular and prolific hymn writer of his\ntime, was born in Silesia, and educated in the University of Leipzig. He\nwas ordained to become his father\u2019s assistant in the church at\nBrauchitzchdorf, his birthplace. Later he became the pastor of\nFriedenskirche at Schweidnitz, in Silesia, where he labored patiently\nfor a period of 35 years, beloved of his people for his understanding\nand sympathy. He had rare poetic gifts and published a number of volumes\nof devotional books in which his hymns were included. His contemporary,\nJohann Sebastian Bach, 1685-1750, greatest of all church musicians,\nhelped to make the poems of Schmolck immortal.\n\nCatherine Winkworth translated five stanzas of this hymn; three of which\nare used here.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ NEANDER. For comments on this tune, and the composer, Joachim\nNeander, see Hymn 127.\n\n\n506. God reveals His presence _Gerhard Tersteegen_, 1697-1769\n _Tr. Frederick W. Foster_, 1760-1835\n _John Miller_, 1756-1810\n _William Mercer_, 1811-73\n\n 1.\n Gott ist gegenw\u00e4rtig!\n Lasset uns anbeten,\n Und in Ehrfurcht vor ihn treten.\n Gott ist in der Mitte;\n Alles in uns schweige,\n Und in Ehrfurcht vor ihn beuge.\n Wer ihn kennt, wer ihn nennt,\n Schlagt die Augen nieder;\n Kommt, ergebt euch wieder!\n\n 2.\n Gott ist gegenw\u00e4rtig,\n Dem die Cherubinen\n Tag und Nacht mit Ehrfurcht dienen;\n Heilig, heilig singen\n Alle Engelch\u00f6ren,\n Wenn sie Gott mit Jauchzen ehren.\n Herr, vernimm unsre Stimm\u2019,\n Da auch wir Geringen\n Unsre Opfer bringen.\n\n 4.\n Majest\u00e4tisch Wesen!\n M\u00f6cht\u2019 ich dich recht preisen,\n Und im Geist dir Dienst erweisen\n M\u00f6cht\u2019 ich wie die Engel\n Immer vor dir stehen\n Und dich gegenw\u00e4rtig sehen!\n Lass mich dir f\u00fcr und f\u00fcr\n Trachten zu gefallen,\n Liebster Gott, in Allen.\n\nFirst published in the author\u2019s _Geistliches Blumeng\u00e4rtlein_, entitled\n\u201cRemembrance of the glorious and delightful presence of God,\u201d 1729.\n\nGerhard Tersteegen, one of the greatest of German hymn writers, was born\nat M\u00f6rs in Westphalia, the son of a tradesman. He was educated at the\ngrammar school of his native place, and then bound as an apprentice to\nan elder brother, a shop-keeper at M\u00fclheim. When his time was out, he\nleft his brother and moved to a little cottage near M\u00fclheim where for\nsome years he supported himself by weaving silk ribbons, giving his\nmoney to the poor, and living a life so simple that it brought upon him\nthe contempt of his thriving and money-getting relatives. For a time,\ndue to various disappointments, he lived in a \u201cstate of darkness,\u201d a\nfive year period of spiritual depression, during which he doubted the\nlove, if not the existence, of God. He at last, as in a moment, regained\npeace and joy, whereupon he signed, with his own blood, a covenant with\nGod to devote himself to His service. Soon he was found speaking at\nprayer meetings and other places and became popular as a religious\nteacher and counsellor. From far and wide people came to him for\npersonal interviews, and his public meetings were always crowded.\n\nTersteegen was never ordained. Grieved by the open sin of the church\npeople of his time, he early dissociated himself from the organized\nchurch and absented himself from the communion service. Though he had a\nwide following, he never organized a sect of his own, and, after his\ndeath, most of his disciples reunited with the Reformed Church. Like all\ngreat leaders, he pled the cause of the underprivileged. He was a mystic\nof the purest type, yet his faith was practical. He provided food and\nsimple medicines for the poor and became widely known as the physician\nto the poor and forsaken. Tersteegen had many friends among the\nMennonites and often preached in their church at Krefeld.\n\nHe is the author of 111 hymns, many of which have been rendered into\nEnglish.\n\nFrederick Foster and John Miller, translators of stanzas one and two,\nrespectively, were both members of the Moravian Church. William Mercer,\ntranslator of stanza three, was an English scholar who translated and\nparaphrased many of the Latin and German hymns into English, but is best\nknown for his successful work as editor of _The Church Psalter and Hymn\nBook_, 1857, the most popular hymn book of the Church of England.\nAnother translation of this hymn appears at No. 508.\n\n_MUSIC._ ARNSBERG, also called \u201cWunderbarer K\u00f6nig,\u201d and \u201cGott ist\ngegenw\u00e4rtig,\u201d was composed by the poet and musician, Joachim Neander,\n1650-80. It appeared in his collection, _Glaub- und Liebes\u00fcbung_,\nBremen, 1680, set to the hymn, \u201cWunderbarer K\u00f6nig.\u201d\n\nFor comments on Neander see Hymn 127.\n\n\n507. Jehovah! Jehovah! Jehovah! _Gottlieb Konrad Pfeffel_, 1736-1809\n _Tr. C. Haas_, 1862-1928\n _Stanzas 2 and 3, G. F. W. Schultz_, 1774-1842\n _Tr. C. E. Krehbiel_, 1869-1948\n\n Jehova! Jehova! Jehova!\n Deinem Namen sei Ehre, Macht, und Ruhm!\n Amen. Amen.\n Bis einst der Tempel dieser Welt\n Auf dein Wort in Staub zerf\u00e4llt,\n Soll in unsern Hallen,\n Das Heilig, Heilig, Heilig, erschallen.\n Halleluja! Halleluja!\n\nThe original is a one-stanza hymn. The author, Gottlieb Pfeffel, was\nborn at Colmar in Alsace. His literary work consisted primarily of the\nwriting of fables and hymns for instruction in the Colmar schools. At\nthe age of 21 he became totally blind, but carried on, despite the\nhandicap, a magnificent life work as president of the schools at Colmar.\nHe was also the founder of a nursery for Protestant children.\n\nChristian George Haas, translator of the hymn, was a minister in the\nEvangelical Church. After graduating from Eden Theological Seminary, he\nheld pastorates in St. Paul and in Buffalo, and edited the _Hymnal of\nthe Evangelical Church_, 1898.\n\nTwo stanzas were added to Pfeffel\u2019s hymn, by G. F. W. Schultz:\n\n Sohn Gottes! Sohn Gottes! Sohn Gottes!\n Deinen Namen preist unser Lobgesang!\n Amen. Amen.\n Du kamst aus Lieb\u2019 zu uns herab,\n Siegtest \u00fcber Tod und Grab,\n Alle zu erl\u00f6sen,\n O Heiland, Heiland, Heiland, vom B\u00f6sen!\n Sei hochgelobt! Sei hochgelobt!\n\n Geist Gottes! Geist Gottes! Geist Gottes!\n Deinen Namen erhebet unser Lied!\n Amen. Amen.\n Du heiligst, f\u00fchr\u2019st in\u2019s Vaterland,\n Bist des Gnadenerbes Pfand.\n Deiner die Erl\u00f6sten\n Du Heil\u2019ger, Heil\u2019ger, Heil\u2019ger, sich tr\u00f6sten!\n Halleluja! Halleluja!\n\nNo information has been traced concerning the author.\n\nFor comments on C. E. Krehbiel who translated stanzas 2 and 3, see Hymn\n376.\n\n_MUSIC._ JEHOVAH. No information is at hand concerning Johann C. Gerold,\ncomposer of this somewhat long, but dignified and effective tune, with\nits peculiar meter.\n\n\n508. Lo, God is here! let us adore _Gerhard Tersteegen_, 1697-1769\n _Tr. John Wesley_, 1703-91\n\nThe most widely used of Tersteegen\u2019s hymns. The German version and\nanother translation are found at No. 506.\n\nFor comments on Tersteegen see Hymn 506.\n\nThe present translation was made by John Wesley, the founder of\nMethodism. For comments on Wesley see Hymn 170.\n\n_MUSIC._ MACH\u2019S MIT MIR GOTT, also called \u201cSchein,\u201d and \u201cEisenach,\u201d was\ncomposed by J. H. Schein, 1586-1630, for the hymn \u201cMach\u2019s mit mir Gott.\u201d\nSchein was the son of a Lutheran pastor and became one of the most\ndistinguished musicians of his time. For a number of years he held the\nhonored position of cantor of St. Thomas\u2019 Church and School in Leipzig,\nand composed many hymn tunes. He is best known by the great hymn book he\nedited for the Lutheran Church, _Cantional, oder Gesangbuch\nAugsburgischer Confession_, Leipzig, 1627.\n\nThe present form of the melody is an adaptation of the original and is\nthe one used by J. S. Bach in his _St. John\u2019s Passion_. \u201cThe tune is not\none of the \u2018grand\u2019 chorales, but retains, even in its later version, a\nsuave, song-like character.\u201d\n\n\n PRAISE\n\n\n509. O that I had a thousand voices _Johann Mentzer_, 1658-1734\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n O dass ich tausend Zungen h\u00e4tte\n Und einen tausendfachen Mund,\n So stimmt\u2019 ich damit in die Wette\n Vom allertiefsten Herzensgrund\n Ein Loblied nach dem andern an\n Von dem, was Gott an mir getan!\n\n 2.\n O dass doch meine Stimme schallte\n Bis dahin, wo die Sonne steht,\n O dass mein Blut mit Jauchzen wallte,\n So lang es noch im Laufe geht!\n Ach w\u00e4re jeder Puls ein Dank,\n Und jeder Odem ein Gesang!\n\n 3.\n Was schweigt ihr denn, ihr meine Kr\u00e4fte?\n Auf, auf, braucht allen euren Fleiss\n Und stehet munter im Gesch\u00e4fte\n Zu Gottes, meines Herren, Preis!\n Mein Leib und Seele, schicke dich\n Und lobe Gott herzinniglich!\n\n 4.\n Ihr gr\u00fcnen Bl\u00e4tter in den W\u00e4ldern,\n Bewegt und regt euch doch mit mir!\n Ihr schwanken Gr\u00e4schen in den Feldern,\n Ihr Blumen, lasst doch eure Zier\n Zu Gottes Ruhm belebet sein\n Und stimmet lieblich mit mir ein!\n\n 5.\n Ach alles, alles, was ein Leben\n Und einen Odem in sich hat,\n Soll sich mir zum Gehilfen geben,\n Denn mein Verm\u00f6gen ist zu matt\n Die grossen Wunder zu erh\u00f6hn,\n Die allenthalben um mich stehn.\n\n 6.\n Dir sei, o allerliebster Vater,\n Unendlich Lob f\u00fcr Seel und Leib;\n Lob sei dir, mildester Berater,\n F\u00fcr allen edlen Zeitvertreib,\n Den du mir in der ganzen Welt\n Zu meinem Nutzen hast bestellt.\n\n 7.\n Mein treuster Jesu, sei gepriesen,\n Dass dein erbarmungsvolles Herz\n Sich mir so h\u00fclfreich hat erwiesen,\n Und mich durch Blut und Todesschmerz\n Von aller Teufel Grausamkeit\n Zu deinem Eigentum befreit.\n\n 8.\n Auch dir sei ewig Ruhm und Ehr\n O heiligwerter Gottes-Geist,\n F\u00fcr deines Trostes s\u00fcsse Lehre,\n Die mich ein Kind des Lebens heisst.\n Ach wo was Gut\u2019s von mir geschicht,\n Das wirket nur dein g\u00f6ttlich Licht.\n\n 9.\n Wer \u00fcberstr\u00f6met mich mit Segen?\n Bist du es nicht, o reicher Gott?\n Wer sch\u00fctzet mich auf meinen Wegen?\n Du, du, o starker Zebaoth.\n Du tr\u00e4gst mit meiner S\u00fcndenschuld\n Uns\u00e4glich gn\u00e4dige Geduld.\n\n 10.\n Vor andern k\u00fcss ich deine Rute,\n Die du mir aufgebunden hast.\n Wie viel tut sie mir doch zu Gute,\n Und ist mir eine sanfte Last;\n Sie macht mich fromm und zeigt dabei,\n Dass ich von deinen Liebsten sei.\n\n 11.\n Ich hab es ja mein Lebetage\n Schon so manch liebes Mal gesp\u00fcrt,\n Dass du mich unter viele Plage\n Recht wunderbarlich hast gef\u00fchrt.\n Denn in der gr\u00f6ssesten Gefahr\n Ward ich dein Trostlicht stets gewahr.\n\n 12.\n Wie sollt ich nun nicht voller Freuden\n In deinem steten Lobe stehn?\n Wie sollt ich auch im tiefsten Leiden\n Nicht triumphierend einhergehn?\n Und fiele auch der Himmel ein,\n So will ich doch nicht traurig sein.\n\n 13.\n Drum reisz ich mich jetzt aus der H\u00f6hle\n Der schn\u00f6den Eitelkeiten los,\n Und rufe mit erh\u00f6hter Seele:\n Mein Gott, du bist sehr hoch und gross;\n Kraft, Ruhm, Preis, Dank und Herrlichkeit\n Geh\u00f6rt dir jetzt und allezeit.\n\n 14.\n Ich will von deiner G\u00fcte singen,\n Solange sich die Zunge regt,\n Ich will dir Freudenopfer bringen,\n Solange sich mein Herz bewegt.\n Ja, wenn der Mund wird kraftlos sein,\n So stimm\u2019 ich doch mit Seufzen ein.\n\n 15.\n Ach nimm das arme Lob auf Erden,\n Mein Gott, in allen Gnaden hin!\n Im Himmel soll es besser werden,\n Wenn ich bei deinen Engeln bin.\n Da sing\u2019 ich dir im h\u00f6hern Chor\n Viel tausend Halleluja vor.\n\nA popular hymn of praise and thanksgiving, written in 1704, shortly\nafter the author\u2019s home was destroyed by fire! Our version is a\nselection of stanzas 1, 4, 5, and 15, of the original 15.\n\nThe author, Johann Mentzer, was for 38 years a pastor at Kemnitz,\nSaxony, and belonged to the more conservative Pietistic school of hymn\nwriters. He is the author of 34 hymns, many of them of high merit.\n\nFor comments on the translator, Catherine Winkworth, see Hymn 236.\n\n_MUSIC._ O DASS ICH TAUSEND ZUNGEN H\u00c4TTE was composed by Johann\nBalthasar K\u00f6nig, 1691-1758, director of music in several churches in\nFrankfurt-am-Main. The tune appeared in _Harmonischer Liederschatz_,\nFrankfurt, 1738, where it is set to the hymn, \u201cAch sagt mir nichts von\nGold und Sch\u00e4tzen.\u201d The _Harmonischer Liederschatz_, edited by K\u00f6nig, is\nthe most comprehensive chorale-book of the 18th century. It contains\n1940 tunes, including several of K\u00f6nig\u2019s own compositions.\n\n\n510. Heav\u2019n and earth, the sea, the air _Joachim Neander_, 1650-80\n _Tr. Catherine Winkworth_, 1829-78\n _Frances Cox_, 1812-97\n\n 1.\n Himmel, Erde, Luft und Meer,\n Aller Welten zahllos Heer\n Jauchzen Gott, dem Sch\u00f6pfer, zu;\n Meine Seele, sing\u2019 auch du!\n\n 2.\n Ihn erhebt das Sonnenlicht,\n Wann es durch die Wolken bricht.\n Mondesglanz und Sternenpracht\n Loben Gott in stiller Nacht.\n\n 3.\n Seht, wie er das Land erquickt\n Und mit Luft und Segen schm\u00fcckt!\n W\u00e4lder, Flur und jedes Tier\n Zeigen Gottes Finger hier.\u2014\n\n 4.\n Seht, wie fleugt der V\u00f6gel Schaar\n In den L\u00fcften frisch und klar!\n Donner, Blitz, Dampf, Hagel, Wind\n Seines Willens Diener sind.\n\n 5.\n Seht der Wasserwellen Lauf,\n Wie sie steigen ab und auf!\n Von der Quelle bis zum Meer\n Rauschen sie des Sch\u00f6pfers Ehr\u2019.\n\n 6.\n Ach, mein Gott, wie wunderbar\n Stellst du dich der Seele dar!\n Dr\u00fccke stets in meinen Sinn,\n Was du bist, und was ich bin!\n\nBased on Psalm 19 and Acts 14:17. The hymn sings of God\u2019s revelation to\nman in nature. It once had a footnote: \u201cIs also a traveler\u2019s hymn by\nland and water,\u201d to which we might add, \u201cand air.\u201d The hymn first\nappeared in the author\u2019s _Glaub- und Liebes\u00fcbung_, Bremen, 1680.\n\nFor comments on Joachim Neander see Hymn 127.\n\nThe translation is mainly from Catherine Winkworth, but partly from\nFrances Cox.\n\nFor comments on Miss Winkworth see Hymn 236. For Miss Cox, Hymn 512.\n\n_MUSIC._ GOTT SEI DANK, also known as \u201cL\u00fcbeck,\u201d \u201cBerlin,\u201d and\n\u201cCarintha,\u201d is by an unknown composer. The tune, since slightly altered,\nfirst appeared in J. A. Freylinghausen\u2019s _Neues Geistreiches\nGesangbuch_, Halle, 1704, an important collection described as \u201cthe only\nbook which can, as a collection, be set alongside with _Praxis Pietatis\nMelica_.\u201d It is a lively, spirited tune, its moderate range making it\nespecially suitable for unison singing.\n\n\n511. Lord, with glowing heart I\u2019d praise Thee _Francis Scott Key_,\n 1779-1843\n\nThe author of this hymn, Francis Scott Key, is known to every American\nchild as the man who wrote our national anthem, \u201cThe Star Spangled\nBanner.\u201d Born in Frederick County, Virginia, he was educated at St.\nJohn\u2019s College, Annapolis. He practiced law in Washington, D. C., and\nserved as United States District Attorney for three terms, till his\ndeath on January 11, 1843. As a member of the Protestant Episcopal\nChurch, he held a lay reader\u2019s license and for many years read the\nservice and visited the sick. He taught a Bible class and conducted\nfamily prayers twice a day, requiring all members of the household,\nincluding the servants, to be present. He did much for the negroes of\nthe south and although he lived in a slave state, he was moved by\nconscientious scruples to free his own slaves. The hymn, as he wrote it,\nhad four stanzas. The second and third stanzas, omitted here, read as\nfollows:\n\n Praise, my soul, the God that sought thee,\n Wretched wanderer, far astray;\n Found thee lost, and kindly brought thee\n From the paths of death away;\n Praise, with love\u2019s devoutest feeling,\n Him who saw thy guilt-born fear,\n And, the light of hope revealing,\n Bade the blood-stained cross appear.\n\n Praise thy Saviour God that drew thee\n To that cross, new life to give,\n Held a blood-sealed pardon to thee,\n Bade thee look to Him and live.\n Praise the grace whose threats alarmed thee,\n Roused thee from thy fatal ease,\n Praise the grace whose promise warmed thee,\n Praise the grace that whispered peace.\n\nAmong his other hymns is, \u201cBefore the Lord we bow,\u201d a thanksgiving hymn\nwritten by Key in 1832 for a Fourth of July celebration.\n\n_MUSIC._ WOMIT SOLL ICH DICH WOHL LOBEN is by Justin H. Knecht,\n1752-1817, who was born in Biberach, Swabia. He studied music under\nKramer and became one of the great organists of his time. His most\nvaluable production was the _W\u00fcrttemberg Choralbuch_ which he edited\nalong with J. F. Christmann, and to which he contributed 97 tunes of his\nown composition.\n\n\n512. Sing praise to God who reigns above _Johann J. Sch\u00fctz_, 1640-90\n _Tr. Frances E. Cox_, 1812-97\n\n 1.\n Sei Lob und Ehr\u2019 dem h\u00f6chsten Gut,\n Dem Vater aller G\u00fcte,\n Dem Gott, der alle Wunder tut,\n Dem Gott, der mein Gem\u00fcte\n Mit seinem reichen Trost erf\u00fcllt,\n Dem Gott, der allen Jammer stillt;\n Gebt unsrem Gott die Ehre!\n\n 2.\n Es danken dir die Himmelsheer\u2019,\n O Herrscher aller Thronen;\n Und die in L\u00fcften, Land und Meer\n In deinem Schatten wohnen,\n Die preisen deine Sch\u00f6pfersmacht,\n Die Alles also wohl bedacht.\n Gebt unsrem Gott die Ehre!\n\n 3.\n Was unser Gott geschaffen hat,\n Das will er auch erhalten,\n Dar\u00fcber will er fr\u00fch und spat\n Mit seiner Gnade walten.\n In seinem ganzen K\u00f6nigsreich\n Ist Alles recht und Alles gleich;\n Gebt unsrem Gott die Ehre!\n\n 4.\n Ich rief dem Herrn in meiner Not:\n \u201cAch Gott, vernimm mein Weinen!\u201d\n Da half mein Helfer mir vom Tod\n Und liess mir Trost erscheinen.\n Drum dank\u2019 ich, Gott, drum dank\u2019 ich dir;\n Ach danket, danket Gott mit mir,\n Gebt unsrem Gott die Ehre!\n\n 5.\n Der Herr ist nun und immer nicht\n Von seinem Volk geschieden;\n Er bleibet ihre Zuversicht,\n Ihr Segen, Heil und Frieden.\n Mit Mutterh\u00e4nden leitet er\n Die Seinen stetig hin und her.\n Gebt unsrem Gott die Ehre!\n\n 6.\n Wenn Trost und H\u00fclfe mangeln muss,\n Die alle Welt erzeiget,\n So kommt, so hilft der Ueberfluss,\n Der Sch\u00f6pfer selbst, und neiget\n Die Vateraugen denen zu,\n Die nirgendwo sonst finden Ruh.\n Gebt unsrem Gott die Ehre!\n\n 7.\n Ich will dich all mein Lebenlang,\n O Gott, von nun an ehren;\n Man soll, Gott, meinen Lobgesang\n In allen Orten h\u00f6ren.\n Mein ganzes Herz ermuntre sich,\n Mein Geist und Leib erfreue dich;\n Gebt unsrem Gott die Ehre!\n\n 8.\n Ihr, die ihr Christi Namen nennt,\n Gebt unsrem Gott die Ehre;\n Ihr, die ihr Gottes Macht bekennt,\n Gebt unsrem Gott die Ehre!\n Die falschen G\u00f6tzen macht zu Spott;\n Der Herr ist Gott, der Herr ist Gott!\n Gebt unsrem Gott die Ehre!\n\n 9.\n So kommet vor sein Angesicht,\n Mit Jauchzen Dank zu bringen,\n Bezahlet die gelobte Pflicht\n Und lasst uns fr\u00f6hlich singen:\n Der Herr hat Alles wohl bedacht,\n Und Alles, Alles recht gemacht!\n Gebt unsrem Gott die Ehre!\n\nThe hymn is based on Deut. 32:3: \u201cBecause I will publish the name of the\nLord: ascribe ye greatness unto our God.\u201d The original poem of nine\nstanzas, Sch\u00fctz\u2019s only hymn, first appeared in his _Christliches\nGedenkb\u00fcchlein_. Our hymn is a translation of stanzas 1, 3, 5, and 7 of\nthe original.\n\nThe author, Johann Jakob Sch\u00fctz, born at Frankfurt-am-Main, was a lawyer\nby profession. He was a man of deep religious convictions and a close\nfriend of P. J. Spener and Joachim Neander, early leaders of the Pietist\nmovement in Germany. Sch\u00fctz left the Lutheran church and became a\nseparatist. He died at Frankfurt-am-Main.\n\nThe translation is by Frances Cox, 1812-97, an English woman of culture\nand learning who is second only to Catherine Winkworth as a translator\nof German hymns.\n\n_MUSIC._ MIT FREUDEN ZART, one of our finest hymn tunes, was used by the\nBohemian Brethren, and is probably much older than their _Gesangbuch_ of\n1566 in which it first appeared. The tune is a joyous one, as the name\nindicates, and should not be sung too slowly. All the voices are to sing\nthe melody, the accompanying instrument bringing out the harmonization.\n\n\n513. Praise thou the Lord, O my soul _Johann D. Herrnschmidt_,\n 1675-1723\n _Tr. Lester Hostetler_\n\n 1.\n Lobe den Herren, o meine Seele!\n Ich will ihn loben bis zum Tod;\n Weil ich noch Stunden auf Erden z\u00e4hle,\n Will ich lobsingen meinem Gott.\n Der Leib und Seel\u2019 gegeben hat,\n Werde gepriesen fr\u00fch und spat.\n Halleluja! Halleluja!\n\n 2.\n F\u00fcrsten sind Menschen, vom Weib geboren,\n Und kehren um zu ihrem Staub;\n Ihre Anschl\u00e4ge sind auch verloren,\n Wenn nun das Grab nimmt seinen Raub.\n Weil denn kein Mensch uns helfen kann,\n Rufe man Gott um Hilfe an!\n Halleluja! Halleluja!\n\n 3.\n Selig, ja selig ist der zu nennen,\n Des Hilfe der Gott Jakobs ist.\n Welcher vom Glauben sich nicht l\u00e4sst trennen\n Und hofft getrost auf Jesum Christ.\n Wer diesen Herrn zum Beistand hat,\n Findet am besten Rat und Tat.\n Halleluja! Halleluja!\n\n 4.\n Dieser hat Himmel, Meer und die Erden,\n Und was darinnen ist, gemacht.\n Alles muss p\u00fcnktlich erf\u00fcllet werden,\n Was er uns einmal zugedacht.\n Er ist\u2019s, der Herrscher aller Welt,\n Welcher uns ewig Glauben h\u00e4lt.\n Halleluja! Halleluja!\n\n 5.\n Zeigen sich welche, die Unrecht leiden,\n Er ist\u2019s, der ihnen Recht verschafft.\n Hungrigen will er zu Speis\u2019 bescheiden,\n Was ihnen dient zur Lebenskraft.\n Die hart Gebundnen macht er frei,\n Seine Genad\u2019 ist mancherlei.\n Halleluja! Halleluja!\n\n 6.\n Sehende Augen gibt er den Blinden;\n Erhebt, die tief gebeuget gehn.\n Wo er kann gl\u00e4ubige Seelen finden,\n Die l\u00e4sst er seine Liebe sehn.\n Sein Trostwort ist des Fremdlings Trutz\n Witwen und Waisen h\u00e4lt er im Schutz.\n Halleluja! Halleluja!\n\n 7.\n Aber der Gottesvergessenen Tritte\n Kehrt er mit starker Hand zur\u00fcck,\n Dass sie nur machen verkehrte Schritte\n Und fallen selbst in ihren Strick.\n Der Herr ist K\u00f6nig ewiglich,\n Zion, dein Gott sorgt stets f\u00fcr dich!\n Halleluja! Halleluja!\n\n 8.\n R\u00fchmet, ihr Menschen, den hohen Namen\n Des, der so grosse Wunder tut!\n Alles, was Odem hat, rufe Amen!\n Und bringe Lob mit frohem Mut.\n Ihr Kinder Gottes, lobt und preist\n Vater und Sohn und Heil\u2019gen Geist!\n Halleluja! Halleluja!\n\nThe hymn is a poetic version of Psalm 146. It was first published in the\nsecond part of Freylinghausen\u2019s _Gesangbuch_, Halle, 1714, the original\nhaving 8 stanzas. The translation here given is a free rendering of\nstanzas 1 and 8, and was made especially for the _Hymnary_.\n\nThe author of this hymn, Johann Daniel Herrnschmidt, a learned and\ndevout man, was born in Bopfingen, in W\u00fcrttemberg, where his father was\npastor. He was a pupil and for a time assistant of pastor August Francke\nin Halle. Later he became minister in Bopfingen, then superintendent and\ncouncilman at Nassau-Idstein. In 1715 he became teacher and pastor in\nHalle where he died 8 years later.\n\n_MUSIC._ LOBE DEN HERREN, O MEINE SEELE, inseparably united with this\nhymn, is one of the most brilliant and striking gems in our chorale\ntreasury. The composer is unknown. The tune first appeared in _Anhang\nder Seelen-Harpff_, Onolzbach, 1665, and later in Freylinghausen\u2019s\n_Gesangbuch_, 1714.\n\n\n514. Now thank we all our God _Martin Rinkart_, 1586-1649\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Nun danket alle Gott\n Mit Herzen, Mund und H\u00e4nden,\n Der grosse Dinge tut\n An uns und allen Enden,\n Der uns von Mutterleib\n Und Kindesbeinen an\n Unz\u00e4hlig viel zugut\n Und noch jetzund getan!\n\n 2.\n Der ewig reiche Gott\n Woll\u2019 uns bei unserm Leben\n Ein immer fr\u00f6hlich Herz\n Und edlen Frieden geben\n Und uns in seiner Gnad\u2019\n Erhalten fort und fort\n Und uns aus aller Not\n Erl\u00f6sen hier und dort!\n\n 3.\n Lob, Ehr, und Preis sei Gott,\n Dem Vater und dem Sohne\n Und dem, der beiden gleich\n Im h\u00f6chsten Himmelsthrone,\n Dem dreieinigen Gott,\n Als es im Anfang war\n Und ist und bleiben wird\n Jetzund und immerdar!\n\nThe _Te Deum_ of Germany. It is the most celebrated hymn coming out of\nthe second period (1570-1648) of German hymnody.\n\nThe first two stanzas of the hymn were composed as a _Tischlied_, a\ngrace after meat, to be sung by the author\u2019s household. The third stanza\nwas added as a doxology. The hymn was sung at the conclusion of the\nPeace of Westphalia which ended the Thirty Years\u2019 War, and has been used\nsince on many national occasions of thanksgiving, not only in Germany\nbut in England and America as well.\n\nMartin Rinkart was born in Eilenburg, Saxony, the son of a cooper. After\ngraduating from the University of Leipzig, he held appointments as\nMaster at the Gymnasium and Cantor of St. Nicholas Church in Eisleben,\nthen became, in 1617, Archidiaconus at Eilenburg, a position he held the\nrest of his life. Rinkart was poet, dramatist, and musician, as well as\npastor. During the Thirty Years\u2019 War, his church at Eilenburg became an\nasylum for refugees from all parts. The suffering from famine and\npestilence was indescribable. For some time, Rinkart was the only\nclergyman in the town, and he frequently conducted as many as forty\nfuneral services in one day. A man of sympathy and generosity, he\nstrained his own resources in his efforts to keep others from starving.\n\nThe translation is from Miss Winkworth\u2019s _Lyra Germanica_, 1858.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\n_MUSIC._ NUN DANKET was composed by Johann Cr\u00fcger, 1598-1662. It\nappeared in his famous collection, _Praxis Pietatis Melica_, which was\nissued in more than fifty editions during the century after its first\npublication in 1644. Mendelssohn used the tune in his _Lobgesang_, in\nsix-part harmony.\n\nFor comments on Cr\u00fcger see Hymn 242.\n\n\n515. Praise to the Lord, the Almighty _Joachim Neander_, 1650-80\n _Tr. Catherine Winkworth_, 1829-75\n\n 1.\n Lobe den Herren, den m\u00e4chtigen K\u00f6nig der Ehren!\n Meine geliebete Seele, das ist mein Begehren.\n Kommet zuhauf!\n Psalter und Harfe, wacht auf!\n Lasset die Musikam h\u00f6ren!\n\n 2.\n Lobe den Herren, der alles so herrlich regieret,\n Der dich auf Adelers Fittichen sicher gef\u00fchret,\n Der dich erh\u00e4lt,\n Wie es dir selber gef\u00e4llt.\n Hast du nicht dieses versp\u00fcret?\n\n 3.\n Lobe den Herren, der k\u00fcnstlich und fein dich bereitet,\n Der dir Gesundheit verliehen, dich freundlich geleitet!\n In wie viel Not\n Hat nicht der gn\u00e4dige Gott\n Ueber dir Fl\u00fcgel gebreitet!\n\n 4.\n Lobe den Herren, der deinen Stand sichtbar gesegnet.\n Der aus dem Himmel mit Str\u00f6men der Liebe geregnet!\n Denke daran,\n Was der Allm\u00e4chtige kann,\n Der dir mit Liebe begegnet!\n\n 5.\n Lobe den Herren, was in mir ist lobe den Namen!\n Alles, was Odem hat, lobe mit Abrahams Samen!\n Er ist dein Licht,\n Seele, vergiss es ja nicht!\n Lobende, schliesse mit Amen!\n\nThe hymn is based on Psalm 103:1-6 and Psalm 150. It is \u201ca magnificent\nsong of praise, probably the finest there is, when we consider the tune,\nand certainly the finest production of Neander\u2019s.\u201d\n\nNeander was the first prominent writer of hymns in the Reformed Church\nof Germany which for a long time used only metrical versions of the\nPsalms in public worship. After a brief and stormy ministry, he died at\nthe age of thirty.\n\nFor further comments on Neander see Hymn 505.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ LOBE DEN HERREN is a tune of great vigor and strength, yet\nsimple of structure. It is very usable in a service of praise and\nthanksgiving and has been sung with great effect by large chorus choirs.\nThe origin of the tune is uncertain. It appeared anonymously in _Ander\nTheil des Erneuerten Gesangbuch_, Stralsund, 1665, to the words, \u201cHast\ndu denn, Liebster, dein Angesicht g\u00e4nzlich verborgen,\u201d by Ahasuerus\nFritsch, which suggests a secular origin of the melody. It is believed,\nby some authorities, that Neander himself adapted it from an earlier\nchorale. The tune appears with many variants of melody and harmonization\nin different hymn books. The present form has been used since 1708.\n\n\n516. How great, Almighty, is Thy kindness _Christian F. Gellert_,\n 1715-69\n _Tr. Margarete M\u00fcnsterburg_, 1917\n\n 1.\n Wie gross ist des Allm\u00e4cht\u2019gen G\u00fcte!\n Ist der ein Mensch, den sie nicht r\u00fchrt,\n Der mit verh\u00e4rtetem Gem\u00fcte\n Den Dank erstickt, der ihm geb\u00fchrt?\n Nein, seine Liebe zu ermessen,\n Sei ewig meine gr\u00f6sste Pflicht;\n Der Herr hat mein noch nie vergessen,\n Vergiss, mein Herz, auch seiner nicht!\n\n 2.\n Wer hat mich wunderbar bereitet?\n Der Gott, der meiner nicht bedarf.\n Wer hat mit Langmut mich geleitet?\n Er, dessen Rat ich oft verwarf.\n Wer st\u00e4rkt den Frieden im Gewissen?\n Wer gibt dem Geiste neue Kraft?\n Wer l\u00e4sst mich so viel Guts geniessen?\n Ist\u2019s nicht sein Arm, der Alles schafft?\n\n 3.\n Blick\u2019, O mein Geist! in jenes Leben,\n Zu welchem du erschaffen bist,\n Wo du, mit Herrlichkeit umgeben,\n Gott ewig sehn wirst, wie Er ist.\n Du hast ein Recht zu diesen Freuden,\n Durch Gottes G\u00fcte sind sie dein.\n Sieh, darum musste Christus leiden,\n Damit du k\u00f6nnest selig sein.\n\n 4.\n Und diesen Gott sollt\u2019 ich nicht ehren,\n Und seine G\u00fcte nicht verstehn?\n Er sollte rufen, ich nicht h\u00f6ren?\n Den Weg, den er mir zeigt, nicht gehn?\n Sein Will\u2019 ist mir ins Herz geschrieben,\n Sein Wort best\u00e4rkt ihn ewiglich:\n Gott soll ich \u00fcber Alles lieben,\n Und meinen N\u00e4chsten gleich als mich.\n\n 5.\n Dies ist mein Dank, dies ist sein Wille,\n Ich soll vollkommen sein, wie er.\n So lang ich dies Gebot erf\u00fclle,\n Stell\u2019 ich sein Bildnis in mir her.\n Lebt seine Lieb\u2019 in meiner Seele,\n So treibt sie mich zu jeder Pflicht;\n Und ob ich schon aus Schwachheit fehle,\n Herrscht doch in mir die S\u00fcnde nicht.\n\n 6.\n O Gott! lass deine G\u00fct\u2019 und Liebe\n Mir immerdar vor Augen sein!\n Sie st\u00e4rk\u2019 in mir die guten Triebe,\n Mein ganzes Leben dir zu weihn;\n Sie tr\u00f6ste mich zur Zeit der Schmerzen,\n Sie tr\u00f6ste mich zur Zeit des Gl\u00fccks,\n Und sie besieg\u2019 in meinem Herzen\n Die Furcht des letzten Augenblicks!\n\nThe hymn was first published in Leipzig, 1757, in six stanzas, entitled,\n\u201cThe Goodness of God.\u201d\n\nGellert was one of the most popular writers in German literature. Born\nin Saxony, the son of a Lutheran country preacher, he attended\nF\u00fcrstenschule at Meissen, and then went to the University of Leipzig\nwhere he studied philosophy and theology. Later he lectured at that\nuniversity on poetry, elocution, and moral philosophy. He was beloved by\nall his classes, the lectures sometimes being attended by four hundred.\nOutside the university he was even more popular. A poor peasant once\nunloaded a cart full of wood before Gellert\u2019s house, begging him to\naccept the gift as thanks for his beautiful fables. The keynote of his\npopularity is expressed in one of his letters:\n\n Mein gr\u00f6sster Ehrgeiz besteht darin, dasz ich den Vern\u00fcnftigen dienen\n und gefallen will, und nicht den Gelehrten im engen Verstande. Ein\n kluges Frauenzimmer gilt mir mehr als eine gelehrte Zeitung, und der\n niedrigste Mann von gesundem Verstande ist mir w\u00fcrdig genug, seine\n Aufmerksamkeit zu suchen, sein Vergn\u00fcgen zu bef\u00f6rdern und ihm in einem\n leicht zu behaltenden Ausdrucke gute Wahrheiten zu sagen und edle\n Empfindungen in seiner Seele rege zu machen.\n\nGellert\u2019s reputation rests chiefly on his fables and stories. His best\nreligious poems are \u201cWie gross ist des Allm\u00e4cht\u2019gen G\u00fcte,\u201d \u201cDies ist der\nTag, den Gott gemacht,\u201d and \u201cJesus lebt, mit ihm auch ich\u201d (543).\n\nNo information is at hand concerning the translator, Margarete\nM\u00fcnsterberg.\n\n_MUSIC._ WIE GROSS IST DES ALLM\u00c4CHT\u2019GEN G\u00dcTE is ascribed here to C. F.\nRichter. The Canadian _Gesangbuch_ credits the tune to J.\nFreylinghausen.\n\nChristian Friedrich Richter, 1676-1711, born at Sorau, in Niederlausitz,\nstudied medicine and theology in Halle and became practicing physician\nin the Orphanage in Halle. A deeply religious man with poetic insight,\nhe wrote 33 hymns, and is the author of a treatise on the Crucifixion of\nChrist.\n\n\n517. O Pow\u2019r of love, all else transcending _Gerhard Tersteegen_,\n 1697-1769\n _Tr. H. Brueckner_, 1883\u2014\n\n 1.\n Ich bete an die Macht der Liebe,\n Die sich in Jesu offenbart;\n Ich geb\u2019 mich hin dem freien Triebe,\n Mit dem ich heiss geliebet ward;\n Ich will, anstatt an mich zu denken,\n Ins Meer der Liebe mich versenken.\n\n 2.\n Wie bist du mir so hoch gewogen,\n Und wie verlangt dein Herz nach mir!\n Durch Liebe sanft und stark gezogen,\n Neigt sich mein Alles auch zu dir.\n Du, teure Liebe, gutes Wesen,\n Du hast mich, ich hab\u2019 dich erlesen!\n\n 3.\n Ich f\u00fchl\u2019s, du bist\u2019s, ich muss dich haben;\n Ich f\u00fchl\u2019s, ich muss f\u00fcr dich nur sein;\n Nicht im Gesch\u00f6pf, nicht in den Gaben,\n Mein Leben ist in dir allein!\n Hier ist die Ruh\u2019, hier ist Vergn\u00fcgen;\n Drum folg\u2019 ich deinen sel\u2019gen Z\u00fcgen.\n\n 4.\n Dein ewig ist mein Herz und Leben,\n Erl\u00f6ser, du, mein einzig Gut!\n Du hast f\u00fcr mich dich hingegeben\n Zum Heil durch dein Erl\u00f6sungsblut.\n Du Heil des schweren, tiefen Falles,\n F\u00fcr dich ist ewig Herz und Alles!\n\n 5.\n Ich liebt\u2019 und lebte recht im Zwange,\n Als ich mir lebte ohne dich.\n Ich wollte dich nicht, ach so lange!\n Doch liebtest du und suchtest mich!\n O wenn doch dies der S\u00fcnder w\u00fcsste,\n Sein Herz wohl bald dich lieben m\u00fcsste!\n\n 6.\n O Jesu, dass dein Name bliebe\n Im Geist mir; dr\u00fcck ihn tief hinein!\n Lass deine s\u00fcsse Jesusliebe\n In Herz und Sinn gepr\u00e4get sein!\n In Wort and Werk, in allem Wesen\n Sei Jesus und sonst nichts zu lesen!\n\n 7.\n In deinem teuren, heil\u2019gen Namen\n Er\u00f6ffnet sich des Vaters Herz,\n Da find\u2019 ich lauter Ja und Amen,\n Und Trost und Heilung f\u00fcr den Schmerz.\n O dass dies jeder S\u00fcnder w\u00fcsste,\n Sein Herz gar bald dich lieben m\u00fcsste!\n\n 8.\n Preis sei dem hohen Jesusnamen,\n In dem der Liebe Quell entspringt,\n Von dem hier alle Str\u00f6me kamen,\n Aus dem die sel\u2019ge Schaar dort trinkt!\n Wie beugen sie sich ohne Ende,\n Wie falten sie die frohen H\u00e4nde!\n\nOne of the great hymns by the German mystic, Gerhard Tersteegen.\n\nFor comments on Tersteegen see Hymn 506.\n\nOur version is a free translation of stanzas 1, 2, and 4 of the original\n8.\n\nHerman Brueckner, translator of the hymn, was born in Eisenach, Germany,\nand was educated at the Universities of Leipzig, Greifswald, and Jena.\nThe latter gave him the doctor\u2019s degree in theology in 1923. Coming to\nAmerica, Brueckner served a year as Lutheran Seaman\u2019s Pastor for the\nPort of New York. From 1915 to 1931 he was pastor of St. Matthaeus\nLutheran Church, Hoboken, N. J., and since that time has served as\nProfessor of Church History in Hartwick Seminary. He is the author of a\nnumber of volumes on ecclesiastical and historical subjects, among them,\n_Church and State in Germany_, published in 1934.\n\nBrueckner\u2019s translation was slightly altered by the editors of the\n_Hymnary_, at two points:\n\nStanza 1, line 4: \u201cAnd sign of thy celestial lore,\u201d to \u201cThy name to\nhonor and adore.\u201d\n\nStanza 2, line 5: \u201cThy love, so tender, and caressing,\u201d to \u201cThy love, so\ntender, so possessing.\u201d\n\n_MUSIC._ ST. PETERSBURG, also known as \u201cWells,\u201d \u201cWellspring,\u201d and\n\u201cShangana,\u201d is adapted from a portion of a mass by the Russian composer,\nDimitri S. Bortniansky, 1752-1825.\n\nFor comments on Bortniansky see Hymn 28.\n\nThe \u201cDon Cossacks\u201d sing this melody with thrilling effect to \u201cKol\nslaven,\u201d a Russian folk song. The tune, slightly altered, has in recent\nyears been introduced into a number of American hymnals.\n\n\n518. Lord, who can be with Thee compared _Johann A. Cramer_, 1723-88\n _Tr. Harriet R. Spaeth_, 1913\n\n Herr! Dir ist Niemand zu vergleichen!\n Kein Lob kann deine Gr\u00f6ss erreichen,\n Kein noch so feuriger Verstand.\n Pracht, Majest\u00e4t und Ruhm umgeben,\n Dich, aller Wesen Quell\u2019 and Leben;\n Licht ist dein strahlenvoll Gewand.\n In hohen, unermess\u2019nen Fernen,\n Wohin kein sterblich Auge schaut,\n Hast du, weit \u00fcber allen Sternen,\n Dir deinen hohen Sitz erbaut.\n\n Als du allm\u00e4chtig sprachst: \u201cEs werde!\u201d\n Da gr\u00fcndetest du fest die Erde,\n Vor Alters war die Tief ihr Kleid.\n Auf allen Bergen standen Wasser\n Du schalt\u2019st sie, da enfloh\u2019n die Wasser,\n Durch deines Donners Kraft zerstreut.\n Der Berge Gipfel, Herr erschienen,\n Erhoben durch dein m\u00e4chtig Wort,\n Die T\u00e4ler sanken unter ihnen\n An den f\u00fcr sie bestimmten Ort.\n\n Erheb\u2019, erheb\u2019 o meine Seele,\n Gott, meinen Sch\u00f6pfer, und erz\u00e4hle,\n Verk\u00fcndige sein Lob der Welt!\n Ihm singe deine Jubellieder;\n Der Fromme halle sie ihm wieder,\n Dem M\u00e4chtigen, der uns erh\u00e4lt!\n Frohlockt ihm, alle seine Heere,\n Ihm weihet euren Lobgesang!\n Der Herr ist w\u00fcrdig, Preis und Ehre\n Zu nehmen, Lob und Ruhm und Dank!\n\nA hymn in praise of God, the Creator of heaven and earth, originally in\n10 stanzas. It is based on Psalm 104, one of the great nature Psalms.\n\nJohann Andreas Cramer was the son of a Lutheran pastor. He was educated\nat Leipzig and became famous as a preacher and teacher, later serving as\nProfessor of Theology and Chancellor of the University of Kiel in\nGermany. He wrote numerous religious lyrics and psalm versions, a number\nof which passed into the hymnbooks of his time, and several of which\nhave been translated into English.\n\nThe present hymn is a translation of stanzas 1 and 10 of the German\noriginal. No information has been traced concerning Harriett R. Spaeth,\nthe translator.\n\n_MUSIC._ HERR, DIR IST NIEMAND VERGLEICHEN derives its name from the\nfirst line of the hymn with which it is associated. The composer, Justin\nHeinrich Knecht, 1752-1817, was an eminent German organist and music\ndirector of the town of Biberach, Swabia. He edited the _W\u00fcrttemberg\nChoralbuch_, an important collection of tunes, to which he contributed\n97 of his own compositions.\n\n\n519. Holy God, we praise Thy name _Ignaz Franz_, 1719-90\n _Tr. Clarence Walworth_, 1820-1900\n\n 1.\n Grosser Gott, wir loben dich!\n Herr, wir preisen deine St\u00e4rke!\n Vor dir neigt die Erde sich\n Und bewundert deine Werke.\n Wie du warst vor aller Zeit,\n So bleibst du in Ewigkeit!\n\n 2.\n Alles, was dich preisen kann,\n Cherubim und Seraphinen,\n Stimmen dir ein Loblied an;\n Alle Engel, die dir dienen,\n Rufen dir in selger Ruh:\n Heilig, heilig, heilig zu.\n\n 3.\n Heiliger Gott Zebaoth!\n Heil\u2019ger Herr der Himmelsheere!\n Starker Helfer in der Not!\n Himmel, Erde, Luft und Meere\n Sind erf\u00fcllt mit deinem Ruhm;\n Alles ist dein Eigentum!\n\n 4.\n Der Apostel heilger Chor,\n Der Propheten grosse Menge\n Schickt zu deinem Thron empor\n Neue Lob- und Dankges\u00e4nge;\n Der Blutzeugen grosse Schar\n Lobt und preist dich immerdar.\n\n 5.\n Auf dem ganzen Erdenkreis\n Loben Grosse dich und Kleine.\n Dir, Gott Vater, dir zum Preis\n Singt die heilige Gemeinde,\n Und verehrt auf seinem Thron\n Deinen eingebornen Sohn.\n\n 6.\n Sie verehrt den heil\u2019gen Geist,\n Welcher uns mit seinen Lehren\n Und mit Troste kr\u00e4ftig speist,\n Dich, den Herrscher voller Ehren\n Der mit dir, O Jesu Christ,\n Und dem Vater Eines ist!\n\n 7.\n Du, des Vaters ew\u2019ger Sohn,\n Hast die Menschheit angenommen,\n Bist, O Herr, von deinem Thron\n Zu uns in die Welt gekommen!\n Du hast uns dein Reich gebracht:\n Uns von S\u00fcnde frei gemacht!\n\n 8.\n Nun kann zu der Gnade Thron\n Jeder freien Zugang finden:\n Wer da glaubet an den Sohn,\n Hat Vergebung seiner S\u00fcnden;\n Denn des Lammes teures Blut\n Spricht f\u00fcr uns beim Vater gut.\n\n 9.\n Stehe denn, O Herr, uns bei,\n Die wir dich in Demut bitten:\n Sprich von aller Schuld uns frei,\n Da du auch f\u00fcr uns gelitten;\n Nimm uns nach vollbrachtem Lauf\n Zu dir in den Himmel auf!\n\n 10.\n Alle Tage wollen wir\n Deinen heil\u2019gen Namen preisen,\n Und zu allen Zeiten dir\n Ehre, Lob und Dank erweisen.\n Gib dass wir in allem Tun\n Nur in deinem Willen ruhn!\n\n 11.\n Herr, erbarm, erbarme dich!\n Ueber uns, Herr, sei dein Segen!\n Deine G\u00fcte zeige sich,\n Dass wir lauter preisen m\u00f6gen!\n Auf dich hoffen wir allein,\n Lass uns nicht verloren sein!\n\nThe words are a rhymed form of the _Te Deum_ which Luther, in strict\necclesiastical style, translated from the Latin. The hymn is popular\namong Roman Catholics, Lutherans, and Anglicans, as a post-communion\nhymn, and is a great favorite among Mennonite churches. It sounds a\nuniversal note of praise that can be sung by Christians of all\ndenominations. The hymn was used at the opening of the first World\nAssembly of Churches, held at Amsterdam, August 22 to September 4, 1948,\nwhere it was sung simultaneously in different tongues.\n\nThe author, Ignaz Franz, was born at Protzan, Kr. Frankenstein, in\nSilesia. He first was priest in Schlowa, and then became rector of a\ngraduate school for priests in Breslau. In 1772, under the influence of\nthe Enlightenment, he published a Catholic hymnbook. He is described as\na man filled with zeal for the good things in religion and the church.\n\nNote: The _Te Deum_ is a long Latin hymn of uncertain origin,\nconstituting the supreme expression of rejoicing in the Roman Catholic,\nAnglican, and other Christian Churches. It is sometimes called the\n\u201cCanticle of Ambrose and Augustine,\u201d from the legend that at the baptism\nof Augustine by Ambrose it was sung antiphonally, extempore, by the two\nmen. It dates back to the fourth or fifth century. Its contents are\ndrawn from different sources: the Apostles\u2019 Creed, the \u201cGloria in\nExcelsis,\u201d and the Psalms (e.g. 28:9, 31:1, 33:22, 123:3, 145:2).\nLuther, who translated it into German, praised it as a \u201cfine symbol or\nconfession, not only for confessing the right faith but also for\npraising and thanking God withal.\u201d A real confession of faith ought to\nbe sung, and as such the _Te Deum_ has been on the lips of the Church,\nin one form or another, ever since it was composed.\n\n_MUSIC._ GROSSER GOTT, WIR LOBEN DICH is of unknown composition. The\ntune first appeared in the _Katholisches Gesangbuch_, a book undated but\nnot earlier than 1774, set to the words, \u201cGrosser Gott.\u201d Its first\nappearance in a Protestant hymn book was in Schicht\u2019s _Choral-Buch_,\nLeipzig, 1819. It was set to English words in _Melodia Sacra_, Dublin,\n1844, to the hymn, \u201cJesus, and shall it ever be,\u201d where the tune was\nmodified to fit the words and named, \u201cStillorgan.\u201d Later, under the\nname, \u201cHursley\u201d, it became widely associated with Keble\u2019s evening hymn,\n\u201cSun of my Soul\u201d (No. 30). _St. Basil\u2019s Hymnal_ (Roman Catholic, 1918),\nas well as the _Gesangbuch mit Noten_, attribute the tune to Peter\nRitter; _Glaubensharfe_, to J. Haydn. There seems to be no good evidence\nfor either. The English _Church Hymnary_, London, 1935, has set the\ntune, naming it \u201cPascal\u201d, to Toplady\u2019s \u201cRock of Ages.\u201d In some of the\nbooks the last score is marked with a repeat sign for the sake of\nemphasis and climax.\n\n\n520. Holy Lord, holy Lord _Anonymous_\n\nThe notes of thanksgiving and praise are dominant. The origin of the\nhymn has not been traced.\n\n_MUSIC._ FAHRE FORT, attributed erroneously in the _Hymnary_ to Johann\nE. Schmidt, is of anonymous origin. It appeared in Freylinghausen\u2019s\n_Gesangbuch_, Halle, 1704, with the well-known hymn, \u201cFahre fort, fahre\nfort,\u201d by Johann E. Schmidt, 1669-1745. The tune derived its name from\nthis hymn.\n\n\n521. All glory be to God on High _Nikolaus Decius_, _c._ 1490-1541\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Allein Gott in der H\u00f6h\u2019 sei Ehr\u2019\n Und Dank f\u00fcr seine Gnade,\n Darum dass nun und nimmermehr\n Uns r\u00fchren kann kein Schade.\n Ein Wohlgefall\u2019n Gott an uns hat,\n Nun ist gross\u2019 Fried\u2019 ohn\u2019 Unterlass,\n All\u2019 Fehd\u2019 hat nun ein Ende.\n\n 2.\n Wir loben, preis\u2019n, anbeten dich\n F\u00fcr deine Ehr\u2019; wir danken,\n Dass du, Gott Vater, ewiglich\n Regierst ohn\u2019 alles Wanken.\n Ganz ungemess\u2019n ist deine Macht,\n Fort g\u2019schieht, was dein Will\u2019 hat bedacht;\n Wohl uns des feinen Herren!\n\n 3.\n O Jesu Christ, Sohn eingebor\u2019n\n Deines himmlischen Vaters,\n Vers\u00f6hner der\u2019r, die war\u2019n verlor\u2019n,\n Du Stiller unsers Haders.\n Lamm Gottes, heil\u2019ger Herr und Gott,\n Nimm an die Bitt\u2019 von unsrer Not,\n Erbarm\u2019 dich unser aller!\n\n 4.\n O heil\u2019ger Geist, du h\u00f6chstes Gut,\n Du allerheilsamst\u2019 Tr\u00f6ster,\n Vor\u2019s Teufels G\u2019walt fortan beh\u00fct\u2019,\n Die Jesus Christ erl\u00f6set\n Durch grosse Mart\u2019r und bittern Tod,\n Abwend all unsern Jamm\u2019r und Not!\n Darauf wir uns verlassen.\n\nAn example of what a good, popular hymn should be\u2014\u201cneither didactic nor\nintrospective, but natural, strong, and churchly.\u201d\n\nThe author, Nikolaus Decius, was a contemporary of Luther. (The date,\n\u201c1626,\u201d in the _Hymnary_ is obviously wrong.) He was a monk in the Roman\nCatholic Church but became a follower of Luther, leaving the cloister at\nSteterburg, in 1519, to become a teacher and evangelical preacher. His\nwork was carried on under constant opposition from the Church of Rome.\nHe died suddenly in 1541 with some suspicion of having been poisoned by\nhis enemies. Three hymns are ascribed to Decius: versions of the\n_Sanctus_, the _Gloria in excelsis_, and the _Agnus Dei_ (No. 540). The\npresent hymn is a translation of the second, the _Gloria in excelsis_.\nIt became very popular, though Luther did not use it in any of his\ncollections.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\n_MUSIC._ NUN FREUT EUCH is also attributed to Decius who was a good\nmusician as well as a popular preacher. It is often called \u201cLuther\u2019s\nHymn\u201d but there is no evidence that he wrote it. The tune appeared in\n_Geistliche Lieder_, Wittenberg, 1535, where it was set to Luther\u2019s\nhymn, \u201cNun freut euch, liebe Christengemein.\u201d\n\n\n ADVENT\n\n\n522. Wake, awake, for night is flying _Philipp Nicolai_, 1556-1608\n _Tr. Catherine Winkworth_, 1829-78 _Alt._\n\n 1.\n Wachet auf! ruft uns die Stimme\n Der W\u00e4chter sehr hoch auf der Zinne,\n Wach auf, du Stadt Jerusalem!\n Mitternacht heisst diese Stunde;\n Sie rufen uns mit hellem Munde:\n Wo seid ihr klugen Jungfrauen?\n Wohlauf, der Br\u00e4ut\u2019gam k\u00f6mmt,\n Steht auf, die Lampen nehmt!\n Halleluja!\n Macht euch bereit zu der Hochzeit,\n Ihr m\u00fcsset ihm entgegengehn!\n\n 2.\n Zion h\u00f6rt die W\u00e4chter singen,\n Das Herz tut ihr vor Freuden springen,\n Sie wacht und stehet eilend auf.\n Ihr Freund kommt vom Himmel pr\u00e4chtig,\n Von Gnaden stark, von Wahrheit m\u00e4chtig,\n Ihr Licht wird hell, ihr Stern geht auf.\n Nun komm, du werte Kron\u2019,\n Herr Jesu, Gottes Sohn!\n Hosianna!\n Wir folgen all\u2019 zum Freudensaal\n Und halten mit das Abendmahl.\n\n 3.\n Gloria sei dir gesungen\n Mit Menschen- und mit Engelzungen,\n Mit Harfen und mit Zimbeln sch\u00f6n.\n Von zw\u00f6lf Perlen sind die Pforten\n An deiner Stadt, wir sind Konsorten\n Kein Aug hat je gesp\u00fcrt,\n Kein Ohr hat mehr geh\u00f6rt\n Solche Freude.\n Das sind wir froh, i-o, i-o,\n Ewig in dulci iubilo.\n\nThis hymn, with its magnificent tune, has long been known as the \u201cKing\nof Chorals.\u201d (For the \u201cQueen of Chorals\u201d see No. 529). Percy Dearmer\nwrites of this choral: \u201cThere is no other hymn like this, surely the\ngrandest and most thrilling, both in words and music\u2014and both words and\nmusic by the same man.\u201d It is based on the parable of the wise and\nfoolish virgins in Matt. 25:1-13, and on Rev. 19:6-9 (the marriage of\nthe Lamb); 21:22; 1 Cor. 2:9; Ezek. 3:17; and Isa. 52:8.\n\nNicolai, an ardent Lutheran and influential preacher, was fierce in his\ndenunciation of both Calvinism and Roman Catholicism. He held pastorates\nin various places. From 1601 until his death, he was chief pastor of St.\nKatherine\u2019s, Hamburg. It was during his five years at Unna, Westphalia,\nthat a terrible pestilence swept through the community, claiming the\nlives of over 1300 people. Nicolai\u2019s parsonage overlooked the church\nyard where the burial of the victims was taking place continually. These\nscenes of sorrow and death moved him to write this great judgment hymn\nwhich he entitled, \u201cOf the Voice at Midnight, and the Wise Virgins who\nmeet their Heavenly Bridegroom.\u201d\n\nFor comments on Miss Winkworth, translator, see Hymn 236.\n\n_MUSIC._ WACHET AUF, one of the greatest and most solemn melodies of\nevangelical Christendom, was composed by Nicolai. The present setting is\nby Michael Praetorius, 1571-1621, a writer on the theory of music and a\ncomposer of note. The melody was used by Bach in one of his cantatas and\nMendelssohn used it in his _St. Paul_. Handel used the seventh and\neighth lines of the melody with great effect in the \u201cHallelujah Chorus,\u201d\nwith the phrase, \u201cThe kingdom of this world.\u201d\n\n\n523. Lift up your heads, ye mighty gates _Georg Weissel_, 1590-1635\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Macht hoch die T\u00fcr, die Tor\u2019 macht weit,\n Es kommt der Herr der Herrlichkeit,\n Ein K\u00f6nig aller K\u00f6nigreich\u2019,\n Ein Heiland aller Welt zugleich,\n Der Heil und Leben mit sich bringt;\n Derhalben jauchzt, mit Freuden singt;\n Gelobet sei mein Gott,\n Mein Sch\u00f6pfer, reich von Rat!\n\n 2.\n Er ist gerecht, ein Helfer wert,\n Sanftm\u00fctigkeit ist sein Gef\u00e4hrt,\n Sein K\u00f6nigskron\u2019 ist Heiligkeit,\n Sein Zepter ist Barmherzigkeit.\n All unsre Not zum End\u2019 er bringt,\n Derhalben jauchzt, mit Freuden singt:\n Gelobet sei mein Gott,\n Mein Heiland, gross von Tat!\n\n 3.\n O wohl dem Land, o wohl der Stadt,\n So diesen K\u00f6nig bei sich hat!\n Wohl allen Herzen insgemein,\n Da dieser K\u00f6nig ziehet ein!\n Er ist die rechte Freudensonn\u2019,\n Bringt mit sich lauter Freud\u2019 und Wonn\u2019.\n Gelobet sei mein Gott,\n Mein Tr\u00f6ster, fr\u00fch und spat!\n\n 4.\n Macht hoch die T\u00fcr, die Tor\u2019 macht weit,\n Eu\u2019r Herz zum Tempel zubereit\u2019t,\n Die Zweiglein der Gottseligkeit\n Steckt auf mit Andacht, Lust und Freud\u2019!\n So kommt der K\u00f6nig auch zu euch.\n Ja Heil und Leben mit zugleich,\n Gelobet sei mein Gott,\n Voll Rat, voll Tat, voll Gnad\u2019!\n\n 5.\n Komm, o mein Heiland Jesu Christ,\n Mein\u2019s Herzens T\u00fcr dir offen ist!\n Ach zeuch mit deiner Gnade ein,\n Dein\u2019 Freundlichkeit auch uns erschein\u2019,\n Dein heil\u2019ger Geist uns f\u00fchr\u2019 und leit\u2019\n Den Weg zur ew\u2019gen Seligkeit!\n Dem Namen dein, o Herr,\n Sei ewig Preis und Ehr\u2019!\n\nOne of our finest German Advent hymns, based on Psalm 24. It was written\nfor use on the first Sunday in Advent.\n\nGeorg Weissel was born at Domnau, Prussia. He was a student of theology,\na teacher, and, from 1623, until his death in 1635, the pastor of\nRoszg\u00e4rt\u2019schen Church in K\u00f6nigsberg. He is the author of twenty hymns,\nthis being probably the best and most widely used. Our version is a\ntranslation of stanzas 1, 2, 3, and 5 of the original.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\n_MUSIC._ MACHT HOCH DIE T\u00dcR is one of several chorale tunes, probably\nthe most popular, to which this hymn is set.\n\nThe composer, Johann Freylinghausen, 1670-1739, was born at Gandersheim,\nthe son of the town\u2019s burgomaster. He was educated at Jena. After the\ndeath of his father-in-law, August Francke, Pietist leader, he became\nthe latter\u2019s successor as director of the Paedagogium and the Orphanage\nin Halle and pastor in full charge of St. Ulrich\u2019s. Freylinghausen was a\nmusician and wrote some 22 church melodies but his outstanding work\nconsists of his two collections of hymns: _Geistreiches Gesangbuch,_\n1704, and _Neues Geistreiches Gesangbuch,_ 1714. The former contains 683\nhymns and 173 melodies, and the latter, 815 hymns and 154 melodies.\n\n\n524. O Son of God, we wait for Thee _Philipp F. Hiller,_ 1699-1769\n _Tr. Joseph A. Seiss,_ 1823-1904\n\n 1.\n Wir warten dein, O Gottes Sohn,\n Und lieben dein Erscheinen;\n Wir wissen dich auf deinem Thron,\n Und nennen uns die deinen.\n Wer an dich glaubt\n Erhebt sein Haupt,\n Und siehet dir entgegen,\n Du kommst uns ja zum Segen.\n\n 2.\n Wir warten deiner mit Geduld\n In unsern Leidenstagen;\n Wir tr\u00f6sten uns, dass du die Schuld\n F\u00fcr uns am Kreuz getragen.\n So k\u00f6nnen wir\n Nun gern mit dir\n Uns auch zum Kreuz bequemen,\n Bis du\u2019s hinweg wirst nehmen.\n\n 3.\n Wir warten dein; du hast uns ja\n Das Herz schon hingenommen.\n Du bist zwar unserm Geiste nah,\n Doch wirst du sichtbar kommen;\n Da willst uns du\n Bei dir auch Ruh\u2019,\n Bei dir auch Freude geben,\n Bei dir ein herrlich Leben.\n\n 4.\n Wir warten dein, du kommst gewiss,\n Die Zeit ist bald vergangen;\n Wir freuen uns schon \u00fcber dies\n Mit kindlichem Verlangen.\n Was wird geschehn,\n Wenn wir dich sehn,\n Wenn du uns heim wirst bringen,\n Wenn wir dir ewig singen!\n\nIn clear and concise language, the hymn voices the hope for the coming\nof Christ.\n\nPhillipp Friedrich Hiller, son of a Lutheran Pastor, was born at\nM\u00fchlhausen, W\u00fcrttemberg. To escape the French invaders, he fled with his\nparents, at the age of 8, to Heidenheim. In 1713, he went to the\nKlosterschule, Denkendorf, where Bengel had a decided influence upon\nhim. In 1748, he became the pastor in Steinheim, where, after three\nyears of faithful service, a throat disease afflicted him, resulting in\nthe loss of his voice. No longer able to preach, he gave himself to\nBible study and writing, composing more than 100 hymns, and publishing a\nvolume of religious poetry, _Geistliches Liederk\u00e4stlein_.\n\nThe translation is by Joseph Augustus Seiss, a Lutheran minister, born\nat Graceham, Md., and educated at Gettysburg College and Seminary. Seiss\nwas a noted pulpit orator in his denomination and held pastorates in\nVirginia, Maryland, and, finally, in Philadelphia.\n\n_MUSIC._ GASTORIUS is ascribed by some authorities to Johann Pachelbel\nof N\u00fcrnberg, a contemporary of Gastorius. The melody appeared in the\n_Auserlesenes Weimarisches Gesangbuch_, 1681. Zahn, on the basis of\ncareful study of the sources, does not hesitate to credit its\ncomposition to Gastorius, about 1675. It was originally set to a hymn by\nSamuel Rodigast, \u201cWas Gott tut, das ist wohlgetan.\u201d\n\nSeverus Gastorius, cantor in Jena, was born about 1650. Details\nconcerning his life are not available.\n\n\n CHRISTMASTIDE\n\n\n525. All my heart this night rejoices _Paul Gerhardt_, 1607-76\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Fr\u00f6hlich soll mein Herze springen\n Dieser Zeit, da vor Freud\u2019\n Alle Engel singen.\n H\u00f6rt, h\u00f6rt, wie mit vollen Ch\u00f6ren\n Alle Luft laute ruft:\n Christus ist geboren!\n\n 2.\n Heute geht aus seiner Kammer\n Gottes Held, der die Welt\n Reisst aus allem Jammer.\n Gott wird Mensch dir, Mensch, zugute.\n Gottes Kind, das verbind\u2019t\n Sich mit unserm Blute.\n\n 3.\n Sollt\u2019 uns Gott nun k\u00f6nnen hassen,\n Der uns gibt, was er liebt\n Ueber alle Massen?\n Gott gibt, unserm Leid zu wehren,\n Seinen Sohn aus dem Thron\n Seiner Macht und Ehren.\n\n 4.\n Sollte von uns sein gekehret,\n Der sein Reich und zugleich\n Sich uns selbst verehret?\n Sollt\u2019 uns Gottes Sohn nicht lieben,\n Der jetzt k\u00f6mmt, von uns nimmt,\n Was uns will betr\u00fcben?\n\n 5.\n H\u00e4tte vor der Menschen Orden\n Unser Heil einen Greu\u2019l,\n W\u00e4r\u2019 er nicht Mensch worden.\n H\u00e4tt\u2019 er Lust zu unserm Schaden,\n Ei, so w\u00fcrd\u2019 unsre B\u00fcrd\u2019\n Er nicht auf sich laden.\n\n 6.\n Er nimmt auf sich, was auf Erden\n Wir getan, gibt sich an,\n Unser Lamm zu werden,\n Unser Lamm, das f\u00fcr uns stirbet\n Und bei Gott f\u00fcr den Tod\n Gnad\u2019 und Fried\u2019 erwirbet.\n\n 7.\n Nun, er liegt in seiner Krippen,\n Ruft zu sich mich und dich,\n Spricht mit s\u00fcssen Lippen:\n Lasset fahr\u2019n, o liebe Br\u00fcder,\n Was euch qu\u00e4lt, was euch fehlt,\n Ich bring\u2019 alles wieder.\n\n 8.\n Ei, so kommt und lasst uns laufen!\n Stellt euch ein, gross und klein,\n Eilt mit grossem Haufen!\n Liebt den, der vor Liebe brennet;\n Schaut den Stern, der uns gern\n Licht und Labsal g\u00f6nnet.\n\n 9.\n Die ihr schwebt in grossen Leiden,\n Sehet, hier ist die T\u00fcr\n Zu den wahren Freuden.\n Fasst ihn wohl, er wird euch f\u00fchren\n An den Ort, da hinfort\n Euch kein Kreuz wird r\u00fchren.\n\n 10.\n Wer sich f\u00fchlt beschwert im Herzen,\n Wer empfind\u2019t seine S\u00fcnd\u2019\n Und Gewissensschmerzen,\n Sei getrost, hier wird gefunden,\n Der in Eil\u2019 machet heil\n Die vergift\u2019ten Wunden.\n\n 11.\n Die ihr arm seid und elende,\n Kommt herbei, f\u00fcllet frei\n Eures Glaubens H\u00e4nde!\n Hier sind alle guten Gaben\n Und das Gold, da ihr sollt\n Euer Herz mit laben.\n\n 12.\n S\u00fcsses Heil, lass dich umfangen,\n Lass mich dir, meine Zier,\n Unverr\u00fcckt anhangen!\n Du bist meines Lebens Leben;\n Nun kann ich mich durch dich\n Wohl zufrieden geben.\n\n 13.\n Meine Schuld kann mich nicht dr\u00fccken,\n Denn du hast meine Last\n All\u2019 auf deinem R\u00fccken.\n Kein Fleck ist an mir zu finden,\n Ich bin gar rein und klar\n Aller meiner S\u00fcnden.\n\n 14.\n Ich bin rein um deinetwillen;\n Du gibst g\u2019nug Ehr, und Schmuck,\n Mich darein zu h\u00fcllen.\n Ich will dich ins Herze schliessen;\n O mein Ruhm, edle Blum\u2019,\n Lass dich recht geniessen!\n\n 15.\n Ich will dich mit Fleiss bewahren,\n Ich will dir leben hier,\n Dir will ich abfahren;\n Mit dir will ich endlich schweben\n Voller Freud\u2019 ohne Zeit\n Dort im andern Leben.\n\nPaul Gerhardt\u2019s beautiful Christmas poem, in 15 stanzas, appeared in\nJohann Cr\u00fcger\u2019s _Praxis Pietatis Melica_, Berlin, 1653, together with a\ntune composed for it by Cr\u00fcger. The present hymn is a selection of\nstanzas 1, 7 and 8, from Catherine Winkworth\u2019s translation. The original\n15 stanzas are printed here in full for the benefit of those who may\nwish to read the whole hymn and study its structure.\n\nFor comments on Paul Gerhardt see Hymn 134.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ WARUM SOLLT ICH MICH DENN GR\u00c4MEN, also called, \u201cEbeling,\u201d and\n\u201cBonn,\u201d soon superseded Cr\u00fcger\u2019s tune. It was originally set to another\nof Gerhardt\u2019s hymns, \u201cWarum sollt ich mich denn gr\u00e4men,\u201d from whence the\ntune derives its name. The composer, Johann Georg Ebeling, 1620-76, was\ncantor of St. Nicholas Cathedral, Berlin, and director of music at the\nGrayfriars Gymnasium there, succeeding Johann Cr\u00fcger to these positions,\nin 1662. Six years later, he became Professor of Music at the Carolinen\nGymnasium, Stettin.\n\nThe harmonization is by W. H. Hohmann, Professor of Music, Bethel\nCollege, and co-editor of the _Hymnary_.\n\n\n526. A great and mighty wonder _St. Germanus_, 634-734\n _Tr. John M. Neale_, 1818-66\n\nThis is one of a half dozen or more hymns in our book that have come\ndown from the ancient Eastern or Greek Church. (Other hymns from this\nperiod are Nos. 34, 113, 115, 143, and 398.)\n\nSt. Germanus was born and died in Constantinople. He lived to be a\nhundred years old. He became an influential leader in the church, and\nserved, for a time, as Patriarch, or Bishop of Constantinople.\n\nFor this translation, we are indebted to John M. Neale, English\nhymnologist and classical scholar. Neale possessed extraordinary\nlinguistic skill and did more than anyone else to make available to\nEnglish speaking people some of the rich treasure of Greek and Latin\nhymnody.\n\n_MUSIC._ ES IST EIN\u2019 ROS\u2019 ENTSPRUNGEN, also known as \u201cRosa Mystica,\u201d is\na traditional German melody, originally set to a well-known carol\nbeginning with the stanza:\n\n Es ist ein Reis entsprungen\n Aus einer Wurzel zart,\n Als uns die Alten sungen,\n Von Jesse kam die Art,\n Und hat ein Bl\u00fcmlein bracht\n Mitten im kalten Winter\n Wohl zu der halben Nacht.\n\nIt is an attractive and interesting tune, of irregular rhythm. The\npresent setting was made by Michael Praetorius, 1517-1621, German\ncomposer and Kapellmeister.\n\nFor comments on Praetorius see Hymn 248.\n\n\n527. From heaven above to earth I come _Martin Luther_, 1483-1546\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Vom Himmel hoch, da komm\u2019 ich her,\n Ich bring\u2019 euch gute neue M\u00e4r,\n Der guten M\u00e4r bring\u2019 ich so viel,\n Davon ich sing\u2019n und sagen will.\n\n 2.\n Euch ist ein Kindlein heut\u2019 gebor\u2019n\n Von einer Jungfrau auserkor\u2019n,\n Ein Kindelein, so zart und fein,\n Das soll eur Freud\u2019 und Wonne sein.\n\n 3.\n Es ist der Herr Christ, unser Gott,\n Der will euch f\u00fchr\u2019n aus aller Not,\n Er will eu\u2019r Heiland selber sein,\n Von allen S\u00fcnden machen rein.\n\n 4.\n Er bringt euch alle Seligkeit,\n Die Gott der Vater hat bereit,\n Dass ihr mit uns im Himmelreich\n Sollt leben nun und ewiglich.\n\n 5.\n So merket nun das Zeichen recht,\n Die Krippe, Windelein so schlecht,\n Da findet ihr das Kind gelegt,\n Das alle Welt erh\u00e4lt und tr\u00e4gt.\n\n 6.\n Des lasst uns alle fr\u00f6hlich sein\n Und mit den Hirten gehn hinein,\n Zu sehn, was Gott uns hat beschert,\n Mit seinem lieben Sohn verehrt.\n\n 7.\n Merk auf, mein Herz, und sieh dorthin!\n Was liegt dort in dem Krippelein?\n Wer ist das sch\u00f6ne Kindelein?\n Es ist das liebe Jesulein.\n\n 8.\n Bist willekomm, du edler Gast!\n Den S\u00fcnder nicht verschm\u00e4het hast\n Und kommst ins Elend her zu mir,\n Wie soll ich immer danken dir?\n\n 9.\n Ach Herr, du Sch\u00f6pfer aller Ding\u2019,\n Wie bist du worden so gering,\n Dass du da liegst auf d\u00fcrrem Gras,\n Davon ein Rind und Esel asz!\n\n 10.\n Und w\u00e4r\u2019 die Welt vielmal so weit,\n Von Edelstein und Gold bereit\u2019t,\n So w\u00e4r sie doch dir viel zu klein,\n Zu sein ein enges Wiegelein.\n\n 11.\n Der Sammet und die Seide dein,\n Das ist grob Heu und Windelein,\n Darauf du K\u00f6nig gross und reich\n Herprangst, als w\u00e4r\u2019s dein Himmelreich.\n\n 12.\n Das hat also gefallen dir,\n Die Wahrheit anzuzeigen mir:\n Wie aller Welt Macht, Ehr\u2019 und Gut\n Vor dir nichts gilt, nichts hilft noch tut.\n\n 13.\n Ach mein herzliebes Jesulein,\n Mach dir ein rein, sanft Bettelein,\n Zu ruhen in mein\u2019s Herzens Schrein,\n Dass ich nimmer vergesse dein!\n\n 14.\n Davon ich allzeit fr\u00f6hlich sei,\n Zu springen, singen immer frei\n Das rechte Susaninne schon,\n Mit Herzenslust den s\u00fcssen Ton.\n\n 15.\n Lob, Ehr\u2019 sei Gott im h\u00f6chsten Thron,\n Der uns schenkt seinen ein\u2019gen\n Sohn! Des freuen sich der Engel Schar\n Und singen uns solch neues Jahr.\n\nThis children\u2019s Christmas carol, based on the second chapter of Luke,\nwas written by Martin Luther for his little son Hans for the Christmas\ncelebration in his own home, 1534. Luther\u2019s instructions were that the\nfirst seven verses were to be sung by a man dressed as an angel,\nwhereupon the children would greet him with the singing of verses eight\nto fifteen. The present hymn is a selection of stanzas 1, 2, 3, 8, 13,\nand 15.\n\nFor comments on the translator, Miss Winkworth, see Hymn 236.\n\n_MUSIC._ VOM HIMMEL HOCH, also by Luther, was early associated with the\nwords of the carol and has become one of the best known chorales. J. S.\nBach made several settings of the tune, one of them in his _Christmas\nOratorio_.\n\n\n NEW YEAR\n\n\n528. For Thy mercy and Thy grace _H. Downton_, 1818-85\n\nOriginally in seven stanzas, this hymn was first published, 1843, in the\n_Church of England Magazine_, under the title, \u201cA Hymn for the\nCommencement of the Year.\u201d It is a first-rate quality hymn for the New\nYear.\n\nThe author, Henry Downton, was born in Pulverbatch, Shropshire, England.\nIn 1840, he graduated from Cambridge where his father was sub-librarian\nof Trinity College. After serving as curate of St. John\u2019s Chatham,\nDownton became English chaplain at Geneva in 1857, returning to England\nin 1873 to become rector of Hopton, Suffolk. In Geneva, he had become\nacquainted with the hymnody of the Swiss and French Churches, and\ntranslated a number of their hymns into English. He published _Hymns and\nVerses, Original and Translated_, 1873.\n\n_MUSIC._ CULBACH appeared in _Heilige Seelenlust_, Breslau, 1657, set to\nthe hymn, \u201cAch wann kommt die Zeit heran.\u201d The melody, simple in\nstructure and well within the pitch range of all voices, is admirably\nadapted to congregational singing, in unison or in parts. The composer\nis unknown.\n\n\n EPIPHANY\n\n\n529. How brightly shines the Morning Star _Philipp Nicolai_, 1556-1608\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Wie sch\u00f6n leuchtet der Morgenstern\n Voll Gnad\u2019 und Wahrheit von dem Herrn,\n Die s\u00fcsse Wurzel Jesse!\n Du Sohn Davids aus Jakobs Stamm,\n Mein K\u00f6nig und mein Br\u00e4utigam,\n Hast mir mein Herz besessen,\n Lieblich, freundlich,\n Sch\u00f6n und herrlich, gross und ehrlich,\n Reich von Gaben,\n Hoch und sehr pr\u00e4chtig erhaben!\n\n 2.\n Ei meine Perl\u2019, du werte Kron\u2019,\n Wahr\u2019r Gottes- und Mariensohn,\n Ein hochgeborner K\u00f6nig!\n Mein Herz heisst dich ein Lilium,\n Dein s\u00fcsses Evangelium\n Ist lauter Milch und Honig.\n Ei mein Bl\u00fcmlein,\n Hosianna, himmlisch Manna,\n Das wir essen,\n Deiner kann ich nicht vergessen!\n\n 3.\n Geuss sehr tief in mein Herz hinein,\n Du heller Jaspis und Rubin,\n Die Flamme deiner Liebe\n Und erfreu\u2019 mich, dass ich doch bleib\u2019\n An deinem auserw\u00e4hlten Leib\n Ein\u2019 lebendige Rippe!\n Nach dir ist mir,\n Gratiosa coeli rosa,\n Krank und glimmet\n Mein Herz, durch Liebe verwundet.\n\n 4.\n Von Gott kommt mir ein Freudenschein,\n Wenn du mit deinen Aeugelein\n Mich freundlich tust anblicken.\n O Herr Jesu, mein trautes Gut,\n Dein Wort, dein Geist, dein Leib und Blut\n Mich innerlich erquicken!\n Nimm mich freundlich\n In dein\u2019 Arme, dass ich warme\n Werd\u2019 von Gnaden!\n Auf dein Wort komm\u2019 ich geladen.\n\n 5.\n Herr Gott Vater, mein starker Held,\n Du hast mich ewig vor der Welt\n In deinem Sohn geliebet.\n Dein Sohn hat mich ihm selbst vertraut,\n Er ist mein Schatz, ich bin sein\u2019 Braut,\n Sehr hoch in ihm erfreuet.\n Eia, eia,\n Himmlisch Leben wird er geben\n Mir dort oben!\n Ewig soll mein Herz ihn loben.\n\n 6.\n Zwingt die Saiten in Zithara\n Und lasst die s\u00fcsse Musika\n Ganz freudenreich erschallen,\n Dass ich m\u00f6ge mit Jesulein,\n Dem wundersch\u00f6nen Br\u00e4ut\u2019gam mein,\n In steter Liebe wallen!\n Singet, springet,\n Jubilieret, triumphieret,\n Dankt dem Herren!\n Gross ist der K\u00f6nig der Ehren!\n\n 7.\n Wie bin ich doch so herzlich froh\n Dass mein Schatz ist das A und O\n Der Anfang und das Ende!\n Er wird mich doch zu seinem Preis\n Aufnehmen in das Paradeis,\n Des klopf\u2019 ich in die H\u00e4nde.\n Amen! Amen!\n Komm, du sch\u00f6ne Freudenkrone,\n Bleib nicht lange,\n Deiner wart\u2019 ich mit Verlangen!\n\nKnown as the \u201cQueen of the Chorales.\u201d The words and music were written\nin 1527 by the Lutheran pastor, Philipp Nicolai, during the same\npestilence that inspired \u201cWachet auf,\u201d the \u201cKing of Chorales\u201d (No. 522).\nNicolai, in deep meditation concerning the suffering around him, started\nwriting the hymn one morning, and forgetting his noonday meal, worked on\ntill he had finished it in the late afternoon. It was first published in\nthe author\u2019s _Freuden-Spiegel_, Frankfurt, 1599, under the title, \u201cA\nSpiritual bridal song of the believing soul, concerning her Heavenly\nBridegroom, founded in the 45th Psalm of the prophet David.\u201d Catherine\nWinkworth wrote of the chorale:\n\n So popular did it soon become, that its tune was often chimed by city\n chimes, lines and verses from it were printed by way of ornament on\n the common earthenware of the country, and it was invariably used at\n weddings and certain festivals.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ NICOLAI is usually known by the first line of the words for\nwhich it was written, \u201cWie sh\u00f6n leuchtet der Morgenstern.\u201d It is a\nmagnificent chorale tune. Mendelssohn used the tune in his _Christus_,\nand Bach made a harmonization of it.\n\n\n530. As with gladness men of old _William Chatterdon Dix_, 1837-98\n\nA popular Epiphany hymn, written on Epiphany Day, about 1858, while the\nauthor was sick in bed. After reading the Gospel of the day, Dix started\nwriting this hymn and finished it by evening.\n\nFor comments on William Chatterdon Dix, see Hymn 78.\n\n_MUSIC._ DIX is an abridgement of a melody written by Conrad Kocher and\nfirst published in his _Stimmen aus dem Reiche Gottes_, Stuttgart, 1838.\n\nFor comments on Kocher see Hymn 51.\n\n\n LENT\n\n\n531. Out of the depths I cry to Thee _Martin Luther_, 1483-1546\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Aus tiefer Not schrei\u2019 ich zu dir,\n Herr Gott, erh\u00f6r mein Rufen;\n Dein\u2019 gn\u00e4dig\u2019 Ohren kehr zu mir\n Und meiner Bitt sei offen!\n Denn so du willst das sehen an,\n Was S\u00fcnd\u2019 und Unrecht ist getan,\n Wer kann, Herr, von dir bleiben?\n\n 2.\n Bei dir gilt nichts denn Gnad\u2019 und Gunst,\n Die S\u00fcnde zu vergeben;\n Es ist doch unser Tun umsonst\n Auch in dem besten Leben\n Vor dir niemand sich r\u00fchmen kann,\n Des muss dich f\u00fcrchten jederman\n Und deiner Gnade leben.\n\n 3.\n Darum auf Gott will hoffen ich,\n Auf mein Verdienst nicht bauen;\n Auf ihm mein Herz soll lassen sich\n Und seiner G\u00fcte trauen,\n Die mir zusagt sein wertes Wort,\n Das ist mein Trost und treuer Hort,\n Des will ich allzeit harren.\n\n 4.\n Und ob es w\u00e4hrt bis in die Nacht\n Und wieder an den Morgen,\n Doch soll mein Herz an Gottes Macht\n Verzweifeln nicht noch sorgen.\n So tu\u2019 Israel rechter Art,\n Der aus dem Geist erzeuget ward\n Und seines Gott\u2019s erharre.\n\n 5.\n Ob bei uns ist der S\u00fcnden viel,\n Bei Gott ist viel mehr Gnade,\n Sein\u2019 Hand zu helfen hat kein Ziel,\n Wie gross auch sei der Schade.\n Er ist allein der gute Hirt,\n Der Israel erl\u00f6sen wird\n Aus seinen S\u00fcnden allen.\n\nA metrical version of Psalm 130. It is considered by many to be Luther\u2019s\nbest production and Julian ranks it with the finest German psalm\nversions. The hymn was first published in Luther\u2019s _Etlich Cristlich\nLider_, Wittenberg, 1524, and in his _Eyn Enchiridion_, Erfurt, 1524, in\nfour stanzas. It was then rewritten and expanded into five stanzas and\nin this form published in Johann Walther\u2019s _Geystliche Gesangk\nBuchleyn_, Wittenberg, 1524, and again in Luther\u2019s later work,\n_Christliche Geseng zum Begrebnis_, Wittenberg, 1542. It is appropriate\nfor use at a Christian burial, as well as other occasions, and was sung\nat Halle, in 1546, while Luther\u2019s body was being brought from Eisleben\nto Wittenberg for burial.\n\nThe \u201cdepths\u201d from which the psalmist cries to God for deliverance, are\nnot so much physical and psychical as moral and spiritual. The writer is\nconscious of his sinfulness, as well as the sinfulness of his people and\nsees that there is no help except through penitence and acceptance of\nthe mercy and forgiveness of God.\n\nThe first three stanzas from Catherine Winkworth\u2019s translation were\nselected for use here.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ AUS TIEFER NOT, also called \u201cDe Profundis,\u201d and \u201cLuther\u2019s\n130th,\u201d is attributed to Luther himself. J. S. Bach\u2019s cantata, _Aus\ntiefer Not schrei\u2019 ich zu Dir_, is built on this tune. Luther believed\nin the power of music to drive away the Evil One and frequently, when\nanxious about the fate of his cause, he would say to his companions,\n\u201cCome, let us confound the devil and all his followers, by singing\ntogether the psalm, \u2018Aus tiefer Not.\u2019\u201d\n\n\n532. Out of the depths I cry to Thee _Martin Luther_, 1483-1546\n _Tr. Catherine Winkworth_, 1829-78\n\nFor comments on this hymn see No. 531.\n\n_MUSIC._ AUS TIEFER NOT became popular in our churches through its\ninclusion in the _Gesangbuch mit Noten_. The tune is credited to J. M.\nBiermann, an American writer of tunes of the gospel hymn type. He was\nmusical editor of _Hosianna_, Cleveland, 1876, published by the\nEvangelical Church. The composer seems to have borrowed from the tune\n\u201cMacht Hoch die T\u00fcr,\u201d No. 523. _Hosianna_ contains about 35 of his tunes\nand arrangements.\n\n\n533. Jesus, I never can forget _Paul Gerhardt_, 1607-76\n _Tr. J. Gambold_, 1711-71\n\n 1.\n Ein L\u00e4mmlein geht und tr\u00e4gt die Schuld\n Der Welt und ihrer Kinder;\n Es geht und tr\u00e4get in Geduld\n Die S\u00fcnden aller S\u00fcnder;\n Es geht dahin, wird matt und krank,\n Ergibt sich auf die W\u00fcrgebank,\n Verzeiht sich aller Freuden;\n Es nimmet an Schmach, Hohn und Spott,\n Angst, Wunden, Striemen, Kreuz und Tod\n Und spricht: Ich will\u2019s gern leiden.\n\n 2.\n Mein Lebetage will ich dich\n Aus meinem Sinn nicht lassen;\n Dich will ich stets, gleich wie du mich,\n Mit Liebesarmen fassen.\n Du sollst sein meines Herzens Licht,\n Und wenn mein Herz im Tode bricht,\n Sollst du mein Herz verbleiben.\n Ich will mich dir, mein h\u00f6chster Ruhm,\n Hiemit zu deinem Eigentum\n Best\u00e4ndiglich verschreiben.\n\n 3.\n Ich will von deiner Lieblichkeit\n Bei Nacht and Tage singen,\n Mich selbst auch dir zu aller Zeit\n Zum Freudenopfer bringen.\n Mein Born des Lebens soll sich dir\n Und deinem Namen f\u00fcr und f\u00fcr\n In Dankbarkeit ergiessen;\n Und was du mir zu gut getan\n Das will ich stets, so tief ich kann,\n In mein Ged\u00e4chtnis schliessen.\n\nThese are stanzas 1, 5, and 6 of the original ten. The hymn is based on\nJohn 1:29: \u201cBehold the Lamb of God, which taketh away the sin of the\nworld\u201d; and Isa. 53:7: \u201cHe was oppressed, and he was afflicted, yet he\nopened not his mouth: he is brought as a lamb to the slaughter, and as a\nsheep before her shearers is dumb, so he openeth not his mouth.\u201d It was\npublished in the third edition of Johann Cr\u00fcger\u2019s _Praxis Pietatis\nMelica_, in 1648.\n\nFor comments on Paul Gerhardt see Hymn 134.\n\nOur hymn consists of stanzas 5 and 6, translated by J. Gambold.\nBiographical data concerning Gambold has not been found.\n\n_MUSIC._ EIN LAMM GEHT HIN, also called \u201cAn Wasserfl\u00fcssen Babylon,\u201d\nfirst appeared in the third part of the Strassburg _Kirchenampt_, 1525,\nwhere it is set to Wolfgang Dachstein\u2019s hymn on Psalm 137, beginning\nwith the stanza:\n\n An Wasserfl\u00fcssen Babylon,\n Da sassen wir mit Schmerzen;\n Als wir gedachten an Zion,\n Da weinten wir von Herzen.\n Wir hingen auf mit schwerem Mut\n Die Orgeln und die Harfen gut\n An ihren B\u00e4um\u2019 und Weiden,\n Die drinnen sind in ihrem Land,\n Da mussten wir viel Schmach und Schand\u2019\n T\u00e4glich von ihnen leiden.\n\nThe tune appeared anonymously but may have been composed, as some\nauthorities believe, by Dachstein himself.\n\n\n534. Ah, dearest Jesus, how hast Thou offended _Johann Heermann_,\n 1585-1647\n _Tr. Robert Bridges_, 1844-1930\n\n 1.\n Herzliebster Jesu, was hast du verbrochen,\n Dass man ein solch scharf Urteil hat gesprochen?\n Was ist die Schuld? in was f\u00fcr Missentaten\n Bist du geraten?\n\n 2.\n Du wirst gegeisselt und mit Dorn\u2019n gekr\u00f6net,\n Ins Angesicht geschlagen und verh\u00f6hnet,\n Du wirst mit Essig und mit Gall\u2019 getr\u00e4nket,\n Ans Kreuz gehenket.\n\n 3.\n Was ist doch wohl die Ursach\u2019 solcher Plagen?\n Ach, meine S\u00fcnden haben dich geschlagen!\n Ich, ach Herr Jesu! habe dies verschuldet,\n Was du erduldet.\n\n 4.\n Wie wunderbarlich ist doch diese Strafe!\n Der gute Hirte leidet f\u00fcr die Schafe;\n Die Schuld bezahlt der Herr selbst, der Gerechte,\n F\u00fcr seine Knechte.\n\n 5.\n Der Fromme stirbt, der recht und richtig wandelt;\n Der B\u00f6se lebt, der wider Gott misshandelt;\n Der Mensch verwirkt den Tod und ist entgangen;\n Gott wird gefangen.\n\n 6.\n Ich war von Fuss auf voller Schand\u2019 und S\u00fcnden,\n Bis zu dem Scheitel war nichts Gut\u2019s zu finden;\n Daf\u00fcr h\u00e4tt\u2019 ich dort in der H\u00f6lle m\u00fcssen\n Ewiglich b\u00fcssen.\n\n 7.\n O grosse Lieb\u2019, o Lieb, ohn\u2019 alle Masse!\n Die dich gebracht auf diese Marterstrasse;\n Ich lebte mit der Welt in Lust und Freuden,\n Und du musst leiden!\n\n 8.\n Ach grosser K\u00f6nig! gross zu allen Zeiten;\n Wie kann ich g\u2019nugsam deine Lieb\u2019 ausbreiten?\n Kein Menschenherz vermag es auszudenken,\n Was dir zu schenken.\n\n 15.\n Wenn so, Herr Jesu! dort vor deinem Throne\n Wird stehn auf meinem Haupt die Ehrenkrone,\n Da will ich dir, wenn Alles wohl wird klingen,\n Lob und Dank singen.\n\nBased on 1 Peter 3:18: \u201cFor Christ also hath once suffered for sins, the\njust for the unjust, that he might bring us to God.\u201d\n\nRobert Bridges included this hymn in his _Yattendon Hymnal_, 1899,\nLondon, and later it became known to a wider public by its appearance in\nthe _English Hymnal_, 1906, and in _Songs of Praise_, 1933.\n\nJohann Heermann, a distinguished scholar and one of the greatest of\nGerman hymn writers, was a Lutheran minister and pastor, in Silesia. On\naccount of ill health, he retired and devoted himself to literary work.\nThis hymn, written during the miseries of the Thirty Years\u2019 War, was\ncomposed for Passiontide and was entitled, \u201cThe Cause of the Bitter\nSufferings of Jesus Christ and Consolations from His Love and Grace.\u201d\nThe author experienced much suffering himself. First came the death of\nhis wife in 1617, then the failure of his own health, and then the war.\nHis hymns are characterized by tenderness and depth of feeling, and\nillustrate the truth that real poets \u201clearn in suffering what they teach\nin song.\u201d\n\nFor comments on the translator, Robert Bridges, see Hymn 32. His first\ntwo stanzas are translations of 1 and 2 of the original; while stanzas 3\nand 4 contain suggestions, only, of 6 and 7 and the rest of Heermann\u2019s\npoem.\n\n_MUSIC._ HERZLIEBSTER JESU is a grandly impressive tune, composed by the\ndistinguished musician and writer of chorales, Johann Cr\u00fcger, 1598-1662.\nIt has been observed that nearly five-sevenths of this whole melody has\na downward movement, which accounts for some of its intensely solemn\ncharacter. J. S. Bach used the tune in his _St. Matthew\u2019s Passion_.\n\nFor comments on the composer, Johann Cr\u00fcger, see Hymn 242.\n\n\n535. Christ, the Life of all the living _Ernst C. Homburg_, 1605-81\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Jesu, meines Lebens Leben,\n Jesu, meines Todes Tod,\n Der du dich f\u00fcr mich gegeben\n In die tiefste Seelennot,\n In das \u00e4usserste Verderben,\n Nur dass ich nicht m\u00f6chte sterben;\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 2.\n Du, ach, du hast ausgestanden\n L\u00e4sterreden, Spott und Hohn,\n Speichel, Schl\u00e4ge, Strick\u2019 und Bande,\n Du gerechter Gottessohn,\n Mich Elenden zu erretten\n Von des Teufels S\u00fcndenketten!\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 3.\n Du hast lassen Wunden schlagen,\n Dich erb\u00e4rmlich richten zu,\n Um zu heilen meine Plagen\n Und zu setzen mich in Ruh\u2019!\n Ach, du hast zu meinem Segen\n Lassen dich mit Fluch belegen!\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 4.\n Man hat dich sehr hart verh\u00f6hnet,\n Dich mit grossem Schimpf belegt\n Und mit Dornen gar gekr\u00f6net:\n Was hat dich dazu bewegt?\n Dass du m\u00f6chtest mich erg\u00f6tzen,\n Mir die Ehrenkron\u2019 aufsetzen.\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 5.\n Du hast dich hart lassen schlagen\n Zur Befreiung meiner Pein,\n F\u00e4lschlich lassen dich anklagen,\n Dass ich k\u00f6nnte sicher sein;\n Dass ich m\u00f6chte trostreich prangen,\n Hast du sonder Trost gehangen.\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 6.\n Du hast dich in Not gestecket,\n Hast gelitten mit Geduld,\n Gar den herben Tod geschmecket,\n Um zu b\u00fcssen meine Schuld;\n Dass ich w\u00fcrde losgez\u00e4hlet,\n Hast du wollen sein gequ\u00e4let.\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 7.\n Deine Demut hat geb\u00fcsset\n Meinen Stolz und Uebermut,\n Dein Tod meinen Tod vers\u00fcsset,\n Es kommt Alles mir zu gut;\n Dein Verspotten, dein Verspeien\n Muss zu Ehren mir gedeihen.\n Tausend-, tausendmal sei dir,\n Liebster Jesu, Dank daf\u00fcr!\n\n 8.\n Nun, ich danke dir von Herzen,\n Jesu, f\u00fcr gesamte Not:\n F\u00fcr die Wunden, f\u00fcr die Schmerzen,\n F\u00fcr den herben, bittern Tod,\n F\u00fcr dein Zittern, f\u00fcr dein Zagen,\n F\u00fcr dein tausendfaches Plagen,\n F\u00fcr dein\u2019 Angst und tiefe Pein\n Will ich ewig dankbar sein.\n\nThe most popular of Homburg\u2019s hymns. It was first published in his\n_Geistliche Lieder_, _Jena_, 1659, for Passiontide, entitled, \u201cHymn of\nThanksgiving for his Redeemer and Saviour for His bitter sufferings.\u201d\n\nErnst Christoph Homburg, born near Eisenach, was a lawyer by profession,\nand a poet of high rank. His life was not without its cup of bitterness.\nDomestic troubles, arising from the illness of himself and of his wife,\nand other difficulties, bore heavily upon him and he was led, as a\nresult, to turn to God and place all his confidence in Him. In the\npreface to one of his hymn collections, he wrote: \u201cI was especially\ninduced and compelled to their composition by the anxious and sore\ndomestic afflictions by which God ... has for some time laid me aside.\u201d\nHe is the author of 148 hymns.\n\nFor comments on Miss Winkworth see Hymn 236. Her translation of stanzas\n1, 2, and 8 comprises our hymn.\n\n_MUSIC._ JESU MEINES LEBENS LEBEN appeared in _Kirchengesangbuch_,\nDarmstadt, 1687. The composer is not known.\n\n\n536. Jesus, Refuge of the weary _Girolamo Savonarola_, 1452-98\n _Tr. Jane F. Wilde_, 1826-96\n\n The original hymn is in Italian, entitled,\n Laude al Crucifisso\n\n 1.\n Ies\u00f9, sommo conforto,\n Tu se\u2019 tutto el mio amore;\n El mio beato porto,\n E santo redentore.\n O gran bont\u00e0,\n Dolce piet\u00e0,\n Felice quel che teco unito sta!\n\n 2.\n O quante volte offeso\n T\u2019ha l\u2019alma e\u2019l cor meschino!\n E tu sei in croce esteso\n Per salvar me tapino.\n O gran bont\u00e0 etc.\n\n 3.\n Ies\u00f9, qual forza ha spinto\n L\u2019immensa tua bontade?\n Dhe! qual amor t\u2019ha vinto\n Patir tal crudeltade?\n O gran bont\u00e0 etc.\n\n 4.\n A te fui sempre ingrato,\n E mai non fui fervente;\n E tu per me impiagato\n Sei stato crudelmente.\n O gran bont\u00e0 etc.\n\n 5.\n Ies\u00f9, tu hai el mondo\n Suavemente pieno\n D\u2019amor dolce e iocondo,\n Che fa ogne cor sereno.\n O gran bont\u00e0 etc.\n\n 6.\n Ies\u00f9, fammi morire\n Del tuo amor vivace;\n Ies\u00f9, fammi languire\n Con te, Signor verace.\n O gran bont\u00e0 etc.\n\n 7.\n Ies\u00f9, fuss\u2019io confitto\n Sopra quell\u2019alto ligno\n Dove ti veggo afflitto,\n Ies\u00f9, Signor benigno.\n O gran bont\u00e0 etc.\n\n 8.\n O Croce, fammi loco,\n E le mie membra prendi,\n Che del tuo sancto foco\n El cor e l\u2019alma accendi.\n O gran bont\u00e0 etc.\n\n 9.\n Infiamma el mio cor tanto\n Del tuo amor divino,\n Si ch\u2019arda dentro tanto\n Che paio un serafino.\n O gran bont\u00e0 etc.\n\n 10.\n La Croce e\u2019l Crucifisso\n Sia nel mio cor scolpito;\n Et io sia sempre affisso\n In gloria ove egli \u00e8 ito.\n O gran bont\u00e0 etc.\n\nThe hymn is based on Mark 15:29, 30: \u201cAnd they that passed by railed on\nhim, wagging their heads, and saying, Ah, thou that destroyest the\ntemple, and buildest it in three days, Save thyself, and come down from\nthe cross.\u201d\n\nSavonarola of Florence, one of the greatest of medieval preachers and\nreformers in the Catholic Church, was destined by his parents to enter\nthe medical profession, but after a careful study of the Scriptures and\nthe writings of Thomas Aquinas, he decided to enter a Dominican\nmonastery. Here he spent many years in further study and thinking out\nhis preaching message. Living in a time when the moral tone of\nChristianity was at a very low ebb, Savonarola preached boldly and\neloquently against the sins of a corrupt world and a corrupt church. His\nrelentless denunciation of the pope and priests resulted in his\nexcommunication by Pope Alexander VI, and on May 23, 1498, he was\npublicly executed on one of the streets of Florence. His death as a\nmartyr proved to Luther, across the Alps, that it is \u201chopeless to hope\nin the purification of Rome,\u201d and gave to the reformation movement a\npowerful impulse.\n\nThe translation of the hymn is by Jane Elgee, daughter of Archdeacon\nElgee, of Ireland. In 1851 she married Sir William Wilde, an oculist\nliving in Dublin.\n\n_MUSIC._ O DU LIEBE MEINER LIEBE comes from Johann Thommen\u2019s\n_Erbaulicher Musikalischer Christenschatz_, Basel, 1745, where it is set\nto the hymn, \u201cO du Liebe meiner Leibe,\u201d by Johann Scheffler (See 565).\nThe tune is also called, \u201cCassel,\u201d and \u201cLucerne.\u201d Like numerous other\nchorale tunes, it was originally a folk tune, and had been in use by the\nMoravian Brethren at Herrnhut. It is one of the well-known tunes in the\n_Gesangbuch mit Noten_, deserving of its popularity.\n\n\n537. Man of Sorrows, now my soul shall greet Thee _Christian Renatus,\n Graf von Zinzendorf_, 1727-52\n _Tr. J. C. Hansen_, 1916\n\n 1.\n Marter Gottes, wer kann dein vergessen\n Der in dir sein Wohlsein findt?\n Unser Herze w\u00fcnscht sich unterdessen\n Stets noch mehr zum Dank entz\u00fcndt.\n Unsre Seele soll sich daran n\u00e4hren,\n Unsre Ohren nie was Lieb\u2019res h\u00f6ren;\n Alle Tage kommt er mir\n Sch\u00f6ner in dem Bilde f\u00fcr.\n\n 2.\n Tausend Dank, du unser treues Herze!\n Leib und Geist bet\u2019 dr\u00fcber an,\n Dass du unter Martern, Angst und Schmerze\n Hast genug f\u00fcr uns getan.\n Lass dich jedes um so heisser lieben,\n Als es noch im Glauben sich muss \u00fcben,\n Bis es einst als deine Braut\n Dich von Angesichte schaut.\n\n 3.\n Mein kranke und bed\u00fcrftge Seele\n Eilt auf deine Wunden zu;\n Denn sie findt in deiner Seitenh\u00f6hle\n Trost und Labsal, Fried und Ruh.\n Lass mich nur die Kreuzesluft anwehen,\n Und dein Marterbild stets vor mir stehen,\n So geht mir bis in mein Grab\n Nichts an Seligkeiten ab.\n\n 4.\n Die wir uns allhier beisammen finden,\n Schlagen unsre H\u00e4nde ein,\n Uns auf deine Marter zu verbinden,\n Dir auf ewig treu zu sein;\n Und zum Zeichen, dass dies Lobget\u00f6ne,\n Deinem Herzen angenehm und sch\u00f6ne,\n Sage Amen und zugleich:\n Friede, Friede sei mit euch!\n\nA heart-searching passion hymn, from the pen of Christian Renatus, Graf\nvon Zinzendorf, second son of the renowned Nikolaus Ludwig, Graf von\nZinzendorf, founder of the Moravian Br\u00fcdergemeinde at Herrnhut. (See\nHymn 574.) Born at Herrnhut, and educated by his parents, he became his\nfather\u2019s assistant in 1744, continuing until 1749. Illness overtook him\nand he spent the last years of his life, an invalid, in London where he\ndied at the age of 25. Zinzendorf was a young man of maturity and deep\nChristian convictions, and composed a number of hymns. The present hymn,\nprobably his best production, was first published in the appendix of the\n_London Hymn Book_, 1755.\n\nThe translation is by J. C. Hansen, formerly Professor of Classical\nLanguages at Eden Seminary and now of Elmhurst College, Elmhurst, Ill.,\nand a member of the Evangelical Church.\n\n_MUSIC._ MARTER CHRISTI, with its considerable length, its irregular\nmeter, and repetition of phrases, is a typical chorale tune, deserving\nof its popularity. Its origin is unknown.\n\n\n538. Dark the day on Calvary\u2019s Cross _Lauchlan MacLean Watt_, 1867\u2014\n\nA Scottish hymn composed by Lauchlan MacLean Watt who was born in\nScotland and educated in the Edinburgh University. Watt entered the\nministry of the Scottish Presbyterian Church and attained the charge of\nGlasgow Cathedral in 1923, remaining until his resignation in 1934. In\n1933 he was Moderator of the General Assembly of the Church of Scotland.\nHe is the author of numerous books and served on the Committee for the\nRevision of the _Church Hymnary_, Edinburgh, 1927.\n\n_MUSIC._ NICHT SO TRAURIG, also called \u201cPressburg,\u201d is from\nFreylinghausen\u2019s _Neues Geistreiches Gesangbuch_, 1714, where it is set\nto Gerhardt\u2019s hymn, \u201cNicht so traurig, nicht so sehr.\u201d The melody has\nbeen simplified somewhat from the original to fit the English words. It\nwas included in the _Hymnary_ for choir use during the season of Lent.\n\n\n539. O sacred Head, now wounded _Bernard of Clairvaux_, 1091-1153\n _Tr. Paul Gerhardt_, 1607-76\n _Tr. James W. Alexander_, 1804-59\n\n 1.\n O Haupt voll Blut und Wunden,\n Voll Schmerz und voller Hohn,\n O Haupt, zum Spott gebunden\n Mit einer Dornenkron\u2019,\n O Haupt, sonst sch\u00f6n gezieret\n Mit h\u00f6chster Ehr\u2019 und Zier,\n Jetzt aber h\u00f6chst schimpfieret:\n Gegr\u00fcsset sei\u2019st du mir!\n\n 2.\n Du edles Angesichte,\n Davor sonst schrickt und scheut\n Das grosse Weltgewichte,\n Wie bist du so bespeit!\n Wie bist du so erbleichet!\n Wer hat dein Augenlicht,\n Dem sonst kein Licht nicht gleichet,\n So sch\u00e4ndlich zugericht\u2019t?\n\n 3.\n Die Farbe deiner Wangen,\n Der roten Lippen Pracht\n Ist him und ganz vergangen;\n Des blassen Todes Macht\n Hat alles hingenommen,\n Hat alles hingerafft,\n Und daher bist du kommen\n Von deines Leibes Kraft.\n\n 4.\n Nun, was du, Herr, erduldet,\n Ist alles meine Last;\n Ich hab\u2019 es selbst verschuldet,\n Was du getragen hast.\n Schau her, hier steh\u2019 ich Armer,\n Der Zorn verdienet hat;\n Gib mir, o mein Erbarmer,\n Den Anblick deiner Gnad\u2019!\n\n 5.\n Erkenne mich, mein H\u00fcter,\n Mein Hirte, nimm mich an!\n Von dir, Quell aller G\u00fcter,\n Ist mir viel Gut\u2019s getan.\n Dein Mund hat mich gelabet\n Mit Milch und s\u00fcsser Kost;\n Dein Geist hat mich begabet\n Mit mancher Himmelslust.\n\n 6.\n Ich will hier bei dir stehen,\n Verachte mich doch nicht!\n Von dir will ich nicht gehen,\n Wenn dir dein Herze bricht;\n Wenn dein Haupt wird erblassen\n Im letzten Todesstoss,\n Alsdann will ich dich fassen\n In meinen Arm und Schoss.\n\n 7.\n Es dient zu meinen Freuden\n Und kommt mir herzlich wohl,\n Wenn ich in deinem Leiden,\n Mein Heil, mich finden soll.\n Ach, m\u00f6cht\u2019 ich, o mein Leben,\n An deinem Kreuze hier\n Mein Leben von mir geben,\n Wie wohl gesch\u00e4he mir!\n\n 8.\n Ich danke dir von Herzen,\n O Jesu, liebster Freund,\n F\u00fcr deines Todes Schmerzen,\n Da du\u2019s so gut gemeint.\n Ach gib, dass ich mich halte\n Zu dir und deiner Treu\u2019\n Und, wenn ich nun erkalte,\n In dir mein Ende sei!\n\n 9.\n Wenn ich einmal soll scheiden,\n So scheide nicht von mir;\n Wenn ich den Tod soll leiden,\n So tritt du dann herf\u00fcr;\n Wenn mir am allerb\u00e4ngsten\n Wird um das Herze sein,\n So reiss mich aus den Aengsten\n Kraft deiner Angst und Pein!\n\n 10.\n Erscheine mir zum Schilde,\n Zum Trost in meinem Tod,\n Und lass mich sehn dein Bilde\n In deiner Kreuzesnot!\n Da will ich nach dir blicken,\n Da will ich glaubensvoll\n Dich fest an mein Herz dr\u00fccken.\n Wer so stirbt, der stirbt wohl.\n\nA profound hymn coming originally out of the golden age of Latin\nhymnody. _Salve caput cruentatum_ is the last of a series of seven poems\non the crucified Savior, each poem addressing itself to a separate\nmember of Christ\u2019s body\u2014feet, knees, hands, side, breast, heart, and\nhead. The work is attributed to Bernard of Clairvaux, preacher of the\nSecond Crusade, and one of the most brilliant of Latin hymn writers.\nLuther wrote of him: \u201cIf there has ever been a pious monk who feared God\nit was St. Bernard, whom alone I hold in much higher esteem than all\nother monks and priests throughout the globe.\u201d Bernard founded a\nmonastery in Wormwood, a robber-infested valley in France. He changed\nthe name to \u201cClara Vallis,\u201d (Beautiful Valley), from which is derived\nthe designation \u201cClairvaux.\u201d\n\nThough composed in the twelfth century, the hymn did not achieve fame\nuntil five centuries later when it was translated into German by Paul\nGerhardt, who, next to Luther, was the greatest of all German hymn\nwriters. His translation, a free paraphrase, appeared in Cr\u00fcger\u2019s\n_Praxis_, 1656, and is considered by Philip Schaff to be \u201cfully equal to\nthe original.\u201d\n\nFor comment on Gerhardt see Hymn 134.\n\nThe translation into English was made in 1849 by James W. Alexander of\nPrinceton, a Presbyterian. Schaff wrote that \u201cDr. Alexander is beyond\ndoubt one of the best translators of German hymns into idiomatic\nEnglish.\u201d He also wrote concerning this hymn that it has \u201cshown an\nimperishable vitality in passing from the Latin into the German and from\nthe German into the English, and proclaiming in three tongues and in the\nname of three confessions\u2014the Catholic, the Lutheran, and the\nReformed\u2014with equal effect, the dying love of our Savior, and our\nboundless indebtedness to Him.\u201d\n\nOur hymn is a selection of stanzas 1, 4, 8, and 10. In the first stanza,\nthe line, \u201cI marvel at the story,\u201d is substituted for Alexander\u2019s\noriginal which read, \u201cYet though despised and gory.\u201d Stanza 10 has been\nfrequently used as a prayer for the dying.\n\n_MUSIC._ PASSION CHORALE was originally set to a love song entitled,\n\u201cMein G\u2019m\u00fct ist mir verwirret.\u201d The tune was composed by the\ndistinguished organist, Hans Leo Hassler, and first appeared in his\n_Lustgarten Neuer Teutscher Ges\u00e4ng_, 1601. In 1613 it appeared in\n_Harmoni\u00e6 Sacr\u00e6_, set to the hymn, \u201cHerzlich thut mich verlangen,\u201d and\nlater it became associated with \u201cO Haupt voll Blut und Wunden.\u201d It was a\nfavorite melody with Bach, who used it five times in his _St. Matthew\nPassion_.\n\nHans Leo Hassler, 1564-1612, was born at N\u00fcrnberg and died at Frankfurt\nat the age of 47. He was a member of a distinguished musical family.\nAfter an early career as organist, he was sent to Venice to study under\nAndrea Gabriele, organist of St. Mark\u2019s, becoming the earliest of\nimportant German composers to receive an Italian training. Returning to\nGermany, Hassler held positions in Augsburg, N\u00fcrnberg, and elsewhere.\nHis numerous compositions for voice and organ are of such a standard as\nto give him a high place in German music, and most of them have been\nreprinted in modern times.\n\nJ. S. Bach, 1685-1750, who arranged the tune, is by far the greatest\nmusician the Protestant Church has produced. Most of his life was spent\nin Leipzig where he labored from 1723 until his death in 1750, as cantor\nof the Thomas School and director of music at the Thomas and Nicolai\nchurches. His genius as a master of the organ and composer of chorales\nand passion music has never been equaled. Though he lived in an age when\nopera flourished in Europe, he paid no attention to it, devoting all his\ntalent to church music. There is something in his music that touches the\ndeepest chords of religious emotion.\n\n\n540. Lamb of God most holy _Nikolaus von Hofe_ (_Decius_), 1490?-1541\n\n O Lamm Gottes, unschuldig\n Am Stamm des Kreuzes geschlachtet,\n Allzeit funden geduldig,\n Wiewohl du warest verachtet:\n All\u2019 S\u00fcnd\u2019 hast du getragen,\n Sonst m\u00fcssten wir verzagen.\n Erbarm dich unser, O Jesu!\n\n O Lamm Gottes, unschuldig\n Am Stamm des Kreuzes geschlachtet,\n Allzeit funden geduldig,\n Wiewohl du warest verachtet:\n All\u2019 S\u00fcnd\u2019 hast du getragen,\n Sonst m\u00fcssten wir verzagen.\n Erbarm dich unser, O Jesu!\n\n O Lamm Gottes, unschuldig\n Am Stamm des Kreuzes geschlachtet,\n Allzeit funden geduldig,\n Wiewohl du warest verachtet:\n All\u2019 S\u00fcnd\u2019 hast du getragen,\n Sonst m\u00fcssten wir verzagen.\n Gib uns dein\u2019n Frieden, o Jesu!\n\nBased on John 1:29: \u201cBehold the Lamb of God, which taketh away the sin\nof the world.\u201d The hymn, called the _Agnus Dei_ in liturgical\nliterature, is a prayer for God\u2019s mercy and peace, and a confession that\nChrist alone is able to take away the sin of the world. It is an ancient\nsong which has been in use in the church since 701 A.D. and originally\nwas chanted antiphonally by clergy and laity. Since the 12th century the\ncustom has been to repeat the chant three times. In some churches it is\nalways sung just before the communion of the Lord\u2019s Supper.\n\nFor comments on Decius see Hymn 521.\n\nThe translation is composite.\n\n_MUSIC._ O LAMM GOTTES, UNSCHULDIG is based on an ancient Gregorian\nsetting for the _Agnus Dei_ and may have been arranged by Decius\nhimself, for he was a musician as well as a preacher. The word\n\u201cGregorian\u201d stems from Gregory the Great, who was Pope from 590 to 604\nA.D. He was distinguished for his public service and his contribution to\nchurch music, developing the use of the plain chant (also called \u201cplain\nsong\u201d and \u201cGregorian chant\u201d) which is identified with his name.\n\n\n EASTERTIDE\n\n\n541. Jesus Christ my sure defense _Luise Henriette von Brandenburg_,\n 1627-67\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Jesus, meine Zuversicht\n Und mein Heiland, ist im Leben;\n Dieses weiss ich, sollt\u2019 ich nicht\n Darum mich zufrieden geben.\n Was die lange Todesnacht\n Mir auch f\u00fcr Gedanken macht?\n\n 2.\n Jesus, er, mein Heiland, lebt;\n Ich werd\u2019 auch das Leben schauen,\n Sein, wo mein Erl\u00f6ser schwebt;\n Warum sollte mir denn grauen?\n L\u00e4sset auch ein Haupt sein Glied,\n Welches es nicht nach sich zieht?\n\n 3.\n Ich bin durch der Hoffnung Band\n Zu genau mit ihm verbunden;\n Meine starke Glaubenshand\n Wird in ihn gelegt befunden,\n Dass mich auch kein Todesbann\n Ewig von ihm trennen kann.\n\n 4.\n Ich bin Fleisch und muss daher\n Auch einmal zu Asche werden;\n Das gesteh\u2019 ich, doch wird er\n Mich erwecken aus der Erden,\n Dass ich in der Herrlichkeit\n Um ihn sein m\u00f6g\u2019 allezeit.\n\n 5.\n Dann wird eben diese Haut\n Mich umgeben, wie ich gl\u00e4ube,\n Gott wird werden angeschaut\n Dann vor mir in diesem Leibe,\n Und in diesem Fleisch werd\u2019 ich\n Jesum sehen ewiglich.\n\n 6.\n Dieser meiner Augen Licht\n Wird ihn, meinen Heiland, kennen;\n Ich, ich selbst, kein Fremder nicht,\n Werd\u2019 in seiner Liebe brennen;\n Nur die Schwachheit um und an\n Wird von mir sein abgetan.\n\n 7.\n Was hier kranket, seufzt und fleht,\n Wird dort frisch und herrlich gehen;\n Irdisch werd\u2019 ich ausges\u00e4t.\n Himmlisch werd\u2019 ich auferstehen;\n Hier geh\u2019 ich nat\u00fcrlich ein,\n Nachmals werd\u2019 ich geistlich sein.\n\n 8.\n Seid getrost und hocherfreut.\n Jesus tr\u00e4gt euch, meine Glieder!\n Gebt nicht Raum der Traurigkeit!\n Sterbt ihr, Christus ruft euch wider,\n Wenn die letzt\u2019 Drommet\u2019 erklingt,\n Die auch durch die Gr\u00e4ber dringt.\n\n 9.\n Lacht der finstern Erdenkluft,\n Lacht des Todes und der H\u00f6llen;\n Denn ihr sollt euch durch die Luft\n Eurem Heiland zugesellen!\n Dann wird Schwachheit und Verdruss\n Liegen unter eurem Fuss.\n\n 10.\n Nur dass ihr den Geist erhebt\n Von den L\u00fcsten dieser Erden\n Und euch dem schon jetzt ergebt,\n Dem ihr beigef\u00fcgt wollt werden\n Schickt das Herze da hinein,\n Wo ihr ewig w\u00fcnscht zu sein!\n\nAn Easter hymn of the first rank, an \u201cacknowledged masterpiece of\nChristian poetry that will ever remain a treasure among the hallowed\nsongs of the Evangelical Church.\u201d It is based on I Cor. 15:35 ff and Job\n19:25-27.\n\nLuise Henriette, a woman of noble Christian character and a member of\nthe Reformed Church, was born in The Hague, Holland. She was married to\nElector Friedrich Wilhelm of Brandenburg. Interested in the economic as\nwell as religious welfare of her people, she founded model farms,\nintroduced the culture of the Irish potato, and was helpful in many ways\nin the restoration of the country after the ravages of the Thirty Years\nWar. Luise Henriette is credited with numerous hymns but Julian points\nout that there is uncertainty whether she actually wrote all of them or\nselected them as her favorites. She had a great admiration for Paul\nGerhardt and his poetry.\n\nThe hymn is a selection of stanzas 1, 2, 3, and 10. For comments on\nCatherine Winkworth, translator, see Hymn 236.\n\n_MUSIC._ For comments on the tune, GROSSER GOTT WIR LOBEN DICH, see Hymn\n519.\n\n\n542. Welcome, Thou Victor in the strife _Benjamin Schmolck_, 1672-1737\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Willkommen, Held im Streite,\n Aus deiner Grabes Kluft!\n Wir triumphieren heute\n Um deine leere Gruft!\n\n 2.\n Der Feind\u2019 wird Schau getragen,\n Und heisst nunmehr ein Spott;\n Wir aber k\u00f6nnen sagen:\n Mit uns ist unser Gott!\n\n 3.\n Der Fried\u2019 ist uns erstritten,\n Und jeder Schrecken flieht;\n In der Gerechten H\u00fctten\n Erschallt das Siegeslied.\n\n 4.\n Teil\u2019 uns des Sieges Beute,\n Den Trost nun reichlich aus;\n Ach komm, und bring\u2019 noch heute\n Dein Heil in Herz und Haus!\n\n 5.\n In deines Grabes Staube\n Liegt unsre Schuld bedeckt;\n Des tr\u00f6stet sich der Glaube,\n Dass ihn kein Feind mehr schreckt.\n\n 6.\n Du hast das Heil erworben;\n Wir preisen dich daf\u00fcr.\n Sind wir mit dir gestorben,\n So leben wir mit dir.\n\n 7.\n Wir wollen ohne Grauen\n Mit dir zu Grabe gehn,\n Wenn wir nur dort dich schauen,\n Und selig auferstehn.\n\n 8.\n Schwing\u2019 deine Siegesfahnen\n Auch \u00fcber unser Herz,\n Und zeig\u2019 uns einst die Bahnen\n Vom Tode himmelw\u00e4rts.\n\n 9.\n Was kann uns denn noch schaden?\n Des Todes Pfeil ist stumpf!\n Wir sind bei Gott in Gnaden,\n Und rufen schon: Triumph!\n\nAn Easter hymn, first published in the author\u2019s _Lustiger Sabbath_,\n1712, entitled, \u201cEaster Triumphal Arch. At Midday on Easter Day.\u201d In\n1746, it was included in Burg\u2019s _Gesangbuch_, Breslau.\n\nFor comments on Benjamin Schmolck see Hymn 505.\n\nOur hymn is composed of Miss Winkworth\u2019s translation of stanzas 1, 2, 3,\nand 8.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\n_MUSIC._ DIE HELLE SONNE IST DAHIN was composed by Sigmund Gottlieb\n\u201cTheophil\u201d Staden, 1607-1655. He was born and died in N\u00fcrnberg. Staden\ncomposed _Seelewig_, the first comic opera to be printed. He also\ncomposed chorales and wrote an instruction book for singing.\n\n\n543. Jesus lives! thy terrors now _Christian F. Gellert_, 1715-69\n _Tr. Frances E. Cox_, 1812-97\n\n 1.\n Jesus lebt, mit ihm auch ich,\n Tod, we sind nun deine Schrecken?\n Jesus lebt und wird auch mich\n Von den Toten auferwecken.\n Er verkl\u00e4rt mich in sein Licht:\n Dies ist meine Zuversicht.\n\n 2.\n Jesus lebt. Ihm ist das Reich\n Ueber alle Welt gegeben.\n Mit ihm werd\u2019 ich auch zugleich\n Ewig herrschen, ewig leben.\n Gott erf\u00fcllt, was er verspricht:\n Dies ist meine Zuversicht.\n\n 3.\n Jesus lebt! wer nun verzagt,\n S\u00fcndigt an des Mittlers Ehre.\n Gnade hat er zugesagt,\n Dass der S\u00fcnder sich bekehre.\n Gott verst\u00f6sst in Christo nicht;\n Dies ist meine Zuversicht.\n\n 4.\n Jesus lebt. Sein Heil ist mein:\n Sein sei auch mein ganzes Leben;\n Reines Herzens will ich sein\n Und der L\u00fcsten widerstreben.\n Er verl\u00e4sst den Schwachen nicht:\n Dies ist meine Zuversicht.\n\n 5.\n Jesus lebt. Ich bin gewiss;\n Nichts soll mich von Jesu scheiden,\n Keine Macht der Finsternis,\n Keine Herrlichkeit, kein Leiden.\n Er gibt Kraft zu jeder Pflicht:\n Dies ist meine Zuversicht.\n\n 6.\n Jesus lebt. Nun ist der Tod\n Mir der Eingang in das Leben.\n Welchen Trost in Todesnot\n Wird er meiner Seele geben,\n Wenn sie gl\u00e4ubig zu ihm spricht:\n Herr, Herr, meine Zuversicht!\n\nBased on John 14:19: \u201cYet a little while and the world seeth me no more;\nbut ye see me: because I live, ye shall live also.\u201d\n\nThe hymn was first published in Gellert\u2019s _Geistliche Oden und Lieder_,\n1757, with the title, \u201cEaster Hymn.\u201d It soon became popular in Germany\nand is widely used now among English speaking people. The hymn is often\nused at funerals, and sometimes at the dedication of a cemetery.\nGellert, a saintly Professor of Philosophy and Poetry at Leipzig, had no\nfear of death. In the period of the so-called Enlightenment, when\nreligion had become cold and rationalistic, and the old hymns had been\nwatered down, he wrote one of our best and most evangelical hymns.\n\nFor comments on the translator, Frances E. Cox, see Hymn 512.\n\nThe original poem was without the \u201cHallelujah.\u201d\n\n_MUSIC._ CHRIST IST ERSTANDEN is a traditional German melody dating to\nthe 13th century. It was used with words beginning, \u201cChrist ist\nerstanden.\u201d Luther said of this tune: \u201cafter a time one tires of singing\nall other hymns, but the \u2018Christ ist erstanden\u2019 one can always sing\nagain.\u201d It is within easy range of all voices and therefore well adapted\nfor unison singing, though it need not be limited to that.\n\n\n544. Christ the Lord is risen again! _Michael Weisse_, _c._ 1480-1534\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Christus ist erstanden\n Von des Todes Banden,\n Des freuet sich der Engel Schaar,\n Singend im Himmel immerdar,\n Hallelujah!\n\n 2.\n Der f\u00fcr uns sein Leben\n In Tod hat gegeben,\n Der ist nun unser Osterlamm,\n Des wir uns freuen allesammt;\n Hallelujah!\n\n 3.\n Der am Kreuz gehangen,\n Kein\u2019n Trost konnt\u2019 erlangen,\n Der lebet nun in Herrlichkeit,\n Uns zu vertreten stets bereit!\n Hallelujah!\n\n 4.\n Der, so ganz verschwiegen\n Zur H\u00f6lle gestiegen,\n Den wohlger\u00fcst\u2019ten Starken band:\n Der wird nur in der H\u00f6h\u2019 erkannt.\n Hallelujah!\n\n 5.\n Der da lag begraben,\n Der ist nun erhaben,\n Und sein Tun wird kr\u00e4ftig erweist,\n Und in der Christenheit gepreist.\n Hallelujah!\n\n 6.\n Er l\u00e4sst nun verk\u00fcnden\n Vergebung der S\u00fcnden,\n Und wie man die durch rechte Buss\u2019\n Nach seiner Ordnung suchen muss.\n Hallelujah!\n\n 7.\n O Christe, Osterlamm,\n Speis\u2019 uns heut\u2019 allesammt!\n Nimm weg all\u2019 unsre Missetat,\n Dass wir dir singen fr\u00fch und spat:\n Hallelujah!\n\nAn Easter song, based on I Cor. 5:7, 8 and Rev. 19:6:\n\n For even Christ our passover suffered for us: therefore let us keep\n the feast, not with old leaven, neither with the leaven of malice and\n wickedness; but with the unleavened bread of sincerity and truth.\n\n Alleluia! for the Lord God omnipotent reigneth.\n\nWeisse\u2019s poem is based on \u201cChrist is erstanden von der Martyr alle,\u201d the\noldest German Easter hymn, found in four versions as early as the 12th\ncentury.\n\nMichael Weisse, born at Neisse, Silesia, about 1480, became a priest,\nand for a time was a monk at Breslau. Influenced by the writings of\nLuther, he left the monastery to join the Bohemian Brethren, the\nfollowers of John Hus, and became their pastor at Landskron and Fulneck,\nMoravia. Weisse was a man of great influence among the Brethren and was\nappointed a member of their council. Of a deeply spiritual nature and\npossessing rare poetic gifts, he translated the old songs of the\nBohemian Brethren into German and composed many original poems. He\nedited the first Brethren hymnbook in German, _Ein Neu Gesengbuchlen_,\n1531, in which the present hymn first appeared. The book, proclaimed by\nLuther as \u201cthe work of a good poet,\u201d contains 155 hymns, all apparently\neither translations or originals by Weisse himself.\n\nOur translation is by Catherine Winkworth, with stanza 4 omitted.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ MACHE DICH, MEIN GEIST, BEREIT is an adaptation of a chorale\ntune, \u201cStraf mich nicht,\u201d published in _Kirch- und Hausbuch_, Dresden,\n1694. The composer is not known. Refrains are not commonly used with\nGerman chorales. The present setting of the tune and words, with a\nrefrain, was made by the editors especially for the _Hymnary_. It is\nsuitable for children\u2019s choirs as well as for congregational use.\n\n\n545. Lo, the day of days is here _Frederick L. Hosmer_, 1840-1929\n\nA joyous Easter song in which the springtime awakening in nature\nsymbolizes the newness of spiritual life.\n\nFor comments on Frederick L. Hosmer see Hymn 72.\n\n_MUSIC._ SALZBURG appeared in the 19th edition of Cr\u00fcger\u2019s _Praxis\nPietatis Melica_, 1678, a work which contained the main stream of\nLutheran hymnody in the middle of the 17th century. The tune was set to\nthe hymn, \u201cAlle Menschen m\u00fcssen sterben.\u201d\n\nThe composer, Jacob Hintze, 1622-1702, was born in Bernau, Brandenburg.\nHe became court musician to the Elector of Brandenburg, in Berlin, in\n1666, and in the year 1662 succeeded Cr\u00fcger, upon the latter\u2019s death, as\neditor of the _Praxis_. The present version, slightly altered from the\noriginal, is from J. S. Bach\u2019s _Choralges\u00e4nge_. The tune is also\nassociated with Stopford Brooke\u2019s hymn, \u201cLet the whole creation cry.\u201d\n(No. 49).\n\n\n WHITSUNTIDE\n\n\n546. O Holy Spirit, enter in _Michael Schirmer_, 1606-73\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n O heil\u2019ger Geist, kehr bei uns ein\n Und lass uns deine Wohnung sein,\n O komm, du Herzenssonne!\n Du Himmelslicht, lass deinen Schein\n Bei uns und in uns kr\u00e4ftig sein\n Zu steter Freud\u2019 und Wonne,\n Dass wir in dir\n Recht zu leben uns ergeben\n Und mit Beten\n Oft deshalben vor dich treten.\n\n 2.\n Gib Kraft und Nachdruck deinem Wort,\n Lass es wie Feuer immerfort\n In unsern Herzen brennen,\n Dass wir Gott Vater, seinen Sohn,\n Dich, beider Geist, in einem Thron\n F\u00fcr wahren Gott bekennen.\n Bleibe, treibe\n Und beh\u00fcte das Gem\u00fcte,\n Dass wir glauben\n Und im Glauben standhaft bleiben!\n\n 3.\n Du Quell, draus alle Weisheit fleusst,\n Die sich in fromme Seelen geusst,\n Lass deinen Trost uns h\u00f6ren,\n Dass wir in Glaubenseinigkeit\n Auch k\u00f6nnen alle Christenheit\n Dein wahres Zeugnis lehren!\n H\u00f6re, lehre,\n Herz und Sinnen zu gewinnen,\n Dich zu preisen,\n Gut\u2019s dem N\u00e4chsten zu erweisen!\n\n 4.\n Steh uns stets bei mit deinem Rat\n Und f\u00fchr uns selbst den rechten Pfad,\n Die wir den Weg nicht wissen!\n Gib uns Best\u00e4ndigkeit, dass wir\n Getreu dir bleiben f\u00fcr und f\u00fcr,\n Wenn wir nun leiden m\u00fcssen!\n Schaue, baue,\n Was zerrissen und geflissen,\n Dir zu trauen\n Und auf dich allein zu bauen!\n\n 5.\n Lass uns dein\u2019 edle Balsamkraft\n Empfinden und zur Ritterschaft\n Dadurch gest\u00e4rket werden,\n Auf dass wir unter deinem Schutz\n Begegnen aller Feinde Trutz,\n Solang wir sind auf Erden!\n Lass dich reichlich\n Auf uns nieder, dass wir wieder\n Trost empfinden,\n Alles Ungl\u00fcck \u00fcberwinden!\n\n 6.\n Du starker Fels und Lebenshort,\n Lass uns dein himmels\u00fcsses Wort\n In unsem Herzen brennen,\n Dass wir uns m\u00f6gen nimmermehr\n Von deiner weisheitreichen Lehr\u2019\n Und reinen Liebe trennen!\n Fliesse, giesse\n Deine G\u00fcte ins Gem\u00fcte,\n Dass wir k\u00f6nnen\n Christum unsern Heiland nennen!\n\n 7.\n Du s\u00fcsser Himmelstau, lass dich\n In unsre Herzen kr\u00e4ftiglich\n Und schenk uns deine Liebe,\n Dass unser Sinn verbunden sei\n Dem N\u00e4chsten stets mit Liebestreu\u2019\n Und sich darinnen \u00fcbe!\n Kein Neid, kein Streit\n Dich betr\u00fcbe, Fried\u2019 und Liebe\n M\u00fcssen schweben;\n Fried\u2019 und Freude wirst du geben!\n\n 8.\n Gib, dass in reiner Heiligkeit\n Wir f\u00fchren unsre Lebenszeit,\n Sei unsres Geistes St\u00e4rke,\n Dass uns forthin sei unbewusst\n Die Eitelkeit, des Fleisches Lust\n Und seine toten Werke!\n R\u00fchre, f\u00fchre\n Unser Sinnen und Beginnen\n Von der Erden,\n Dass wir Himmelserben werden!\n\nThis hymn for Whitsuntide, addressed to the Holy Spirit, went through\nvarious alterations in German hymnbooks until it finally appeared in 8\nstanzas, as here. It is a beautiful New Testament paraphrase of Isa.\n11:2:\n\n And the spirit of the Lord shall rest upon him, the spirit of wisdom\n and understanding, the spirit of counsel and might, the spirit of\n knowledge and of the fear of the Lord.\n\nMichael Schirmer, born in Leipzig, received his education at the\nUniversity of Leipzig, graduating with an M.A. degree in 1630. He was\nappointed assistant rector of the Greyfriars Gymnasium in Berlin, but on\naccount of ill health was compelled to resign. Besides the hardships of\nthe Thirty Years\u2019 War, Schirmer experienced added sorrows in the death\nof his wife and two children. At times deep melancholy fell upon him,\nlasting for years at a time. Schirmer was crowned court poet in 1637.\nHis published works include a metrical version of _Ecclesiasticus_,\n1655; a scriptural play, _Der verfolgte David_, 1660; and versions of\nthe Songs of the Old and New Testaments, _Biblische Lieder und\nLehrspr\u00fcche_, 1650. Five of his hymns came into wide use in Germany but\nonly this one passed into English.\n\nThe translation is by Catherine Winkworth in her _Chorale Book for\nEngland_, 1863. The present hymn is composed of stanzas 1, 4, 6, and 8.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ NICOLAI, better known as \u201cWie sch\u00f6n leuchtet der Morgenstern,\u201d\nhas long been known as the \u201cQueen of Chorales.\u201d (For the \u201cKing of\nChorales,\u201d see Hymn 522.) It is a magnificent tune. In Germany it was\nset on many city chimes.\n\nFor comments on the composer, Philipp Nicolai, see Hymn 522.\n\n\n547. O Spirit of Life, O Spirit of God _Johann Niedling_, 1651\n _Tr. John C. Mattes_, 1876-1948\n\n 1.\n O heiliger Geist, o heiliger Gott,\n Du Tr\u00f6ster wert in aller Not,\n Du bist gesandt vom Himmelsthron\n Von Gott dem Vater und dem Sohn,\n O heiliger Geist, o heiliger Gott.\n\n 2.\n O heiliger Geist, o heiliger Gott,\n Gib uns die Lieb zu deinem Wort,\n Z\u00fcnd an in uns der Liebe Flamm,\n Dass wir uns lieben allesamt,\n O heiliger Geist, o heiliger Gott.\n\n 3.\n O heiliger Geist, o heiliger Gott,\n Mehr unsern Glauben immerfort,\n An Christum niemand glauben kann,\n Es sei denn durch dein Hilf getan,\n O heiliger Geist, o heiliger Gott.\n\n 4.\n O heiliger Geist, o heiliger Gott,\n Erleucht uns durch dein g\u00f6ttlich Wort,\n Lehr uns den Vater kennen schon,\n Dazu auch seinen lieben Sohn,\n O heiliger Geist, o heiliger Gott.\n\n 5.\n O heiliger Geist, o heiliger Gott,\n Du zeigest uns die Himmelspfort,\n Lass uns hier k\u00e4mpfen ritterlich\n Und zu dir kommen seliglich,\n O heiliger Geist, o heiliger Gott.\n\n 6.\n O heiliger Geist, o heiliger Gott,\n Verlass uns nicht in Not und Tod;\n Wir sagen dir Lob, Ehr und Dank\n Jetzund und unser Leben lang,\n O heiliger Geist, o heiliger Gott.\n\nThe original hymn, in six stanzas, first appeared in Johann Niedling\u2019s\n_Lutherisches-Altenburgisches Handb\u00fcchlein_, Naumburg, 1651. Some of the\nhymns in this collection are original with Niedling, and bear his name.\nThis hymn, however, appears anonymously, leaving doubt as to its\nauthorship. The _Common Service Book_ of the United Lutheran Church\ncredits it to Niedling.\n\nThe English translation was made especially for the _United Lutheran\nHymnal_, in 1913, employing the first four stanzas of the original.\n\nThe translator, John Casper Mattes, was born in Easton, Pa. After\ngraduating from Lafayette College and Mt. Airy Theological Seminary, he\nserved as pastor of the Church of the Saviour, Trenton, N. J., 1901-15,\nand St. John Lutheran Church, Scranton, Pa., 1915-38. From 1939 until\nhis death in 1948 he was a teacher at the Wartburg Theological Seminary,\nDubuque, Iowa. Mattes was a frequent contributor to Lutheran\npublications and served on the United Lutheran Church Common Service\nBook Committee. He was a member of the Intersynodical Committee on\ntranslation of Luther\u2019s _Small Catechism_, and is translator of\nKoberle\u2019s _Rechtfertigung und Heiligung_.\n\n_MUSIC._ O HEILIGER GEIST, O HEILIGER GOTT, also called \u201cO Jesulein\nS\u00fcss,\u201d first appears in _Auserlesene Catholische Geistliche\nKirchenges\u00e4ng_, Cologne, 1623, set to the hymn, \u201cIst das der Leib, Herr\nJesu Christ.\u201d In _Christliche Seelenharfe_, Halle, 1650, it is set to\n\u201cKomm heiliger Geist, mit deinen Genad\u201d while in S. Scheldt\u2019s _Tabulatur\nBuch_, G\u00f6rlitz, 1650, it is used with the hymn, \u201cO Jesulein s\u00fcss, O\nJesulein mild.\u201d The melody appears in many later collections, both\nCatholic and Protestant. Its present form, a variant of Scheldt\u2019s,\nappeared in the _Neu Leipziger Gesangbuch_, Leipzig, 1682, set to the\nhymn, \u201cO heiliger Geist, O heiliger Gott.\u201d It is an attractive tune in\ntriple time, of the type associated with early German carols.\n\nSamuel Scheidt, 1587-1654, the composer, was born at Halle, the son of\nConrad Scheidt, overseer of the salt works. He had for his teacher the\nfamous Peter Sweelinck of Amsterdam, and became a noted organist and\ncomposer. His _Tabulatura Nova_, 1624, set a new standard in organ\nplaying, by showing how to make it less ostentatious and more meaningful\nand coherent. His great work, _Tablaturbuch_, is a series of harmonized\nchorales, published in three parts, 1624-53.\n\n\n548. Come, O come, Thou quickening Spirit _Heinrich Held_, _c._\n 1620-59\n _Tr. Charles W. Schaeffer_, 1813-96\n\n 1.\n Komm, o komm, du Geist des Lebens,\n Wahrer Gott von Ewigkeit!\n Deine Kraft sei nicht vergebens,\n Sie erf\u00fcll\u2019 uns jederzeit;\n So wird Geist und Licht und Schein\n In dem dunkeln Herzen sein.\n\n 2.\n Gib in unser Herz und Sinnen\n Weisheit, Rat, Verstand und Zucht,\n Dass wir anders nichts beginnen,\n Denn was nur dein Wille sucht!\n Dein\u2019 Erkenntnis werde gross\n Und mach uns von Irrtum los!\n\n 3.\n Zeige, Herr, die Wohlfahrtsstege!\n Das, was wider dich getan,\n R\u00e4ume ferner aus dem Wege;\n Schlecht und recht sei um und an!\n Wirke Reu\u2019 an S\u00fcnden Statt,\n Wenn der Fuss gestrauchelt hat!\n\n 4.\n Lass uns stets dein Zeugnis f\u00fchlen,\n Dass wir Gottes Kinder sind,\n Die auf ihn alleine zielen,\n Wenn sich Not und Drangsal find\u2019t;\n Denn des Vaters liebe Rut\u2019\n Ist uns allewege gut.\n\n 5.\n Reiz uns, dass wir zu ihm treten\n Frei mit aller Freudigkeit;\n Seufz auch in uns, wenn wir beten,\n Und vertritt uns allezeit!\n So wird unsre Bitt\u2019 erh\u00f6rt\n Und die Zuversicht gemehrt.\n\n 6.\n Wird auch uns nach Troste bange,\n Dass das Herz oft rufen muss:\n Ach, mein Gott, mein Gott, wie lange?\n Ei, so mache den Beschluss;\n Sprich der Seele tr\u00f6stlich zu\n Und gib Mut, Geduld und Ruh\u2019!\n\n 7.\n O du Geist der Kraft und St\u00e4rke,\n Du gewisser, neuer Geist,\n F\u00f6rdre in uns deine Werke,\n Wenn der Satan Macht beweist;\n Schenk uns Waffen in dem Krieg\n Und erhalt in uns den Sieg!\n\n 8.\n Herr, bewahr auch unsern Glauben,\n Dass kein Teufel, Tod noch Spott\n Uns denselben m\u00f6ge rauben!\n Du bist unser Schutz und Gott.\n Sagt das Fleisch gleich immer nein,\n Lass dein Wort gewisser sein.\n\n 9.\n Wenn wir endlich sollen sterben,\n So versichre uns je mehr,\n Als des Himmelreiches Erben,\n Jener Herrlichkeit und Ehr\u2019,\n Die uns unser Gott erkiest\n Und nicht auszusprechen ist.\n\nA fine hymn of invocation to the Holy Spirit, written for Whitsuntide,\nin 9 stanzas.\n\nThe author, Heinrich Held, a lawyer by profession, was born in Guhrau,\nSilesia. After receiving his education at the Universities of\nK\u00f6nigsberg, Frankfurt a. Oder, and Leyden, he practiced law in his home\ntown of Guhrau where he lived all his life. He became one of the best\nSilesian poets and hymn writers, probably because he was taught in the\nschool of affliction and suffering, brought about by the Thirty Years\u2019\nWar.\n\nThe translation is by Charles W. Schaeffer, a native of Hagerstown,\nMaryland. After graduating from the University of Pennsylvania and the\nTheological Seminary at Gettysburg, he held several pastorates and then\nbecame a teacher in the Lutheran Theological Seminary in Philadelphia.\nOur hymn is a selection of stanzas 1, 2, 7, and 8.\n\n_MUSIC._ EISENACH, also known as \u201cSt. Leonard,\u201d and \u201cKomm, O komm, du\nGeist des Lebens,\u201d is an attractive melody, composed by Johann Christoph\nBach, 1642-1703, an excellent musician, and a first cousin of the father\nof the eminent Johann Sebastian Bach. He was organist at Eisenach where\nhe spent most of his life. The name of the tune is derived from Bach\u2019s\ntown. Much of the music he composed is extant, mostly in manuscript, but\nsome keyboard and choral music is in print. His motet, _I wrestle and\npray_, was published by Novello.\n\n\n THE CHURCH\n\n\n549. A Mighty Fortress is our God _Martin Luther_, 1483-1546\n _Tr. Frederick H. Hedge_, 1805-90\n\n 1.\n Ein\u2019 feste Burg ist unser Gott,\n Ein\u2019 gute Wehr und Waffen;\n Er hilft uns frei aus aller Not,\n Die uns jetzt hat betroffen.\n Der alt\u2019 b\u00f6se Feind,\n Mit Ernst er\u2019s jetzt meint,\n Gross\u2019 Macht und viel List\n Sein\u2019 grausam\u2019 R\u00fcstung ist,\n Auf Erd\u2019 ist nicht seinsgleichen.\n\n 2.\n Mit unsrer Macht ist nichts getan,\n Wir sind gar bald verloren;\n Es streit\u2019t f\u00fcr uns der rechte Mann,\n Den Gott hat selbst erkoren.\n Fragst du, wer der ist?\n Er heisst Jesus Christ,\n Der Herr Zebaoth,\n Und ist kein andrer Gott,\n Das Feld muss er behalten.\n\n 3.\n Und wenn die Welt voll Teufel w\u00e4r\u2019\n Und wollt\u2019 uns gar verschlingen,\n So f\u00fcrchten wir uns nicht so sehr,\n Es soll uns doch gelingen.\n Der F\u00fcrst dieser Welt,\n Wie sau\u2019r er sich stellt,\n Tut er uns doch nicht,\n Das macht, er ist gericht\u2019t,\n Ein\u2019 W\u00f6rtlein kann ihn f\u00e4llen.\n\n 4.\n Das Wort sie sollen lassen stahn\n Und kein\u2019n Dank dazu haben;\n Er ist bei uns wohl auf dem Plan\n Mit seinem Geist und Gaben.\n Nehmen sie den Leib,\n Gut, Ehr\u2019, Kind und Weib:\n Lass fahren dahin,\n Sie haben\u2019s kein\u2019n Gewinn,\n Das Reich muss uns doch bleiben.\n\nBased on Psalm 46:\n\n God is our refuge and strength,\n A very present help in trouble.\n Therefore will we not fear, though the earth do change,\n And though the mountains be shaken into the heart of the seas;\n Though the waters thereof roar and be troubled,\n Though the mountains tremble with the swelling thereof.\n The Lord of hosts is with us.\n The God of Jacob is our refuge.\n\nJames Moffatt names this the \u201cgreatest hymn of the greatest man in the\ngreatest period of German history.\u201d More than any other, this hymn has\ntranscended all national boundaries and denominational lines, and has\nbecome a truly ecumenical church song. It has been translated into\nnearly two hundred languages. \u201cEin feste Burg\u201d was sung over Luther\u2019s\ngrave at Wittenberg in the Schloss-Kirche, on the door of which some 30\nyears before, he had nailed his 95 theses against Roman Indulgences. The\nhymn has been used at many historic occasions and conventions. In 1925,\nat the meeting of Christians from all parts of the world in Stockholm,\nthe opening hymn was \u201cEin\u2019 feste Burg ist unser Gott.\u201d Each delegate\nsang in his own tongue, but it was the same tune, the same hymn and the\nsame spirit; and the great conference, assembled to consider the life\nand mission of the church, adopted the hymn as an ecumenical symbol. It\nwas adopted as the Conference hymn for the fourth Mennonite World\nConference held at Goshen, Ind., and North Newton, Kan., August 3-10,\n1948.\n\nThe hymn arose out of the writer\u2019s conflict with the evil forces of the\nworld and the corrupt hierarchy of a corrupt church. When Luther was\nsummoned to the Diet of Worms, he was warned by his friends not to go.\nHe ignored their advice, and, standing before that assemblage of\nemperors and principalities and powers, he spoke these memorable words:\n\n It is neither safe nor prudent to do aught against conscience. Till\n such time as either by proof from holy Scripture or by fair reason or\n argument I have been confuted and convicted, I cannot and will not\n recant. Here I stand. I cannot do otherwise. God be my help. Amen.\n\nIt is against this background of opposition and trouble that the great\nhymn was penned.\n\nThere are more than sixty versions of the hymn in the English language.\nThe translation used here is by Frederick H. Hedge, then Professor of\nEcclesiastical History, and later of German Literature, at Harvard. It\nis the commonly accepted version in America. In England, the translation\nby Thomas Carlysle is the most widely used.\n\nFor ordinary occasions the use of the first two stanzas is sufficient.\n\n_MUSIC._ EIN\u2019 FESTE BURG IST UNSER GOTT, also by Luther, is one of the\ngreat chorales destined to be sung to the end of time. It is perfectly\nadapted to the words and especially effective with large congregations.\nThe musical merits of the tune have been recognized by the great\nmasters. Mendelssohn used the tune in the last movement of his\n_Reformation Symphony_ and Bach used it in several of his cantatas.\n\nAlbert Schweitzer writes of this melody:\n\n \u201cEin feste Burg\u201d is woven out of Gregorian reminiscences. The\n recognition of this fact deprives the melody of none of its beauty and\n Luther of none of the credit for it. It really takes considerable\n talent to create an organic unity out of fragments.\n\n\n550. The work is Thine, O Christ our Lord _Stanzas 1 and 2, S.\n Preiswerk_, 1799-1871\n _Stanza 3, F. Zaremba_, 1794-1874\n _Tr. Julius Henry Horstmann_\n\n 1.\n Die Sach\u2019 ist dein, Herr Jesu Christ,\n Die Sach\u2019 an der wir steh\u2019n,\n Und weil es deine Sache ist,\n Kann sie nicht untergeh\u2019n.\n Allein das Weizenkorn, bevor\n Es fruchtbar sprosst zum Licht empor,\n Muss sterben in der Erde Schoss\n Zuvor vom eig\u2019nen Wesen los.\n Durch Sterben los,\n Vom eig\u2019nen Wesen los.\n\n 2.\n Du gingst, O Jesu, unser Haupt,\n Durch Leiden himmelan,\n Und f\u00fchrest Jeden, der da glaubt,\n Mit dir die gleiche Bahn.\n Wohlan, so nimm uns allzugleich\n Zum Teil am Leiden und am Reich;\n F\u00fchr uns durch deines Todes Tor\n Samt deiner Sach\u2019 zum Licht empor,\n Zum Licht empor,\n Durch Nacht zum Licht empor!\n\n 3.\n Du starbest selbst als Weizenkorn\n Und sankest in das Grab;\n Belebe denn, o Lebensborn,\n Die Welt, die Gott dir gab.\n Send Boten aus in jedes Land,\n Dass bald dein Name werd\u2019 bekannt,\n Dein Name voller Seligkeit;\n Auch wir steh\u2019n dir zum Dienst bereit\n In Kampf und Streit,\n Zum Dienst in Kampf und Streit.\n\nA missionary hymn written at the request of students at the Basel\nMission House, Basel, Switzerland. The students wanted a good missionary\npoem to use with the present tune, then erroneously ascribed to J.\nMichael Haydn. Preiswerk supplied the first two stanzas. They were first\nsung June 17, 1829, at an anniversary festival. The third stanza was\nadded by Count Felician von Zaremba, since it was felt that the first\ntwo did not have enough emphasis on foreign missions.\n\nThe hymn was sung at the laying of the cornerstone of Bethel College and\nagain at the sixtieth anniversary of that event, celebrated October 12,\n1948.\n\nSamuel Preiswerk was born in R\u00fcmlingen, Switzerland, the son of the\npastor of the Reformed Church at that place. He was educated at the\nUniversities of Basel, T\u00fcbingen, and Erlangen. After serving in a curacy\nat Benken and on the staff of the Basel Orphanage, he taught Hebrew at\nthe Basel Mission House, later accepting a pastorate at Muttenz, and a\nprofessorship at the Ecole de Th\u00e9ologie in Geneva. In 1840 he was called\nto the St. Leonhardt Church in Basel, where he became the main pastor in\n1843. Finally he was made Antistes or Superintendent of the Reformed\nChurches in the Basel Area. Preiswerk was one of the editors of the\n_Baseler Gesangbuch_ of 1854 and was otherwise active as a hymnologist.\n\nFelician von Zaremba, author of the third stanza, was born at Zaroy,\nPoland, and died in Basel. A descendant of an old Polish noble family,\nhe received a good education at the University of Dorpat, excelling in\nlanguages. Although he prepared himself for the diplomatic service to\nRussia, he became greatly interested in the missionary work centering in\nBasel, and eventually entered the work carried on among the Mohammedans\nand Nestorians in South Russia and the Caucasus regions. For many years\nhe was an itinerant preacher in Germany and Switzerland.\n\nThe translator, Julius Henry Horstmann, was born at Naperville, Ill.,\nand is living in retirement at Maplewood, Mo. He was educated at\nNorthwestern College, Elmhurst College and Eden Theological Seminary. He\nserved churches in Indiana and Texas and from 1906 to 1936 was editor of\nthe _Evangelical Herald_.\n\n_MUSIC._ DIE SACH\u2019 IST DEIN, a popular, effective melody, is of\nuncertain origin. It was formerly attributed, without evidence, to\nHaydn.\n\n\n551. Spread, still spread, thou mighty word _J. F. Bahnmaier_,\n 1774-1841\n _Tr. Percy Dearmer_, 1867-1936\n\n 1.\n Walte, walte nah und fern,\n Allgewaltig Wort des Herrn,\n Wo nur seiner Allmacht Ruf\n Menschen f\u00fcr den Himmel schuf;\n\n 2.\n Wort vom Vater, der die Welt\n Schuf und in den Armen h\u00e4lt\n Und aus seinem Schoss herab\n Seinen Sohn zum Heil ihr gab;\n\n 3.\n Wort von des Erl\u00f6sers Huld,\n Der der Erde schwere Schuld\n Durch des heil\u2019gen Todes Tat\n Ewig weggenommen hat;\n\n 4.\n Kr\u00e4ftig Wort von Gottes Geist,\n Der den Weg zum Himmel weist\n Und durch seine heil\u2019ge Kraft\n Wollen und Vollbringen schafft.\n\n 5.\n Auf zur Ernt\u2019 in alle Welt!\n Weithin wogt das weisse Feld;\n Klein ist noch der Schnitter Zahl,\n Viel der Garben \u00fcberall.\n\n 6.\n Herr der Ernte, gross und gut,\n Wirk zum Werke Lust und Mut;\n Lass die V\u00f6lker allzumal\n Schauen deines Lichtes Strahl!\n\nOne of the best and most useful hymns for Foreign Missions. It has been\nrendered into English by such eminent translators as Frances Cox, H. J.\nBuckoll, and Catherine Winkworth. But in order to make a freer and more\nmodern use of the original, Percy Dearmer made this new translation for\n_Songs of Praise_, London, 1931, of which he was the editor.\n\nFor comments on J. F. Bahnmaier see Hymn 329.\n\nPercy Dearmer was born in London and educated at Oxford. After serving\nas vicar in the church of St. Mary the Virgin, Primrose Hill, he became\nProfessor of Ecclesiastical Art at King\u2019s College, London. He was an\nauthority on hymnology and liturgies, and wrote extensively on these\nsubjects. His works include _The New Reformation_, _A Short Handbook of\nPublic Worship_, _The Story of the Prayer Book_, and _Songs of Praise\nDiscussed_.\n\n_MUSIC._ GOTT SEI DANK appeared in Freylinghausen\u2019s _Geistreiches\nGesangbuch_, Halle, 1704, where it is set to the hymn, \u201cGott sei Dank in\naller Welt.\u201d It is also called \u201cL\u00fcbeck,\u201d \u201cBerlin,\u201d and \u201cCarinthia.\u201d The\ncomposer is unknown.\n\n\n THE LORD\u2019S SUPPER\n\n\n552. Deck thyself, my soul, with gladness _Johann Franck_, 1618-77\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Schm\u00fccke dich, o liebe Seele,\n Lass die dunkle S\u00fcndenh\u00f6hle,\n Komm ans helle Licht gegangen,\n Fange herrlich an zu prangen!\n Denn der Herr, voll Heil und Gnaden,\n Will dich jetzt zu Gaste laden;\n Der den Himmel kann verwalten,\n Will jetzt Herberg\u2019 in dir halten.\n\n 2.\n Eile, wie Verlobte pflegen.\n Deinem Br\u00e4utigam entgegen,\n Der da mit dem Gnadenhammer\n Klopft an deine Herzenskammer!\n Oeffn\u2019 ihm bald des Geistes Pforten,\n Red ihn an mit sch\u00f6nen Worten:\n Komm, mein Liebster, lass dich k\u00fcssen,\n Lass mich deiner nicht mehr missen!\n\n 3.\n Zwar in Kaufung teurer Waren\n Pflegt man sonst kein Geld zu sparen;\n Aber du willst f\u00fcr die Gaben\n Deiner Huld kein Geld nicht haben,\n Weil in allen Bergwerksgr\u00fcnden\n Kein solch Kleinod ist zu finden,\n Das die blutgef\u00fcllten Schalen\n Und dies Manna kann bezahlen.\n\n 4.\n Ach, wie hungert mein Gem\u00fcte,\n Menschenfreund, nach deiner G\u00fcte!\n Ach, wie pfleg\u2019 ich oft mit Tr\u00e4nen\n Mich nach dieser Kost zu sehnen!\n Ach, wie pfleget mich zu d\u00fcrsten\n Nach dem Trank des Lebensf\u00fcrsten!\n W\u00fcnsche stets, dass mein Gebeine\n Sich durch Gott mit Gott vereine.\n\n 5.\n Beides Lachen und auch Zittern\n L\u00e4sset sich in mir jetzt wittern;\n Das Geheimnis dieser Speise\n Und die unerforschte Weise\n Machen dass ich fr\u00fch vermerke,\n Herr, die Gr\u00f6sse deiner Werke.\n Ist auch wohl ein Mensch zu finden,\n Der dein\u2019 Allmacht sollt\u2019 ergr\u00fcnden?\n\n 6.\n Nein, Vernunft, die muss hier weichen,\n Kann dies Wunder nicht erreichen,\n Dass dies Brot nie wird verzehret,\n Ob es gleich viel Tausend\u2019 n\u00e4hret,\n Und dass mit dem Saft der Reben\n Uns wird Christi Blut gegeben.\n O der grossen Heimlichkeiten,\n Die nur Gottes Geist kann deuten!\n\n 7.\n Jesu, meines Lebens Sonne,\n Jesu, meine Freud\u2019 und Wonne,\n Jesu, du mein ganz Beginnen,\n Lebensquell und Licht der Sinnen,\n Hier fall\u2019 ich zu deinen F\u00fcssen;\n Lass mich w\u00fcrdiglich geniessen\n Dieser deiner Himmelsspeise\n Mir zum Heil und dir zum Preise!\n\n 8.\n Herr, es hat dein treues Lieben\n Dich vom Himmel hergetrieben,\n Dass du willig hast dein Leben\n In den Tod f\u00fcr uns gegeben\n Und dazu ganz unverdrossen,\n Herr, dein Blut f\u00fcr uns vergossen,\n Das uns jetzt kann kr\u00e4ftig tr\u00e4nken,\n Deiner Liebe zu gedenken.\n\n 9.\n Jesu, wahres Brot des Lebens,\n Hilf, dass ich doch nicht vergeben\n Oder mir vielleicht zum Schaden\n Sei zu deinem Tisch geladen!\n Lass mich durch dies Seelenessen\n Deine Liebe recht ermessen,\n Dass ich auch, wie jetzt auf Erden,\n M\u00f6g\u2019 dein Gast im Himmel werden.\n\nThe finest of all German communion hymns. It expresses the reverent joy\nthat should accompany the sacrament of the Lord\u2019s Supper. The hymn is\nsung, invariably, in many German churches on communion occasions.\n\nJohann Franck was born at Guben, Brandenburg, the son of a lawyer, and\nwas himself educated for the law. At the University of K\u00f6nigsberg he was\ngreatly influenced by Simon Dach, Professor of Poetry, and, in spite of\nhis law practice and the holding of public offices, he became an\nimportant poet and hymn writer of his time, second only to Paul\nGerhardt. The dominant theme of his hymns is the mystical union of the\nsoul with the Savior. Franck\u2019s hymns had appeared in the works of his\nfriends Weichman and Cr\u00fcger, and later were published, 110 in all, at\nGuben, in 1674, in a volume entitled _Geistliches Sion_.\n\nThe hymn is a selection of stanzas 1, 2, 7, and 9 of the original.\n\nFor comments on the translator, Catherine Winkworth, see Hymn 236.\n\n_MUSIC._ SCHM\u00dcCKE DICH is a beautifully expressive tune by Johann\nCr\u00fcger, 1598-1662, first published in the composer\u2019s _Praxis Pietatis\nMelica_, 1644. J. S. Bach used the tune for an organ setting which\nconstitutes one of the most beautiful of Bach organ chorales. Upon\nhearing it played by Mendelssohn, Robert Schumann wrote concerning the\nchorale:\n\n Round the _cantus firmus_ hung golden garlands of leaves, and such\n blissfulness was breathed from within it, that you yourself avowed\n that if life was bereft of all hope and faith, this one chorale could\n renew them for you. I was silent and went away dazed into God\u2019s acre,\n feeling acutely pained that I could lay no flower on his urn.\n\nFor comments on Johann Cr\u00fcger see Hymn 242.\n\n\n MORNING\n\n\n553. Light of Light enlighten me _Benjamin Schmolck_, 1672-1737\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Licht vom Licht! erleuchte mich\n Bei dem neuen Tageslichte!\n Gnadensonn\u2019, enth\u00fclle dich\n Segnend meinem Angesichte;\n Lass durch deinen hellen Schein\n Meinen Sabbath heilig sein!\n\n 2.\n Brunnquell aller Sussigkeit,\n Lass mir deine Str\u00f6me fliessen!\n Mache Mund und Herz bereit,\n Dich in Andacht recht zu gr\u00fcssen.\n Streu\u2019 das Wort mit Segen ein,\n Lass es hundertf\u00e4ltig sein.\n\n 3.\n Z\u00fcnde selbst das Opfer an,\n Das auf meinen Lippen lieget.\n Sei mir Weisheit, Licht und Bahn,\n Dass kein Irrtum mich betr\u00fcget,\n Und kein fremdes Feuer brennt,\n Welches dein\u2019 Altar nicht kennt.\n\n 4.\n Lass mich heut\u2019 und allezeit:\n Heilig, heilig, heilig! singen\n Und mich in die Ewigkeit\n Mit des Geistes Fl\u00fcgeln schwingen.\n Gib mir einen Vorschmack ein,\n Wie es mag im Himmel sein.\n\n 5.\n Ruh\u2019 in mir und ich in dir!\n Bau\u2019 ein Paradies im Herzen.\n Offenbare dich doch mir,\n Schenke meiner Andacht Kerzen\n Oel des Lebens immerzu,\n O du Liebesflamme du!\n\n 6.\n Dieser Tag sei dir geweiht,\n Weg mit allen Eitelkeiten!\n Ich will deiner Herrlichkeit\n Einen Tempel zubereiten,\n Nichts sonst wollen, nichts sonst tun,\n Als in deiner Liebe ruh\u2019n.\n\n 7.\n Du bist mehr als Salomon,\n Lass mich deine Weisheit h\u00f6ren!\n Ich will deinen Gnadenthron\n Mit gebeugten Knieen ehren,\n Bis mir deine Sonne lacht,\n Und den sch\u00f6nsten Sonntag macht.\n\nA hymn for the Sabbath morning, reflecting the light, joy, and peace\nthat the day of rest brings to the worshipper. It is one of the finest\nchorales in our collection.\n\nFor comments on Benjamin Schmolck see Hymn 505.\n\nThe translation is from _Lyra Germanica_, published by Catherine\nWinkworth, 1855. Our hymn is a selection of stanzas 1, 2, 4, and 3, in\nthat order, of the original seven stanzas.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ LIEBSTER JESU appeared in the _Alterdorfer Gesangbuch_, 1671,\nset to the words, \u201cLiebster Jesus, wir sind hier,\u201d by Tobias\nClausnitzer. J. S. Bach made a setting for the tune, used in some hymn\nbooks, and also arranged it as a chorale prelude for the organ.\n\nThe composer of the tune, Johann Rudolph Ahle, 1625-73, received his\neducation at the Universities of G\u00f6ttingen and Erfurt. He was elected\nCantor of St. Andreas\u2019 Church, and director of the music school, at\nErfurt. Interested also in civic affairs, he was elected to the town\ncouncil at M\u00fchlhausen in 1656, and made mayor in 1661. He became one of\nthe most radical reformers of church music, cultivating the simple\nchorale style and avoiding the polyphonic counterpoint then in use. Ahle\nwrote over 400 songs, many of which are still in use among the\nProtestant churches of England and America.\n\n\n553a. Liebster Jesu, wir sind hier _Tobias Clausnitzer_, 1619-84\n\n 1.\n Liebster Jesu, wir sind hier,\n Dich und dein Wort anzuh\u00f6ren;\n Lenke Sinnen und Begier\n Auf die s\u00fcssen Himmelslehren,\n Dass die Herzen von der Erden\n Ganz zu dir gezogen werden!\n\n 2.\n Unser Wissen und Verstand\n Ist mit Finsternis umh\u00fcllet,\n Wo nicht deines Geistes Hand\n Uns mit hellem Licht erf\u00fcllet;\n Gutes wollen, tun und denken,\n Muss uns deine Gnade schenken.\n\n 3.\n O du Glanz der Herrlichkeit\u2014\n Licht vom Licht, aus Gott geboren,\n Mach uns allesamt bereit,\n Oeffne Herzen, Mund und Ohren!\n Unser Bitten, Fleh\u2019n und Singen\n Lass, Herr Jesu, wohl gelingen!\n\nBased on Acts 10:33: \u201cNow therefore are we all here present before God,\nto hear all things that are commanded thee of God.\u201d The third stanza is\nreminiscent of a phrase in the Nicene creed: \u201cGod of God, Light of\nLight, begotten, not made.\u201d The hymn, written to be sung by the\ncongregation just before the reading of the Scripture lesson, has had\nwide use among German speaking churches.\n\nTobias Clausnitzer was born at Thum, Saxony. He graduated from the\nUniversity of Leipzig in 1643 and became a chaplain in the Swedish army,\nfor a time, during the Thirty Years\u2019 War. In 1649 he became minister at\nWeiden where he remained until his death.\n\n_MUSIC._ See 553 above.\n\n\n554. Come, Thou bright and morning Star _Christian Knorr, Baron von\n Rosenroth_, 1636-89\n _Tr. Richard Massie_, 1800-87\n\n 1.\n Morgenglanz der Ewigkeit,\n Licht vom unersch\u00f6pften Lichte,\n Schick uns diese Morgenzeit\n Deine Strahlen zu Gesichte\n Und vertreib durch deine Macht\n Unsre Nacht!\n\n 2.\n Deiner G\u00fcte Morgentau\n Fall\u2019 auf unser matt Gewissen,\n Lass die d\u00fcrre Lebensau\n Lauter s\u00fcssen Trost geniessen\n Und erquick uns, deine Schar,\n Immerdar!\n\n 3.\n Gib, dass deiner Liebe Glut\n Unsre kalten Werke t\u00f6te,\n Und erweck uns Herz und Mut\n Bei entstandner Morgenr\u00f6te,\n Dass wir, eh\u2019 wir gar vergehn,\n Recht aufstehn!\n\n 4.\n Ach du Aufgang aus der H\u00f6h\u2019,\n Gib dass auch am J\u00fcngsten Tage\n Unser Leichnam aufersteh\u2019\n Und, entfernt von aller Plage,\n Sich auf jener Freudenbahn\n Freuen kann!\n\n 5.\n Leucht uns selbst in jene Welt,\n Du verkl\u00e4rte Gnadensonne,\n F\u00fchr uns durch das Tr\u00e4nenfeld\n In das Land der ew\u2019gen Wonne,\n Wo die Lust, die uns erh\u00f6ht,\n Nie vergeht!\n\nOne of the best and most spirited of morning hymns, \u201cas if born from the\ndew of the sunrise.\u201d\n\nThe author, Christian Knorr, Baron von Rosenroth, was the son of a\nSilesian pastor. After years of study and travel, he also settled down\nto a pastorate in Silesia. He was well versed in philosophy and\nchemistry, as well as theology, and his memory was so remarkable that he\nknew nearly the whole Bible by heart. He took special interest in the\nstudy of the Jewish Kabbala, the so-called secret wisdom of the rabbis,\nand his writings on this literature made him world famous. Knorr wrote\nseventy hymns, the present being the only one now in general use among\nEnglish speaking people.\n\nThe translator, Richard Massie, was the son of the Rev. R. Massie, a\nminister in the Anglican church. A man of wealth and leisure, he was\nable to devote himself to literature and gardening. His rock garden, a\nrare thing in those days, attracted wide attention. Massie and his\nmother and sisters are remembered for their quiet spirituality and\nsaintliness.\n\n_MUSIC._ MORGENGLANZ DER EWIGKEIT is an adaptation of an air by Johann\nRudolph Ahle. The tune appeared in Freylinghausen\u2019s _Gesangbuch_, Halle,\n1704, set to this hymn. Its beauty of melody and rhythm is\nextraordinary. For comments on the composer see Hymn 553.\n\n\n555. Evening and morning, sunset and dawning _Paul Gerhardt_, 1607-70\n _Tr. Richard Massie_, 1800-87\n\n 1.\n Die g\u00fcldne Sonne,\n Voll Freud\u2019 und Wonne,\n Bringt unsern Grenzen\n Mit ihrem Gl\u00e4nzen\n Ein herzerquickendes, liebliches Licht.\n Mein Haupt und Glieder,\n Die lagen danieder;\n Aber nun steh\u2019 ich,\n Bin munter und fr\u00f6hlich,\n Schaue den Himmel mit meinem Gesicht.\n\n 2.\n Mein Auge schauet,\n Was Gott gebauet\n Zu seinen Ehren,\n Und uns zu lehren,\n Wie sein Verm\u00f6gen sei m\u00e4chtig und gross,\n Und wo die Frommen\n Einst sollen hinkommen,\n Wann sie mit Frieden\n Von hinnen geschieden\n Aus dieser Erde verg\u00e4nglichem Schoss.\n\n 3.\n Lasset uns singen,\n Dem Sch\u00f6pfer bringen\n G\u00fcter und Gaben!\n Was wir nur haben,\n Alles das sei Gott zum Opfer gesetzt.\n Die besten G\u00fcter\n Sind unsre Gem\u00fcter;\n Lieder der Frommen,\n Von Herzen gekommen,\n Sind Opferrauch, der ihn am meisten erg\u00f6tzt.\n\n 4.\n Abend und Morgen\n Sind seine Sorgen;\n Segnen und mehren,\n Ungl\u00fcck verwehren\n Sind seine Werke und Taten allein.\n Wann wir uns legen,\n Ist er zugegen;\n Wann wir aufstehen,\n So l\u00e4sst er aufgehen\n Ueber uns seiner Barmherzigkeit Schein.\n\n 5.\n Ich hab\u2019 erhoben\n Zu dir hoch droben\n All\u2019 meine Sinnen:\n Lass mein Beginnen\n Ohn\u2019 allen Anstoss und gl\u00fccklich ergehn!\n Laster und Schande,\n Lucifers Bande\n Fallen und T\u00fccke\n Treib\u2019 ferne zur\u00fccke;\n Lass mich auf deinen Geboten bestehn!\n\n 6.\n Lass mich mit Freuden,\n Ohn\u2019 alles Neiden\n Sehen den Segen,\n Den du wirst legen\n In meines Bruders und N\u00e4hesten Haus!\n Geiziges Brennen,\n Unchristlich Rennen\n Nach Gut mit S\u00fcnde\n Das tilge geschwinde\n Aus meinem Herzen, und wirf es hinaus!\n\n 7.\n Menschliches Wesen,\n Was ist\u2019s gewesen!\n In einer Stunde\n Geht es zu Grunde,\n Sobald das L\u00fcftlein des Todes drein weht;\n Alles in Allem\n Muss brechen und fallen;\n Himmel und Erden,\n Die m\u00fcssen das werden,\n Was sie gewesen, eh\u2019 Gott sie erh\u00f6ht.\n\n 8.\n Alles vergehet;\n Gott aber stehet\n Ohn\u2019 alles Wanken;\n Seine Gedanken,\n Sein Wort und Wille hat ewigen Grund.\n Sein Heil und Gnaden,\n Die nehmen nicht Schaden,\n Heilen im Herzen\n Die t\u00f6dtlichen Schmerzen,\n Halten uns zeitlich und ewig gesund.\n\n 9.\n Gott, meine Krone,\n Vergib und schone!\n Lass meine Schulden\n In Gnad\u2019 und Hulden\n Aus deinen Augen sein abgewandt.\n Sonsten regiere\n Mich, lenk\u2019 und f\u00fchre\n Wie dir\u2019s gef\u00e4llet!\n Ich habe gestellet\n Alles in deine Beliebung und Hand!\n\n 10.\n Willst du mir geben,\n Womit mein Leben\n Ich kann ern\u00e4hren,\n So lass mich h\u00f6ren\n Allzeit im Herzen dies heilige Wort:\n \u201cGott ist das Gr\u00f6sste,\n Das Sch\u00f6nste, Beste!\n Gott is das S\u00fcss\u2019ste,\n Das Allergewiss\u2019ste\n Von allen Sch\u00e4tzen, der edelste Hort!\u201d\n\n 11.\n Willst du mich kr\u00e4nken,\n Mit Galle tr\u00e4nken,\n Und soll von Plagen\n Ich auch was tragen:\n Wohlan denn, so mach\u2019 es, wie dir es beliebt!\n Was gut und t\u00fcchtig,\n Was sch\u00e4dlich und nichtig\n Meinem Gebeine,\n Das weisst Du alleine,\n Hast niemals einen zu bitter betr\u00fcbt.\n\n 12.\n Tr\u00fcbsal und Z\u00e4hren\n Nicht ewig w\u00e4hren;\n Nach Meeresbrausen\n Und Windessausen\n Leuchtet der Sonne verkl\u00e4rtes Gesicht.\n Freude die F\u00fclle,\n Und selige Stille\n Hab\u2019 ich zu warten\n Im himmlischen Garten;\n Dahin sind meine Gedanken gericht\u2019t!\n\n\u201cA splendid hymn of our poet, golden as the sun going forth in his\nbeauty, full of force and of blessed peace in the Lord, full of\nsparkling thoughts of God.\u201d (Lauxmann). Our hymn is a selection of\nstanzas 4, 8, and 12 of the original twelve.\n\nFor comments on Paul Gerhardt see Hymn 134.\n\nThis excellent translation by Richard Massie has come into general use.\n\nFor comments on Massie see Hymn 554.\n\n_MUSIC._ DIE G\u00dcLDNE SONNE, also called \u201cFranconia,\u201d is a beautiful\nmelody by Johann G. Ebeling, 1620-76. A number of his chorales are still\nin high favor. The name of the tune is derived from the title of\nGerhardt\u2019s hymn for which it was written.\n\nFor comments on Ebeling see Hymn 525.\n\n\n EVENING\n\n\n556. The duteous day now closeth _Stanzas 1, 2, Paul Gerhardt_,\n 1607-76\n _Tr. Robert Bridges_, 1844-1930\n _Stanzas 3,4, Robert Bridges_\n\n 1.\n Nun ruhen alle W\u00e4lder,\n Vieh, Menschen, St\u00e4dt\u2019 und Felder,\n Es schl\u00e4ft die ganze Welt.\n Ihr, aber, meine Sinnen,\n Auf, auf! ihr sollt beginnen,\n Was eurem Sch\u00f6pfer wohlgef\u00e4llt.\n\n 2.\n Wo bist du, Sonne, blieben?\n Die Nacht hat dich vertrieben,\n Die Nacht, des Tages Feind.\n Fahr him, ein\u2019 andre Sonne,\n Mein Jesus, meine Wonne,\n Gar hell in meinem Herzen scheint.\n\n 3.\n Der Tag ist nun vergangen,\n Die g\u00fcldnen Sterne prangen\n Am blauen Himmelssaal.\n Also werd ich auch stehen,\n Wann mich wird heissen gehen\n Mein Gott aus diesem Jammertal.\n\n 4.\n Der Leib eilt nun zur Ruhe,\n Legt Kleider ab und Schuhe,\n Das Bild der Sterblichkeit.\n Die zieh ich aus; dagegen\n Wird Christus mir anlegen\n Das Kleid der Ehr\u2019 und Herrlichkeit.\n\n 5.\n Das Haupt, die F\u00fcss und H\u00e4nde\n Sind froh, dass nun zum Ende\n Die Arbeit kommen sei.\n Herz, freu dich! du sollst werden\n Vom Elend dieser Erden,\n Und von der S\u00fcnden Arbeit frei.\n\n 6.\n Nun geht, ihr matten Glieder,\n Geht hin und legt euch nieder,\n Des Bettleins ihr begehrt.\n Es kommen Stund\u2019 und Zeiten,\n Da man euch wird bereiten\n Zu Ruh\u2019 ein Bettlein in der Erd\u2019.\n\n 7.\n Die Augen stehn verdrossen,\n Im Nu sind sie geschlossen;\n Wo bleibt dann Leib und Seel\u2019?\n Nimm sie zu deinen Gnaden,\n Sei gut f\u00fcr allen Schaden,\n Du Aug\u2019 und W\u00e4chter Israel!\n\n 8.\n Breit\u2019 aus die Fl\u00fcgel beide,\n O Jesu, meine Freude,\n Und nimm dein K\u00fcchlein ein!\n Will mich der Feind verschlingen,\n So lass die Engel singen:\n \u201cDies Kind soll unverletzet sein!\u201d\n\n 9.\n Auch euch, ihr meine Lieben,\n Soll heute nicht betr\u00fcben\n Ein Unfall noch Gefahr;\n Gott lass\u2019 euch selig schlafen,\n Stell\u2019 euch die g\u00fcldnen Waffen\n Ums Bett und seiner Engel Schar!\n\nGerhardt\u2019s hymn appeared in nine stanzas in Cr\u00fcger\u2019s _Praxis Pietatis\nMelica_, 3d ed., 1648. The hymn became known everywhere in Germany and\nwas a favorite of the poet Schiller.\n\nFor comments on Paul Gerhardt see Hymn 134.\n\nStanzas 1 and 2 are free translations by Robert Bridges who added\nstanzas 3 and 4, his own work, for his _Yattendon Hymnal_, 1899.\n\nFor comments on Bridges see Hymn 32.\n\n_MUSIC._ INNSBRUCK is commonly attributed to Heinrich Isaak, _c._\n1460-_c._ 1527, a German or Dutch (it is not certain which) born\nmusician who spent most of his life in Italy, an eminent organist and\ncomposer. Isaak was kapellmeister of Lorenzo the Magnificent and later\nof Maximilian of Vienna. The tune was first published, so far as is\nknown, in N\u00fcrnberg, 1539, in a different version, set to the words,\n\u201cInnsbruck ich muss dich lassen.\u201d Later it was adapted to the hymn, \u201cO\nWelt ich muss dich lassen,\u201d and then to Gerhardt\u2019s evening hymn, \u201cNun\nruhen alle W\u00e4lder.\u201d The melody has appeared in many different forms in\nGerman collections. The arrangement here is that made by J. S. Bach and\nused in his _St. Matthew Passion_ and elsewhere.\n\n\n557. Now cheer our hearts this eventide _Nikolaus Selnecker_, 1532-92\n _Tr. Robert Bridges_, 1844-1930\n\n 1.\n Ach bleib\u2019 bei uns, Herr Jesu Christ,\n Weil es nun Abend worden ist;\n Dein g\u00f6ttlich Wort, das helle Licht,\n Lass ja bei uns ausl\u00f6schen nicht!\n\n 2.\n In dieser letzten, b\u00f6sen Zeit\n Gib uns des Glaubens Best\u00e4ndigkeit,\n Dass wir dein Wort und Sakrament\n Rein b\u2019halten bis an unser End\u2019.\n\n 3.\n Herr Jesu, hilf, dein\u2019 Kirch\u2019 erhalt\u2019!\n Wir sind sicher, arg, tr\u00e4g\u2019 und kalt;\n Gib Gl\u00fcck und Heil zu deinem Wort,\n Dass es erschall\u2019 an jedem Ort.\n\n 4.\n Erhalt\u2019 uns nur bei deinem Wort,\n Und wehr\u2019 des Teufels Trug und Mord;\n Gib deiner Kirche Gnad\u2019 und Huld,\n Fried\u2019, Einigkeit, Mut und Geduld.\n\n 5.\n Ach Gott, es geht gar \u00fcbel zu,\n Auf dieser Erd\u2019 ist keine Ruh\u2019!\n Viel Sekten und viel Schw\u00e4rmerei\n Auf einen Haufen kommt herbei.\n\n 6.\n Den stolzen Geistern wehre doch,\n Die sich mit Macht erheben hoch,\n Und bringen stets was Neues her,\n Zu f\u00e4lschen deine rechte Lehr\u2019.\n\n 7.\n Die Sach\u2019 und Ehr\u2019, Herr Jesu Christ,\n Nicht unser, sondern dein ja ist;\n Darum so steh\u2019 du denen bei,\n Die sich auf dich verlassen frei.\n\n 8.\n Dein Wort ist unsers Herzens Trutz\n Und deiner Kirche wahrer Schutz;\n Dabei erhalt\u2019 uns, lieber Herr,\n Dass wir nichts Andres suchen mehr!\n\n 9.\n Gib, dass wir leben in dem Wort,\n Und darauf fahren ferner fort\n Von hinnen aus dem Jammertal\n Zu dir in deinen Freudensaal!\n\nThe author, Nikolaus Selnecker, an ardent Lutheran, was a scholar and\naccomplished musician. He became church organist when only twelve years\nold and afterwards, in succession, lecturer at the University of\nWittenberg, Professor of Theology at Jena, and pastor of St. Thomas\u2019\nChurch at Leipzig. He wrote Latin verse and composed many German hymns\nbut is chiefly known through this evening hymn. The English rendering of\nit we owe to Robert Bridges\u2019 _Yattendon Hymnal_. It was made to suit\nBach\u2019s setting of the Proper tune, and freely though finely expands\nstanzas 1 and 9 of the original.\n\nFor comments on Robert Bridges see Hymn 32.\n\n_MUSIC._ ACH BLEIB BEI UNS, \u201cone of the most famous of German chorales,\u201d\nappeared in _Geistliche Lieder_, Leipzig, 1589, and in other\ncontemporary collections.\n\nThe composer, Seth Calvisius, 1556-1615, was the son of poor parents,\nbut succeeded in obtaining an education at the Universities of Helmstedt\nand Leipzig. He was an astronomer and chronologer, besides being a\nmusician, and was offered the Chair of Mathematics at Wittenberg in\n1611. Calvisius refused the offer in order to devote himself to music.\nAfter holding various musical posts in churches in Leipzig and\nSchulpforta, he became music director at the Thomaskirche in the former\ncity. Calvisius wrote treatises on the theory of music and published\nseveral collections of his own and others\u2019 music, among them _Hymni\nSacri Latini et Germanici_, 1594, in which this tune appears in the alto\nas a descant to another melody. The present version is from J. S. Bach\u2019s\n_Vierstimmige Choralges\u00e4nge_, 1769.\n\n\n GENERAL\n\n\n558. Commit thou all thy griefs _Paul Gerhardt_, 1607-76\n _Tr. John Wesley_, 1703-91\n\n 1.\n Befiehl du deine Wege,\n Und was dein Herze kr\u00e4nkt,\n Der allertreusten Pflege\n Des, der den Himmel lenkt!\n Der Wolken, Luft und Winden,\n Gibt Wege, Lauf und Bahn,\n Der wird auch Wege finden,\n Da dein Fuss gehen kann.\n\n 2.\n Dem Herren musst du trauen,\n Wenn dir\u2019s soll wohlergehn;\n Auf sein Werk musst du schauen,\n Wenn dein Werk soll bestehn.\n Mit Sorgen und mit Gr\u00e4men\n Und mit selbsteigner Pein\n L\u00e4sst Gott sich gar nichts nehmen,\n Es muss erbeten sein.\n\n 3.\n Dein\u2019 ew\u2019ge Treu\u2019 und Gnade,\n O Vater, weiss und sieht,\n Was gut sei oder schade\n Dem sterblichen Gebl\u00fct;\n Und was du dann erlesen,\n Das treibst du, starker Held,\n Und bringst zum Stand und Wesen,\n Was deinem Rat gef\u00e4llt.\n\n 4.\n Weg\u2019 hast du allerwegen,\n An Mitteln fehlt dir\u2019s nicht;\n Dein Tun ist lauter Segen,\n Dein Gang ist lauter Licht,\n Dein Werk kann niemand hindern,\n Dein\u2019 Arbeit darf nicht ruhn,\n Wenn du, was deinen Kindern\n Erspriesslich ist, willst tun.\n\n 5.\n Und ob gleich alle Teufel\n Hier wollten widerstehn,\n So wird doch ohne Zweifel\n Gott nicht zur\u00fcckegehn;\n Was er sich vorgenommen,\n Und was er haben will,\n Das muss doch endlich kommen\n Zu seinem Zweck und Ziel.\n\n 6.\n Hoff, o du arme Seele,\n Hoff und sei unverzagt!\n Gott wird dich aus der H\u00f6hle,\n Da dich der Kummer plagt,\n Mit grossen Gnaden r\u00fccken;\n Erwarte nur die Zeit,\n So wirst du schon erblicken\n Die Sonn\u2019 der sch\u00f6nsten Freud\u2019.\n\n 7.\n Auf, auf, gib deinem Schmerze\n Und Sorgen gute Nacht!\n Lass fahren, was dein Herze\n Betr\u00fcbt und traurig macht!\n Bist du doch nicht Regente,\n Der alles f\u00fchren soll;\n Gott sitzt im Regimente\n Und f\u00fchret alles wohl.\n\n 8.\n Ihn, ihn lass tun und walten,\n Er ist ein weiser F\u00fcrst\n Und wird sich so verhalten,\n Dass du dich wundern wirst,\n Wenn er, wie ihm geb\u00fchret,\n Mit wunderbarem Rat\n Die Sach\u2019 hinausgef\u00fchret,\n Die dich bek\u00fcmmert hat.\n\n 9.\n Er wird zwar eine Weile\n Mit seinem Trost verziehn\n Und tun an seinem Teile,\n Als h\u00e4tt\u2019 in seinem Sinn\n Er deiner sich begeben,\n Und sollt\u2019st du f\u00fcr und f\u00fcr\n In Angst und N\u00f6ten schweben,\n Frag\u2019 er doch nichts nach dir.\n\n 10.\n Wird\u2019s aber sich befinden,\n Dass du ihm treu verbleibst,\n So wird er dich entbinden,\n Da du\u2019s am mind\u2019sten gl\u00e4ubst;\n Er wird dein Herze l\u00f6sen\n Von der so schweren Last,\n Die du zu keinem B\u00f6sen\n Bisher getragen hast.\n\n 11.\n Wohl dir, du Kind der Treue!\n Du hast und tr\u00e4gst davon\n Mit Ruhm und Dankgeschreie\n Den Sieg und Ehrenkron\u2019.\n Gott gibt dir selbst die Palmen\n In deine rechte Hand,\n Und du singst Freudenpsalmen\n Dem, der dein Leid gewandt.\n\n 12.\n Mach End\u2019 o Herr, mach Ende\n An aller unsrer Not,\n St\u00e4rk unsre F\u00fcss\u2019 und H\u00e4nde\n Und lass bis in den Tod\n Uns allzeit deiner Pflege\n Und Treu\u2019 empfohlen sein,\n So gehen unsre Wege\n Gewiss zum Himmel ein.\n\nThis \u201cHymn of Trust\u201d is Gerhardt\u2019s finest lyric. It is based on Psalm\n37:5: \u201cCommit thy way unto the Lord; trust also in him; and he shall\nbring it to pass.\u201d The initial words of each stanza form an acrostic of\nthe German version: \u201cBefiehl dem Herrn deine Wege, und hoff auf ihn; er\nwird es wohlmachen.\u201d The hymn first appeared in Cr\u00fcger\u2019s _Praxis_, 1646.\nIt expresses the simple trust in God that supported Gerhardt through the\ntroubles that arose out of the Thirty Years\u2019 War, as well as his own\npersonal sorrows.\n\nFor comments on Gerhardt see Hymn 134.\n\nOf the many translations of this hymn, this one by John Wesley remains\nthe most popular. It was published in 16 four-line stanzas in his _Hymns\nand Sacred Poems_, 1739, with the title, \u201cTrust in Providence.\u201d Since\nthe hymn was written in Short Meter, the editors of the _Hymnary_ had to\nabridge the third line of each stanza to fit this tune with its 7.6.7.6.\nmeter, a practice which Wesley himself would have heartily condemned.\nWesley\u2019s unaltered version of his eight stanzas used here are as\nfollows:\n\n 1.\n Commit thou all thy griefs\n And ways into His hands,\n To His sure truth and tender care\n Who earth and heaven commands.\n\n 2.\n Who points the clouds their course,\n Whom winds and seas obey,\n He shall direct thy wandering feet,\n He shall prepare thy way.\n\n 3.\n Thou on the Lord rely,\n So safe shalt thou go on;\n Fix on His work thy steadfast eye,\n So shall thy work be done.\n\n 4.\n No profit canst thou gain\n By self-consuming care;\n To Him commend thy cause; His ear\n Attends the softest prayer.\n\n 5.\n Thy everlasting truth,\n Father, Thy ceaseless love,\n Sees all Thy children\u2019s wants, and knows\n What best for each will prove.\n\n 6.\n And whatsoe\u2019er Thou will\u2019st\n Thou dost, O King of kings;\n What Thy unerring wisdom chose,\n Thy power to being brings.\n\n 7.\n Thou everywhere hast sway,\n And all things serve Thy might;\n Thy every act pure blessing is,\n Thy path unsullied light.\n\n 8.\n When Thou arisest, Lord,\n Who shall Thy work withstand?\n When all Thy children want, Thou giv\u2019st;\n Who, who, shall stay Thy hand?\n\nThe latter part of the hymn, in Wesley\u2019s translation, is found at No.\n246.\n\nFor comments on John Wesley see Hymn 170.\n\n_MUSIC._ The tune, BEFIEHL DU DEINE WEGE, appears anonymously in the\n_Gesangbuch mit Noten_. It is probably of American origin.\n\n\n559. Abide with us, our Savior _Josua Stegmann_, 1588-1632\n _Tr. Anonymous_\n\n 1.\n Ach bleib mit deiner Gnade\n Bei uns, Herr Jesu Christ,\n Dass uns hinfort nicht schade\n Des b\u00f6sen Feindes List!\n\n 2.\n Ach bleib mit deinem Worte\n Bei uns, Erl\u00f6ser wert,\n Dass uns beid\u2019 hier und dorte\n Sei G\u00fct\u2019 und Heil beschert!\n\n 3.\n Ach bleib mit deinem Glanze\n Bei uns, du wertes Licht;\n Dein\u2019 Wahrheit uns umschanze,\n Damit wir irren nicht!\n\n 4.\n Ach bleib mit deinem Segen\n Bei uns, du reicher Herr!\n Dein\u2019 Gnad\u2019 und all\u2019s Verm\u00f6gen\n In uns reichlich vermehr!\n\n 5.\n Ach bleib mit deinem Schutze\n Bei uns, du starker Held,\n Dass uns der Feind nicht trutze,\n Noch f\u00e4ll\u2019 die b\u00f6se Welt!\n\n 6.\n Ach bleib mit deiner Treue\n Bei uns, mein Herr und Gott!\n Best\u00e4ndigkeit verleihe,\n Hilf uns aus aller Not!\n\nA simple and beautiful hymn, having as its keynote the saying of the two\ndisciples at Emmaus: \u201cAbide with us: for it is toward evening, and the\nday is far spent\u201d (Lk. 24:29). It originally appeared in the author\u2019s\n_Christliches Gebetsb\u00fcchlein_, Rinteln, 1627, and later in his\n_Erneuerte Hertzen-Seufzer_, 1630, under the title, \u201cFor the Blessing\nand Support of the Ministry,\u201d to be used as a closing hymn after the\n\u201cPrayer for the Preservation of the Doctrine, and of the Church of God.\u201d\n\nOur version is a free translation of stanzas 1 to 3 as it appeared,\nanonymously, in the Dalston Hospital _Hymn Book_, 1848, and as repeated\nin the Pennsylvania Lutheran _Church Book_, 1868.\n\nJosua Stegmann, son of a Lutheran pastor, was born at S\u00fclzfeld, Germany.\nHe was educated at the Universities of Leipzig and Wittenberg. After\nholding several positions as teacher and pastor, he became Professor of\nTheology at Rinteln. With the outbreak of the Thirty Years\u2019 War, he was\nforced to flee but returned after several years. He suffered much at the\nhands of his Catholic opponents. Benedictine monks claimed to be the\nrightful professors and demanded the restoration of certain church\nproperties. At one time soldiers were sent into Stegmann\u2019s house,\ndemanding a refund of his salary, compelling him to a public\ndisputation, and otherwise subjecting him to humiliation.\n\n_MUSIC._ ACH BLEIB MIT DEINER GNADE is a simple but lovely tune,\npermeated with a feeling of deep serenity, fitting the present hymn\nperfectly. It appeared in the composer\u2019s _Ein Sch\u00f6n Geistlich\nGesangbuch_, Jena, 1609, set to the hymn, \u201cChristus, der ist mein\nLeben,\u201d by which name the tune is also known. J. S. Bach used the melody\nin his chorale cantata, _Christus, der ist mein Leben_.\n\nThe composer, Melchior Vulpius, c. 1560-1616, was precentor at Weimar\nabout 1600. He composed a number of tunes and published them in his _Ein\nsch\u00f6n geistlich Gesangbuch, &c., durch M.V. Cantorem zu Weymar_. Others\nof his tunes were published after his death.\n\n\n560. God is my Light _Johann H. K. Hengstenberg_, 1770-1634\n _Tr. Ernst Wm. Hengstenberg_, 1835\n\n 1.\n Gott ist mein Licht!\n Verzage nicht, mein Herz\n In banger, dunkler Zeit!\n Die Sonne sinkt,\n Die Nacht bringt Furcht und Schmerz,\n Mein Licht strahlt allezeit!\n Es schimmert an dem Tag der Freuden;\n Es leuchtet durch die Nacht der Leiden:\n Gott ist mein Licht!\n\n 2.\n Gott ist mein Heil!\n O Seele, f\u00fcrchte nichts!\n Dein Helfer ist getreu.\n Er l\u00e4sst dich nicht,\n Sein Vaterwort verspricht\u2019s.\n Er steht dir m\u00e4chtig bei.\n Er will mich bis ins Alter tragen,\n Kein wahres Gut mir je versagen:\n Gott ist mein Heil!\n\n 3.\n Sein ist die Kraft!\n Er spricht und es geschieht,\n Gebeut und es steht da.\n Und wenn mein Blick\n Noch keine Hoffnung sieht,\n Ist schon die Rettung nah.\n Wo schwache Menschen nichts verm\u00f6gen,\n Da kommt uns st\u00e4rkend Gott entgegen.\n Sein ist die Kraft!\n\n 4.\n Sein ist das Reich!\n Er herrscht im Weltgebiet\n Mit Weisheit, Huld und Macht.\n Die Sterne ziehn;\n Der Strom der Zeiten flieht,\n Von seinem Arm bewacht.\n Und alles lenket er im stillen\n Zum Ziel nach seinem heilgen Willen.\n Sein ist das Reich!\n\n 5.\n Gott ist mein Schild!\n Mein Schirm in der Gefahr,\n Die er nur wenden kann.\n Er deckt mein Haupt,\n Und ohn ihn f\u00e4llt kein Haar.\n Er nimmt sich aller an.\n Ob Tausende, die mit mir wallen,\n Zur Rechten oder Linken fallen\u2014\n Er ist mein Schild!\n\n 6.\n Gott ist mein Lohn!\n Drum geh ich unverzagt\n Die Bahn, die er nur zeigt.\n Der Gang sei schwer\u2014\n Er wird mit Gott gewagt,\n Der dort die Palme reicht.\n Froh wird gek\u00e4mpft, um Sieg gerungen\n Voll Mut der Widerstand bezwungen.\n Gott ist mein Lohn!\n\nThe hymn was written by Johann Heinrich Karl Hengstenberg, a Lutheran\npastor in the town of Wetter in Westphalia. His literary work is\n_Psalterion_ published in Essen, 1825, a collection of his hymns,\nseveral of which passed into general use in the Lutheran churches of\nGermany.\n\nThe translator has not been identified.\n\n_MUSIC._ GOTT IST GETREU is a melody contributed by J. R. Ahle, in his\n_Geistliche Arien_, 1662, where it is set to the hymn, \u201cEs ist genug,\u201d\nby Franz Burmeister.\n\nFor comments on Ahle see Hymn 553.\n\n\n561. Take Thou my hand, O Father _Julie von Haussmann_, 1825-1901\n _Tr. H. Brueckner_\n\n 1.\n So nimm denn meine H\u00e4nde\n Und f\u00fchre mich\n Bis an mein selig\u2019 Ende\n Und ewiglich!\n Ich kann allein nicht gehen,\n Nicht einen Schritt;\n Wo du wirst geh\u2019n und stehen,\n Da nimm mich mit.\n\n 2.\n In Deine Gnade h\u00fclle\n Mein schwaches Herz,\n Und mach\u2019 es endlich stille\n In Freud\u2019 und Schmerz;\n Lass ruh\u2019n zu deinen F\u00fcssen\n Dein schwaches Kind,\n Es will die Augen schliessen\n Und folgen blind.\n\n 3.\n Wenn ich auch gar nichts f\u00fchle\n Von deiner Macht,\n Du bringst mich doch zum Ziele\n Auch durch die Nacht;\n So nimm denn meine H\u00e4nde\n Und f\u00fchre mich\n Bis an mein selig\u2019 Ende\n Und ewiglich!\n\nJulie von Haussmann, born in Mitau, in the province of Kurland, was the\nsecond youngest of a family of six daughters. Her father had been a\nteacher in a Gymnasium at Riga, later moving to Mitau where he held a\ngovernment position. Julie, never in vigorous health, was a shy,\nretiring young woman, but keen of intellect. On several occasions she\naccepted positions as governess in private homes but was always\ncompelled to give up on account of her health. She finally dismissed all\nthoughts of a career and devoted herself to the care of her father who\nhad become blind, until the latter\u2019s death in 1864. The following two\nyears she lived with a married sister in Germany and Switzerland and\nthen accompanied her younger sister to Biarritz in southern France where\nthe latter held a position as organist. In 1870 both went to St.\nPetersburg to be with two other sisters, one of them employed as\nDirector of St. Annenschule. The family circle was broken in 1896 and\n1898 upon the death of the youngest and oldest sister. In 1901 Julie\nsettled with relatives near W\u00f6sso in Estonia. In spite of old age and\nweak eyesight, she was busily engaged, until her death, with charities\nand literary work. She published a devotional book, _Hausbrot_, and,\nupon the insistence of a friend, Gustav Knak, her lyrics were published\nin three volumes, entitled, _Maiblumen. Lieder einer Stillen im Lande_.\n\u201cSo nimm denn mein H\u00e4nde\u201d appeared in _Maiblumen_, 1862, Vol I. It has\nbeen translated into many languages.\n\nFor comments on the translator, H. Brueckner, see Hymn 517.\n\n_MUSIC._ SO NIMM DENN MEINE H\u00c4NDE first appeared with the present hymn\nin 1883. The tune was composed by Friedrich Silcher, 1789-1860, a German\nmusician, born at Schnaith, W\u00fcrttemberg. For 43 years Silcher was the\ndirector of music and organist at the University of T\u00fcbingen. He\ncomposed popular songs and hymns, and a cantata.\n\n\n562. What mercy and divine compassion _Philipp F. Hiller_, 1699-1769\n _Tr. Frieda Kaufman_, 1883-1944\n\n 1.\n Mir ist Erbarmung widerfahren,\n Erbarmung, deren ich nicht wert!\n Das z\u00e4hl\u2019 ich zu dem Wunderbaren;\n Mein stolzes Herz hat\u2019s nie begehrt.\n Nun weiss ich das, und bin erfreut,\n : Und r\u00fchme die Barmherzigkeit:\n\n 2.\n Ich hatte nichts als Zorn verdienet,\n Und soll bei Gott in Gnaden sein;\n Gott hat mich mit sich selbst vers\u00fchnet,\n Und macht durchs Blut des Sohn\u2019s mich rein,\n Nicht durch Verdienst der Kreatur,\u2014\n : Erbarmung ist\u2019s, Erbarmung nur:\n\n 3.\n Das musz ich dir, mein Gott, bekennen,\n Das r\u00fchm\u2019 ich, wenn ein Mensch mich fragt;\n Ich kann es nur Erbarmung nennen,\n So ist mein ganzes Herz gesagt;\n Ich beuge mich, und bin erfreut,\n : Und r\u00fchme die Barmherzigkeit:\n\n 4.\n Dies lass ich kein Gesch\u00f6pf mir rauben,\n Dies soll mein einzig R\u00fchmen sein;\n Auf dies Erbarmen will ich glauben;\n Auf dieses bet\u2019 ich auch allein;\n Auf dieses duld\u2019 ich in der Not;\n : Auf dieses hoff\u2019 ich noch im Tod:\n\n 5.\n Gott, der du reich bist an Erbarmen,\n Nimm dein Erbarmen nicht von mir,\n Und f\u00fchre durch den Tod mich Armen\n Durch meines Heilands Tod zu dir;\n Da bin ich ewig hoch erfreut,\n : Und r\u00fchme die Barmherzigkeit:\n\nBased on I Tim. 1:13: \u201caber mir ist Barmherzigkeit widerfahren\u201d (\u201cbut I\nobtained mercy\u201d).\n\nThe hymn appeared first in Hiller\u2019s _Geistliches Liederk\u00e4stlein_, Part\nII, 1767, with the following note by the author:\n\n An unconverted person is much too proud to say these words sincerely\n from the heart; but the converted person confesses them freely before\n God and man.\n\nFor comments on the author, Philipp Friedrich Hiller, see Hymn 524. The\nhymn is credited, erroneously, to Gerhard Tersteegen, in the _Hymnary_.\n\nA number of Hiller\u2019s hymns have been translated but this one apparently\nhad never before been put into English. Our translation, consisting of\nstanzas 1, 2, 4, and 5, was made especially for the _Hymnary_ by Sister\nFrieda Kaufman who was for many years associated with the Bethel\nDeaconess Hospital, Newton, Kansas. Sister Frieda was born near Basel,\nSwitzerland; came with her parents to Halstead, Kansas; and attended\nBethel College. After graduating from a nursing course in Cincinnati,\nOhio, she received her deaconess garb and has since been known as\n\u201cSister Frieda.\u201d From 1908 to 1943 she served as sister-in-charge of the\nhospital and during much of that time served also as its superintendent.\nShe had much to do with the planning of the Home for the Aged which is\noperated in connection with the hospital. To these two institutions she\ndevoted her rare gifts and set for them a high standard of Christian\nservice. Sister Frieda had unusual literary and artistic endowments and\ntranslated several German hymns into English.\n\n_MUSIC._ ERBARMUNG is a popular Swiss melody which appeared anonymously\nin the _Gesangbuch mit Noten_. It was composed by Johann Gottfried\nSchicht, 1753-1823, who was born in Zittau. Schicht composed 3\noratorios, church and chamber music, and edited Bach\u2019s motets. He became\ncantor of the Thomasschule in Leipzig in 1810.\n\n\n563. Strive aright when God doth call thee _Johann J. Winckler_,\n 1670-1722\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Ringe recht, wenn Gottes Gnade\n Dich nun ziehet und bekehrt,\n Dass dein Geist sich gantz entlade\n Von der Last, die ihn beschwert.\n\n 2.\n Ringe, denn die Pfort\u2019 ist enge,\n Und der Lebensweg ist schmal;\n Hier bleibt alles im Gedr\u00e4nge,\n Was nicht zielt zum Himmelssaal.\n\n 3.\n K\u00e4mpfe bis aufs Blut und Leben,\n Dring\u2019 hinein in Gottes Reich;\n Will der Satan widerstreben,\n Werde weder matt noch weich.\n\n 4.\n Ringe, dass dein Eifer gl\u00fche,\n Und die erste Liebe dich\n Von der ganzen Welt abziehe,\n Halbe Liebe h\u00e4lt nicht Stich.\n\n 5.\n Ringe mit Gebet und Schreien,\n Halte damit feurig an;\n Lass dich keine Zeit gereuen,\n W\u00e4r\u2019s auch Tag und Nacht getan.\n\n 6.\n Hast du dann die Perl\u2019 errungen,\n Denke ja nicht, dass du nun\n Alles B\u00f6se hast bezwungen,\n Das uns Schanden pflegt zu tun.\n\n 7.\n Nimm mit Furcht ja deiner Seele,\n Deines Heils mit Zittern wahr,\n Denn in dieser Leibesh\u00f6hle\n Schwebst du st\u00fcndlich in Gefahr.\n\n 8.\n Halt ja deine Krone feste,\n Halte m\u00e4nnlich, was du hast.\n Recht beharren ist das Beste,\n R\u00fcckfall wird zur schweren Last.\n\n 9.\n Lass dein Auge ja nicht gaffen\n Nach der schn\u00f6den Eitelkeit;\n Bleibe Tag und Nacht in Waffen,\n Fliehe tr\u00e4ge Sicherheit.\n\n 10.\n Lass dem Fleische nicht den Willen,\n Gib der Lust den Z\u00fcgel nicht;\n Willst du die Begierden stillen,\n So verlischt das Gnadenlicht.\n\n 11.\n Fleisches Freiheit macht die Seele\n Kalt und sicher, frech und stolz;\n Frisst hinweg des Glaubens Oele,\n L\u00e4sst nichts, als ein faules Holz.\n\n 12.\n Wahre Treu f\u00fchrt mit der S\u00fcnde\n Bis ins Grab best\u00e4ndig Krieg,\n Richtet sich nach keinem Winde,\n Sucht in jedem Kampf den Sieg.\n\n 13.\n Wahre Treu liebt Christi Wege,\n Steht beherzt auf ihrer Hut,\n Weiss von keiner Fleischespflege,\n H\u00e4lt sich selber nichts zu gut.\n\n 14.\n Wahre Treu hat viel zu weinen,\n Spricht zum Lachen: du bist toll;\n Weil es, wenn Gott wird erscheinen,\n Lauter Heulen werden soll.\n\n 15.\n Wahre Treu kommt dem Get\u00fcmmel\n Dieser Welt niemals zu nah;\n Denn ihr Schatz ist in dem Himmel,\n Drum ist auch ihr Herz allda.\n\n 16.\n Dies bedenket wohl, ihr Streiter!\n Streitet recht und f\u00fcrchtet euch;\n Geht doch alle Tage weiter,\n Bis ihr kommt in\u2019s Himmelreich.\n\n 17.\n Denkt bei jedem Augenblicke,\n Ob\u2019s vielleicht der letzte sei;\n Bringt die Lampen in\u2019s Geschicke,\n Holt stets neues Oel herbei.\n\n 18.\n Liegt nicht alle Welt in B\u00f6sen?\n Steht nicht Sodom in der Glut?\n Seele, wer soll dich erl\u00f6sen?\n Eilen, eilen ist hier gut.\n\n 19.\n Eile, wo du dich erretten,\n Und nicht mit verderben willst;\n Mach dich los von allen Ketten,\n Fleuch, als ein gejagtes Wild!\n\n 20.\n Lauf der Welt doch aus den H\u00e4nden;\n Dring\u2019 in\u2019s stille Zoar ein;\n Eile, dass du m\u00f6gst vollenden\n Mache dich von allem rein.\n\n 21.\n Lass dir Nichts am Herzen kleben,\n Fleuch vor dem verborg\u2019nen Bann,\n Such in Gott geheim zu leben,\n Dass dich nichts beflecken kann.\n\n 22.\n Eile, z\u00e4hle Tag und Stunden,\n Bis der Heiland dir erscheint,\n Und wenn du nun \u00fcberwunden,\n Ewig sich mit dir vereint!\n\n 23.\n Eile, lauf\u2019 ihm doch entgegen,\n Sprich: mein Licht, ich bin bereit\n Nun mein H\u00fcttlein abzulegen,\n Mich d\u00fcrst\u2019t nach der Ewigkeit.\n\n 24.\n Mich verlangt bei dir zu wohnen,\n Jesu! teurer Gottes Sohn,\n Ach f\u00fchr mich zum Himmelsthrone,\n Setz\u2019 mir auf die Lebenskron\u2019.\n\nBased on the following scripture passages: (1) Stanzas 1 to 5, Luke\n13:24: \u201cStrive to enter in at the strait gate; for many, I say unto you,\nshall seek to enter in, and shall not be able;\u201d (2) stanzas 6 to 15,\nPhilippians 2:12: \u201cWork out your own salvation with fear and trembling;\u201d\n(3) stanzas 16 to 24, Genesis 19:15-22: \u201cHaste thee, escape thither,\u201d\nand the story of Lot\u2019s flight from Sodom.\n\nJohann J. Winckler was a Lutheran pastor of the early Pietistic group.\nAfter receiving his education in the University of Leipzig, he held\nimportant church posts in the city of Magdeburg, climaxed by his\nappointment as chief preacher at the Cathedral. He made enemies in\nMagdeburg on several occasions, first, by his stand against\ntheater-going, and afterwards, by his well-meant though futile attempt\nto bring about a closer union between the Lutheran and Reformed Churches\nin Prussia. But he bore his opposition with Christian patience and\nfortitude. His hymns, all of them lengthy, are distinguished by a firm\nfaith and earnestness. They represent the better productions of the\nearly Pietistic writers of Germany.\n\nOur version is a translation of stanzas 1, 13, and 16, by Miss\nWinkworth, from her _Chorale Book for England_, 1863. For comments on\nCatherine Winkworth see Hymn 236.\n\n_MUSIC._ RINGE RECHT first appeared in Freylinghausen\u2019s _Gesangbuch_,\n1714, and later in Johann Thommen\u2019s _Musikalischer Christenschatz_,\nBasel, 1745, set to Winckler\u2019s hymn from which it derives its name. The\ntune appears in a number of hymn books, sometimes with slight\nadaptations, and given such names at \u201cBatty,\u201d \u201cTurnan,\u201d and\n\u201cInvitation.\u201d The composer remains anonymous.\n\n\n564. Jesus, priceless Treasure _Johann Franck_, 1618-77\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Jesu, meine Freude,\n Meines Herzens Weide,\n Jesu, meine Zier,\n Ach, wie lang, ach lange\n Ist dem Herzen bange\n Und verlangt nach dir!\n Gotteslamm, mein Br\u00e4utigam,\n Ausser dir soll mir auf Erden\n Nichts sonst Liebers werden!\n\n 2.\n Unter deinem Schirmen\n Bin ich vor den St\u00fcrmen\n Aller Feinde frei.\n Lass den Satan wittern,\n Lass die Welt ersch\u00fcttern,\n Mir steht Jesus bei.\n Ob es jetzt gleich kracht und blitzt,\n Obgleich S\u00fcnd\u2019 und H\u00f6lle schrecken,\n Jesus will mich decken.\n\n 3.\n Trotz dem alten Drachen,\n Trotz dem Todesrachen,\n Trotz der Furcht dazu!\n Tobe, Welt, und springe,\n Ich steh\u2019 hier und singe\n In gar sichrer Ruh\u2019;\n Gottes Macht h\u00e4lt mich in acht;\n Erd\u2019 und Abgrund muss verstummen,\n Ob sie noch so brummen.\n\n 4.\n Weg mit allen Sch\u00e4tzen,\n Du bist mein Erg\u00f6tzen,\n Jesu, meine Lust!\n Weg, ihr eitlen Ehren,\n Ich mag euch nicht h\u00f6ren,\n Bleibt mir unbewusst!\n Elend, Not, Kreuz, Schmach und Tod\n Soll mich, ob ich viel muss leiden,\n Nicht von Jesu scheiden.\n\n 5.\n Gute Nacht, o Wesen,\n Das die Welt erlesen,\n Mir gef\u00e4llst du nicht!\n Gute Nacht, ihr S\u00fcnden,\n Bleibet weit dahinten,\n Kommt nicht mehr ans Licht!\n Gute Nacht, du Stolz und Pracht,\n Dir sei ganz, du Lasterleben,\n Gute Nacht gegeben!\n\n 6.\n Weicht, ihr Trauergeister,\n Denn mein Freudenmeister,\n Jesus, tritt herein!\n Denen, die Gott lieben,\n Muss auch ihr Betr\u00fcben\n Lauter Zucker sein.\n Duld\u2019 ich schon hier Spott und Hohn,\n Dennoch bleibst du auch im Leide,\n Jesu, meine Freude.\n\nIn its depth of spiritual experience, this hymn by Franck resembles\nWesley\u2019s \u201cJesus, lover of my soul.\u201d It has made a wide appeal and the\nwords have been translated into various tongues. Peter the Great, the\nirreligious Czar of Russia, of all people, had the hymn done into the\nRussian language, and it has also been translated into Estonian.\n\nFor comments on the author, Johann Franck, see Hymn 552.\n\nFor comments on the translator, Catherine Winkworth, see Hymn 236.\n\n_MUSIC._ JESU MEINE FREUDE is an adaptation of a traditional melody\nfound in J. Cr\u00fcger\u2019s _Praxis Pietatis Melica_, 1653, where it is set to\nthe present hymn. Our version of the melody and the harmony is by J. S.\nBach. It is a superb tune and rates as one of the finest of all German\nchorales.\n\nFor comments on Johann Cr\u00fcger see Hymn 242.\n\nFor comments on J. S. Bach see Hymn 539.\n\n\n565. I am the Lord, O hear my voice _Johann Scheffler_, 1624-77\n _Tr. Joanna Andres_\n\n 1.\n Mir nach! spricht Christus, unser Held,\n Mir nach, ihr Christen alle!\n Verleugnet euch, verlasst die Welt,\n Folgt meinem Ruf und Schalle,\n Nehmt euer Kreuz und Ungemach\n Auf euch, folgt meinem Wandel nach!\n\n 2.\n Ich bin das Licht, ich leucht\u2019 euch f\u00fcr\n Mit heil\u2019gem Tugendleben.\n Wer zu mir kommt und folget mir,\n Darf nicht im Finstern schweben.\n Ich bin der Weg, ich weise wohl,\n Wie man wahrhaftig wandeln soll.\n\n 3.\n Mein Herz ist voll Dem\u00fctigkeit,\n Voll Liebe meine Seele;\n Mein Mund, der fleusst zu jeder Zeit\n Von s\u00fcssem Sanftmuts\u00f6le;\n Mein Geist, Gem\u00fcte, Kraft und Sinn\n Ist Gott ergeben, schaut auf ihn.\n\n 4.\n Ich zeig\u2019 euch das, was sch\u00e4dlich ist,\n Zu fliehen und zu meiden,\n Und euer Herz von arger List\n Zu rein\u2019gen und zu scheiden.\n Ich bin der Seelen Fels und Hort\n Und f\u00fchr\u2019 euch zu der Himmelspfort\u2019.\n\n 5.\n F\u00e4llt\u2019s euch zu schwer, ich geh\u2019 voran,\n Ich steh\u2019 euch an der Seite;\n Ich k\u00e4mpfe selbst, ich brech\u2019 die Bahn\n Bin alles in dem Streite.\n Ein b\u00f6ser Knecht, der still darf stehn,\n Sieht er voran den Feldherrn gehn!\n\n 6.\n Wer seine Seel zu finden meint,\n Wird sie ohn\u2019 mich verlieren;\n Wer sie hier zu verlieren scheint,\n Wird sie nach Hause f\u00fchren.\n Wer nicht sein Kreuz nimmt und folgt mir,\n Ist mein nicht wert und meiner Zier.\n\n 7.\n So lasst uns denn dem lieben Herrn\n Mit Leib und Seel\u2019 nachgehen\n Und wohlgemut, getrost und gern\n Bei ihm im Leiden stehen!\n Denn wer nicht k\u00e4mpft, tr\u00e4gt auch die Kron\u2019\n Des ew\u2019gen Lebens nicht davon.\n\nBased on Matt. 16:24: \u201cIf any man will come after me, let him deny\nhimself, and take up his cross and follow me.\u201d The hymn has been called\na \u201cmasterpiece of scriptural didactic poetry.\u201d It appeared first in the\nauthor\u2019s _Heilige Seelenlust_, 1668.\n\nJohann Scheffler, author of the hymn, holds a high place in the first\nrank of German poets. Born in Breslau, Silesia, the son of Lutheran\nparents, he studied in the Universities of Strassburg, Leyden, and\nPadua, graduating with the degrees of Ph.D. and M.D. Early in life he\nbecame deeply interested in the famous shoemaker, Jacob B\u00f6hme, a mystic\nand writer of popular books on the inner life. As a result of his\nstudies in mysticism, Scheffler left the Lutherans and became a priest\nin the Roman Catholic Church. He then gave up the medical profession to\ndevote himself to writing and the priesthood. Scheffler\u2019s hymns, on the\nwhole, are, however, not distinctly Roman Catholic in sentiment, and\nthey became much more popular among the Lutherans and Moravians than\namong the Catholics. Scheffler wrote under the nom de plume, \u201cAngelus\nSilesius,\u201d \u201cAngelus\u201d being the name of a Spanish mystic who influenced\nhim greatly, to which he added \u201cSilesius\u201d to indicate his native\ncountry.\n\nThe translation was made especially for the _Hymnary_, by Mrs. Joanna\nAndres, Newton, Kansas. The hymn is unusual in its use of the personal\npronoun \u201cI\u201d in the first three stanzas.\n\n_MUSIC._ MIR NACH! SPRICHT CHRISTUS UNSER HELD is a popular tune\ncomposed by Johann Hermann Schein (misspelled \u201cRhein\u201d in the _Hymnary_\nand the _Gesangbuch mit Noten_).\n\nFor comments on Schein see Hymn 508.\n\n\n566. O God, Thou faithful God _Johann Heermann_, 1585-1647\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n O Gott, du frommer Gott,\n Du Brunnquell guter Gaben,\n Ohn\u2019 den nichts ist, was ist,\n Von dem wir alles haben:\n Gesunden Leib gib mir,\n Und dass in solchem Leib\n Ein\u2019 unverletzte Seel\u2019\n Und rein Gewissen bleib\u2019.\n\n 2.\n Gib, dass ich tu\u2019 mit Fleiss,\n Was mir zu tun geb\u00fchret,\n Wozu mich dein Befehl\n In meinem Stande f\u00fchret!\n Gib, dass ich\u2019s tue bald,\n Zu der Zeit, da ich soll,\n Und wenn ich\u2019s tu\u2019, so gib,\n Dass es gerate wohl!\n\n 3.\n Hilf, dass ich rede stets,\n Womit ich kann bestehen,\n Lass kein unn\u00fctzes Wort\n Aus meinem Munde gehen;\n Und wenn in meinem Amt\n Ich reden soll und muss,\n So gib den Worten Kraft\n Und Nachdruck ohn\u2019 Verdruss!\n\n 4.\n Find\u2019t sich Gef\u00e4hrlichkeit,\n So lass mich nicht verzagen;\n Gib einen Heldenmut,\n Das Kreuz hilf selber tragen!\n Gib, dass ich meinen Feind\n Mit Sanftmut \u00fcberwind\u2019\n Und, wenn ich Rats bedarf,\n Auch guten Rat erfind\u2019!\n\n 5.\n Lass mich mit jedermann\n In Fried\u2019 und Freundschaft leben,\n Soweit es christlich ist.\n Willst du mir etwas geben\n An Reichtum, Gut und Geld,\n So gib auch dies dabei,\n Dass von unrechtem Gut\n Nichts untermenget sei!\n\n 6.\n Soll ich auf dieser Welt\n Mein Leben h\u00f6her bringen,\n Durch manchen sauern Tritt\n Hindurch ins Alter dringen,\n So gib Geduld. Vor S\u00fcnd\u2019\n Und Schanden mich bewahr\u2019,\n Auf dass ich tragen mag\n Mit Ehren graues Haar!\n\n 7.\n Lass mich an meinem End\u2019\n Auf Christi Tod abscheiden,\n Die Seele nimm zu dir\n Hinauf zu deinen Freuden,\n Dem Leib ein R\u00e4umlein g\u00f6nn\u2019,\n Bei frommer Christen Grab,\n Auf dass er seine Ruh\u2019\n An ihrer Seite hab\u2019.\n\n 8.\n Wenn du an jenem Tag\n Die Toten wirst aufwecken,\n So tu auch deine Hand\n Zu meinem Grab ausstrecken;\n Lass h\u00f6ren deine Stimm\u2019\n Und meinen Leib weck auf\n Und f\u00fchr ihn sch\u00f6n verkl\u00e4rt\n Zum auserw\u00e4hlten Hauf\u2019!\n\nFirst published in the author\u2019s _Devoti Musica Cordis_, Breslau, 1630,\nwhere it was entitled \u201cDaily Prayer.\u201d Regarding the hymn, originally\nappearing in 18 stanzas, Fischer writes in his _Kirchenlieder Lexicon_,\n1878:\n\n It is one of the most widely used and signally blessed hymns and has\n not unjustly been called his \u201cMaster Song.\u201d If it is somewhat \u201chome\n baked\u201d yet it is excellent, nourishing bread. It gives a training in\n practical Christianity and especially strikes three notes\u2014godly\n living, patient suffering, and happy dying.\n\nFor comments on Johann Heermann see Hymn 534.\n\nFor comments on the translator, Miss Winkworth, see Hymn 236.\n\n_MUSIC._ O GOTT, DU FROMMER GOTT, also known as \u201cDarmstadt,\u201d is\nattributed to Ahasuerus Fritsch, a German poet and composer who lived in\nthe second half of the 17th century. The music appeared in his\n_Himmels-Lust und Welt Unlust_, Jena, 1679. The present version is from\nJ. S. Bach\u2019s _Vierstimmige Choralges\u00e4nge_, 1765-9.\n\n\n567. Whate\u2019er my God ordains is right _Samuel Rodigast_, 1649-1708\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Was Gott tut, das ist wohlgetan!\n Es bleibt gerecht sein Wille.\n Wie er f\u00e4ngt meine Sachen an,\n Will ich ihm halten stille.\n Er ist mein Gott, der in der Not\n Mich wohl weiss zu erhalten;\n Drum lass\u2019 ich ihn nur walten.\n\n 2.\n Was Gott tut, das ist wohlgetan!\n Er wird mich nicht betr\u00fcgen;\n Er f\u00fchret mich auf rechter Bahn,\n Drum lass\u2019 ich mir gen\u00fcgen\n An seiner Huld, und hab Geduld;\n Er wird mein Ungl\u00fcck wenden,\n Es steht in seinen H\u00e4nden.\n\n 3.\n Was Gott tut, das ist wohlgetan,\n Er wird mich wohl bedenken;\n Mein Arzt, der alles heilen kann,\n Wird mich mit Gift nicht tr\u00e4nken.\n Er ist getreu, und steht mir bei;\n Auf ihn nur will ich bauen,\n Und seiner G\u00fcte trauen.\n\n 4.\n Was Gott tut, das ist wohlgetan!\n Er ist mein Licht, mein Leben,\n Der mir nichts B\u00f6ses g\u00f6nnen kann;\n Ihm will ich mich ergeben\n In Freud und Leid; es kommt die Zeit,\n Da \u00f6ffentlich erscheinet,\n Wie treulich er\u2019s gemeinet.\n\n 5.\n Was Gott tut, das ist wohlgetan!\n Muss ich den Kelch gleich schmecken.\n Der bitter ist nach meinem Wahn,\n Lass\u2019 ich mich doch nichts schrekken,\n Weil er zuletzt, mich doch erg\u00f6tzt,\n Mit s\u00fcssem Trost im Herzen;\n Da weichen alle Schmerzen.\n\n 6.\n Was Gott tut, das ist wohlgetan!\n Dabei will ich verbleiben;\n Es mag mich auf die rauhe Bahn\n Not, Tod und Elend treiben:\n So wird Gott mich, ganz v\u00e4terlich,\n In seinen Armen halten;\n Drum lass\u2019 ich ihn nur walten.\n\nBased on Deut. 32:4: \u201cHe is the Rock, his work is perfect: for all his\nways are judgment; a God of truth and without iniquity, just and right\nis he.\u201d\n\nSamuel Rodigast, Professor of Philosophy at the University of Jena, and\nlater rector of the Greyfriars Gymnasium in Berlin, wrote this hymn for\nhis friend Severus Gastorius, precentor of the church at Jena, when\nGastorius was ill. Gastorius in turn composed the tune on his sick bed,\nrequesting that the hymn be sung at his funeral. The condition of his\nhealth turned for the better whereupon Gastorius ordered his choir to\nsing the hymn at the door of his house once each week during the period\nof his convalescence. The music and words became widely known and are\nused throughout the whole of German Protestantism. The hymn appeared\nfirst in _Hannoversches Gesangbuch_, 1676. The melody appeared in the\n_Auserlesenes Weimarisches Gesangbuch_, 1681.\n\nThe translation, stanzas 1, 2, and 6 of the original, is Miss\nWinkworth\u2019s in her _Chorale Book for England_, 1863.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\n\n568. Lord, Thou hast been Thy people\u2019s rest _James Montgomery_,\n 1771-1854\n\nA metrical version of the 90th Psalm.\n\nFor comments on James Montgomery see Hymn 62.\n\n_MUSIC._ ALLEIN GOTT IN DER H\u00d6H\u2019 SEI EHR\u2019 appeared in _Geistliche\nLieder_, Leipzig, 1539, where it is set to the hymn, \u201cAllein Gott in der\nH\u00f6h sei Ehr,\u201d by Nikolaus Decius. The tune is of pre-Reformation origin.\nIt is an adaptation from an Easter _Gloria_ of anonymous composition,\nand appears with variants in different collections. Many settings of the\ntune have been made by Bach and other great composers, the one here\nbeing by Mendelssohn, used in his oratorio, _St. Paul_.\n\n\n569. Jehovah, let me now adore Thee _Bartholom\u00e4us Crasselius_,\n 1667-1724\n _Tr. Catherine Winkworth_, 1829-78\n\n 1.\n Dir, dir Jehova, will ich singen,\n Denn wo ist doch ein solcher Gott wie du?\n Dir will ich meine Lieder bringen,\n Ach gib mir deines Geistes Kraft dazu,\n Dass ich es tu\u2019 im Namen Jesu Christ,\n So wie es dir durch ihn gef\u00e4llig ist.\n\n 2.\n Zeuch mich, o Vater, zu dem Sohne,\n Damit dein Sohn mich wieder zieh\u2019 zu dir;\n Dein Geist in meinem Herzen wohne\n Und meine Sinne und Verstand regier\u2019,\n Dass ich den Frieden Gottes schmeck\u2019 und f\u00fchl\u2019\n Und dir darob im Herzen sing\u2019 und spiel\u2019.\n\n 3.\n Verleih mir, H\u00f6chster, solche G\u00fcte,\n So wird gewiss mein Singen recht getan,\n So klingt es sch\u00f6n in meinem Liede,\n Und ich bet\u2019 dich im Geist und Wahrheit an,\n So hebt dein Geist mein Herz zu dir empor,\n Dass ich dir Psalmen sing\u2019 im h\u00f6hern Chor.\n\n 4.\n Denn der kann mich bei dir vertreten\n Mit Seufzern, die ganz unaussprechlich sind,\n Der lehret mich recht gl\u00e4ubig beten,\n Gibt Zeugnis meinem Geist, dass ich dein Kind\n Und ein Miterbe Jesu Christi sei,\n Daher ich Abba, lieber Vater! schrei\u2019.\n\n 5.\n Wenn dies aus meinem Herzen schallet\n Durch deines heil\u2019gen Geistes Kraft und Trieb,\n So bricht dein Vaterherz und wallet\n Ganz br\u00fcnstig gegen mich vor heisser Lieb\u2019,\n Dass mir\u2019s die Bitte nicht versagen kann,\n Die ich nach deinem Willen hab\u2019 getan.\n\n 6.\n Was mich dein Geist selbst bitten lehret,\n Das ist nach deinem Willen eingericht\u2019t\n Und wird gewiss von dir erh\u00f6ret,\n Weil es im Namen deines Sohns geschicht,\n Durch welchen ich dein Kind und Erbe bin\n Und nehme von dir Gnad\u2019 um Gnade hin.\n\n 7.\n Wohl mir, dass ich dies Zeugnis habe,\n Drum bin ich voller Trost und Freudigkeit,\n Und weiss, dass alle gute Gabe,\n Die ich von dir verlanget jederzeit,\n Die gibst du und tust \u00fcberschwenglich mehr,\n Als ich verstehe, bitte und begehr.\n\n 8.\n Wohl mir, ich bitt in Jesu Namen,\n Der mich zu deiner Rechten selbst vertritt;\n In ihm ist alles Ja und Amen,\n Was ich von dir im Geist und Glauben bitt.\n Wohl mir, Lob dir jezt und in Ewigkeit,\n Dass du mir schenkest solche Seligkeit!\n\nA prayer for the spirit of grace rightly to praise and worship God,\nbased on John 16:23-28. The hymn was first published in _Geistreiches\nGesangbuch_, Halle, 1697, and appeared again in Freylinghausen\u2019s\n_Gesangbuch_, 1704.\n\nBartholom\u00e4us Crasselius, son of a cooper, was born in Wernsdorf, Saxony.\nHe became an ardent disciple of A. H. Francke, leader of the Pietistic\nmovement at Halle. Crasselius was an aggressive advocate of the new\nlife. As Lutheran pastor at Nidda, and later at D\u00fcsseldorf, he was known\nfor his unrestrained testimony against the people and the times.\nCrasselius was nearly always in conflict with the authorities and at one\ntime was suspended four weeks from his office and punished with fines\nand imprisonment.\n\nThe translation, consisting of stanzas 1 and 2, is somewhat altered from\nCatherine Winkworth\u2019s as it appeared in her _Chorale Book for England_,\n1863.\n\nFor comments on Catherine Winkworth see Hymn 236.\n\n_MUSIC._ DIR, DIR JEHOVAH has been coupled with this text since its\nfirst publication in 1704 in Freylinghausen\u2019s _Gesangbuch_. It is an\naltered form of a melody set to \u201cWer nur den lieben Gott l\u00e4sst walten,\u201d\npublished in the _Musikalisches Handbuch_, Hamburg, 1690. The composer\nis not known. In England the tune was altered to fit the long meter\nhymn, \u201cRide on, ride on in majesty,\u201d and is called \u201cWinchester New.\u201d See\nHymn 369.\n\n\n570. The Spirit of the Lord revealed _George W. Briggs_, 1875\u2014\n\nA hymn on the Scriptures, setting forth the truth that what the Spirit\nof God revealed dimly in the Old Testament was fulfilled in the New\nTestament by the Incarnate Word which is Jesus Christ. George W. Briggs\nwrote the hymn for _Songs of Praise_, London, 1931.\n\nFor comments on Briggs see Hymn 307.\n\n_MUSIC._ AUS MEINES HERZENS GRUNDE, also known as \u201cWolder,\u201d is a\ntraditional tune of anonymous origin. It is found in D. Wolder\u2019s _Neu\nCatechismus Gesangb\u00fcchlein_, Hamburg, 1588, but is doubtless much older\nthan this book. In the _Gesangbuch mit Noten_ the tune is set to the\nwords, \u201cAus meines Herzens Grunde,\u201d by J. Matthesius, from which it\nderives its name.\n\n\n571. He who would be in God confiding _Georg Neumark_, 1621-81\n _Tr. J. J. Voth_\n\n 1.\n Wer nur den lieben Gott l\u00e4sst walten\n Und hoffet auf ihn allezeit,\n Den wird er wunderlich erhalten\n In allem Kreuz und Traurigkeit.\n Wer Gott, dem Allerh\u00f6chsten, traut,\n Der hat auf keinen Sand gebaut.\n\n 2.\n Was helfen uns die schweren Sorgen?\n Was hilft uns unser Weh und Ach?\n Was hilft es, dass wir alle Morgen\n Beseufzen unser Ungemach?\n Wir machen unser Kreuz und Leid\n Nur gr\u00f6sser durch die Traurigkeit.\n\n 3.\n Man halte nur ein wenig stille\n Und sei nur in sich selbst vergn\u00fcgt,\n Wie unsers Gottes Gnadenwille,\n Wie sein\u2019 Allwissenheit es f\u00fcgt.\n Gott, der uns sich hat auserw\u00e4hlt,\n Der weiss auch gar wohl, was uns fehlt.\n\n 4.\n Er kennt die rechten Freudenstunden,\n Er weiss wohl, wann es n\u00fctzlich sei.\n Wenn er uns nur hat treu erfunden\n Und merket keine Heuchelei,\n So kommt Gott, eh\u2019 wir\u2019s uns versehn,\n Und l\u00e4sset uns viel Gut\u2019s geschehn.\n\n 5.\n Denk nicht in deiner Drangsalshitze,\n Dass du von Gott verlassen sei\u2019st,\n Und dass der Gott im Schosse sitze,\n Der sich mit stetem Gl\u00fccke speist.\n Die Folgezeit ver\u00e4ndert viel\n Und setzet jeglichem sein Ziel.\n\n 6.\n Es sind ja Gott sehr leichte Sachen\n Und ist dem H\u00f6chsten alles gleich,\n Den Reichen arm und klein zu machen,\n Den Armen aber gross und reich.\n Gott ist der rechte Wundermann,\n Der bald erh\u00f6hn, bald st\u00fcrzen kann.\n\n 7.\n Sing, bet und geh auf Gottes Wege\n Verricht das Deine nur getreu\n Und trau des Himmels reichem Segen,\n So wird er bei dir werden neu;\n Denn welcher seine Zuversicht\n Auf Gott setzt, den verl\u00e4sst er nicht.\n\nOne of the most popular of the German hymns. The heading given it by the\nauthor was:\n\n A Song of Comfort. God will care for and help every one in His own\n time. Cast thy burden on the Lord and He shall sustain thee. Psalm\n 55:22.\n\nThe hymn arose out of the author\u2019s personal need and suffering. On his\nway to K\u00f6nigsberg, to attend the University at that place, Neumark was\nrobbed of his money and stripped of all his possessions except his\nprayer book and a small amount of cash which, he had sewn into his\nclothing. He was therefore destitute and in despair, with no prospect of\ngoing to school or making a living. After many privations, he at last\nreceived an appointment as private tutor in the family of a judge at\nKiel, \u201cwhich good fortune, coming suddenly and as if fallen from\nheaven,\u201d he wrote, \u201cgreatly rejoiced me, and on that very day I composed\nto the honour of my beloved Lord the hymn, well known here and there,\n\u2018Wer nur den lieben Gott l\u00e4sst walten,\u2019 and had certainly cause enough\nto thank the Divine compassion for such unlooked-for grace shown to me.\u201d\n\nNeumark was now able to enter the University and became a student of law\nand poetry. After years of hardship, he finally had the good fortune of\nbeing appointed court poet, librarian, and registrar to Duke Wilhelm II\nof Saxe-Weimar, and custodian of the ducal archives. Shortly before his\ndeath in 1681 he became blind. The hymns he wrote during his prosperous\nyears were markedly inferior to those written during his earlier years\nof hardship and privation.\n\nThe translation was made by Rev. J. J. Voth, North Newton, Kansas, then\na member of the Bethel College staff, and pastor of the Gnadenberg\nMennonite Church near Whitewater, Kansas. There is also a fine\ntranslation of this hymn, by Catherine Winkworth.\n\n_MUSIC._ WER NUR DEN LIEBEN GOTT is wrongly attributed in the _Hymnary_\nto the author of the words. Neumark wrote an extraordinarily fine tune,\nin the minor mode, for these words, used in many collections, including\nthe Canadian Mennonite _Gesangbuch_, 1942. The present tune is simpler\nand more popular than Neumark\u2019s. The composer is not known.\n\n\n572. Our Lord, His passion ended _Francis C. Burkitt_, 1864\u2014\n\nA hymn for Whitsuntide.\n\nFrancis Crawford Burkitt, born in London, is a scholar of wide repute in\nEngland, the author of many linguistic and theological works. He holds\nhonorary degrees from the Universities of Edinburgh, Dublin, St.\nAndrews, and Oxford. Burkitt was, for many years, Professor of Divinity\nin Cambridge University.\n\nThe meter of the hymn is unique in that the second quatrain of each\nstanza changes from the common lambic (- \u2014) to the Trochaic (\u2014 -).\n\n_MUSIC._ FORTEM VIRILI PECTORE, of unknown origin, has much of the\ncharacter of a German folk tune. It appears in various editions of the\n_Catholisches Gesangbuch_, Strassburg, 1697 and onwards, set to a German\nversion of the words, \u201cFortem virili pectore.\u201d\n\n\n573. God who madest earth and heaven _Heinrich Albert_, 1604-51\n _Trs. Johann C. Jacobi_, 1670-1750\n _Arthur T. Russell_, 1806-74\n _Catherine Winkworth_, 1829-78\n\n 1.\n Gott des Himmels und der Erden,\n Vater, Sohn und Heil\u2019ger Geist,\n Der es Tag und Nacht l\u00e4sst werden,\n Sonn\u2019 und Mond uns scheinen heisst,\n Dessen starke Hand die Welt\n Und was drinnen ist, erh\u00e4lt.\n\n 2.\n Gott, ich danke dir von Herzen,\n Dass du mich in dieser Nacht\n Vor Gefahr, Angst, Not und Schmerzen\n Hast beh\u00fctet und bewacht,\n Dass des b\u00f6sen Feindes List\n Mein nicht m\u00e4chtig worden ist.\n\n 3.\n Lass die Nacht auch meiner S\u00fcnden\n Jetzt mit dieser Nacht vergehn!\n O Herr Jesu, lass mich finden\n Deine Wunden offen stehn,\n Da alleine Hilf\u2019 und Rat\n Ist f\u00fcr meine Missetat!\n\n 4.\n Hilf, dass ich mit diesem Morgen\n Geistlich auferstehen mag\n Und f\u00fcr meine Seele sorgen.\n Dass, wenn nun dein grosser Tag\n Uns erscheint und dein Gericht,\n Ich davor erschrecke nicht.\n\n 5.\n F\u00fchre mich, o Herr, und leite\n Meinen Gang nach deinem Wort!\n Sei und bleibe du auch heute\n Mein Besch\u00fctzer und mein Hort!\n Nirgends als von dir allein\n Kann ich recht bewahret sein.\n\n 6.\n Meinen Leib und meine Seele\n Samt den Sinnen und Verstand,\n Grosser Gott, ich dir befehle\n Unter deine starke Hand.\n Herr, mein Schild, mein\u2019 Ehr\u2019 und Ruhm,\n Nimm mich auf, dein Eigentum!\n\n 7.\n Deinen Engel zu mir sende,\n Der des b\u00f6sen Feindes Macht,\n List und Anschl\u00e4g von mir wende,\n Und mich halt in guter Acht;\n Der auch endlich mich zur Ruh\n Trage nach dem Himmel zu.\n\n 8.\n Da die Auserw\u00e4hlten alle\n Dich, Gott Vater, Sohn und Geist,\n Loben mit fr\u00f6hlichem Schalle,\n Gott! der du Zebaoth heisst.\n Heil\u2019ger, heil\u2019ger, heil\u2019ger Herr!\n Dir geb\u00fchrt Lob, Preis und Ehr\u2019.\n\n 9.\n H\u00f6re, Gott! was ich begehre;\n Vater, Sohn und heil\u2019ger Geist,\n Meine Bitte mir gew\u00e4hre,\n Der du selbst mich bitten heisst;\n So will ich dich hier und dort\n Herzlich preisen fort und fort.\n\nA morning hymn. Stanzas 2, 3, and 5 were special favorites in Germany,\nstanza 5 having been adopted by children, by brides, by old and young,\nas a morning prayer. Concerning this hymn, Dr. Cosack, a K\u00f6nigsberg\nwriter, says:\n\n For two hundred years it is hardly likely that a single day has\n greeted the earth that has not, here and there, in German lands, been\n met with Albert\u2019s hymn. Hardly another morning hymn can be compared\n with it, as far as popularity and intrinsic value are concerned, if\n simplicity and devotion, purity of doctrine and adaptation to all the\n circumstances of life are to decide.\n\nThe author, Heinrich Albert, was the son of a tax collector at\nLobenstein, Voigtland. He began the study of music under his uncle,\nHeinrich Sch\u00fctz, Court Kapellmeister at Dresden, but abandoned it, at\nthe desire of his parents, to become a lawyer. The profession of law\nhad, however, little interest for him and he returned to his first love,\naccepting, in 1631, the position of organist of the Cathedral of\nK\u00f6nigsberg. Albert wrote several hundred secular and sacred poems and\ncomposed in all 78 sacred melodies. Most of the former were published in\nhis _Etliche Arien_.\n\nThe hymn has been rendered into English by five or six eminent\ntranslators. Johann Christian Jacobi, a native of Germany who was Keeper\nof the Royal German Chapel, St. James Palace, London, for 42 years, made\na translation of this hymn which he included in his _Divine Hymns_,\n1720. Our second stanza, slightly altered, is the work of his hand.\n\nArthur Tozer Russell, an Anglican clergyman and prolific writer,\ntranslated many hymns and composed about 140 original hymns besides a\nlarge number of chants and hymn tunes. To him belongs the credit for our\n3d stanza which is a translation of stanza 6 of the original. Russell\u2019s\ntranslations, on the whole, are \u201cvigorous and strong, but somewhat\nultra-faithful to the original metres.\u201d\n\nCatherine Winkworth made a full translation of Albert\u2019s hymn for her\n_Lyra Germanica_, 1st Ser. 1855. Our first verse is taken from this\nwork.\n\nFor comments on Miss Winkworth see Hymn 236.\n\n_MUSIC._ GOTT DES HIMMELS UND DER ERDEN was composed by Albert, author\nof the words. The tune is known too by the names \u201cGodesberg,\u201d and\n\u201cWaltham.\u201d (See Hymn 370). J. S. Bach used the melody in his _Christmas\nOratorio_.\n\n\n574. Jesus, still lead on _Nicolaus L. von Zinzendorf_, 1700-60\n _Tr. Jane L. Borthwick_, 1813-97\n\n 1.\n Jesu, geh voran\n Auf der Lebensbahn,\n Und wir wollen nicht verweilen,\n Dir getreulich nachzueilen.\n F\u00fchr uns an der Hand\n Bis ins Vaterland!\n\n 2.\n Soll\u2019s uns hart ergehn,\n Lass uns feste stehn\n Und auch in den schwersten Tagen\n Niemals \u00fcber Lasten klagen;\n Denn durch Tr\u00fcbsal hier\n Geht der Weg zu dir.\n\n 3.\n R\u00fchret eigner Schmerz\n Irgend unser Herz,\n K\u00fcmmert uns ein fremdes Leiden,\n O so gib Geduld zu beiden;\n Richte unsern Sinn\n Auf das Ende hin!\n\n 4.\n Ordne unsern Gang,\n Jesu, lebenslang!\n F\u00fchrst du uns durch rauhe Wege,\n Gib uns auch die n\u00f6t\u2019ge Pflege.\n Tu uns nach dem Lauf\n Deine T\u00fcre auf!\n\nEntitled, \u201cFollowing Christ.\u201d The hymn has become a great favorite in\nGermany, especially as a children\u2019s hymn. Stanzas 1, 3 and 4 are from\nZinzendorf\u2019s \u201cSeelenbr\u00e4utigam, O du Gotteslamm,\u201d a poem of 11 stanzas,\nwritten September 1721. The second stanza is from \u201cGlanz der Ewigkeit,\u201d\na 15-stanza poem, dated Berlin, May 1721.\n\nNicolaus Ludwig, Graf von Zinzendorf, was born at Dresden of a noble,\nwealthy and religious family. Early in life he came under the teaching\nof influential Pietists, having Philipp Spener for his godfather and\nAugustus Francke for his tutor. From his earliest years he had strong\nreligious impressions. As a child his favorite play was \u201cpreaching;\u201d as\na boy in school he organized the \u201cOrder of the Mustard Seed,\u201d the\nmembers of which bound themselves in a special manner to the service of\nChrist, and above all to promote the conversion of the heathen. Upon the\ninsistence of non-pietistic relatives, he attended the University of\nWittenberg to study law and to acquire such accomplishments as dancing,\nfencing, and shooting, but he himself would have preferred the study of\ntheology.\n\nAt the age of 21, Zinzendorf bought an estate in Saxony with the view of\ngathering a number of truly religious persons into a community, which\nshould be a source of new religious life. He invited a group of Moravian\nexiles, a religious body which sprang from the work of John Hus, to\nsettle on the estate. Thus was formed, in 1722, the Moravian settlement\nwhich took the name Herrnhut, \u201cShelter of the Lord.\u201d The colony grew\nrapidly and attracted to its numbers not only immigrants from Moravia\nbut many others. In 1727 Zinzendorf gave up his post as an official at\nthe Court of the King of Saxony, to join the Moravian colony and\nsuperintend the growing community. Accusing him of spreading false\ndoctrines, his opponents secured an edict from the king, banishing\nZinzendorf from Saxony. During this exile, which lasted 10 years, he was\nengaged in unceasing missionary efforts, from St. Petersburg to the West\nIndies.\n\nIn 1741, Zinzendorf came to America to visit the Moravians in\nPennsylvania to organize them into congregations and encourage them to\ndo missionary work among both whites and Indians. Under his leadership,\nthe Moravians became a famous missionary group. As early as 1731, two of\nthe Brethren were sent to the West Indies and two to Greenland. And in\nZinzendorf\u2019s lifetime Moravians were at work in Europe, Asia, Africa,\nNorth and South America. In a few years, the little colony at Herrnhut\nhad sent out more missionaries than had gone from all European\nProtestantism during two centuries. They went to the hardest and most\ndangerous places and the most unpromising peoples. Everywhere they were\nstrengthened by the joyful, confident faith and loyalty to Christ\nexpressed in Zinzendorf\u2019s hymn, \u201cJesu geh voran.\u201d\n\nThe Moravians had a powerful influence on hymnology. Zinzendorf himself,\nall the members of his family, and most of the early leaders wrote\nhymns. Singing was a prominent part of their worship and they early\nbegan publishing hymnbooks. Concerning Zinzendorf\u2019s hymns, Catherine\nWinkworth says in her _Christian Singers of Germany_:\n\n His hymns, of which he wrote more than two thousand, are of\n exceedingly different value; some are fantastic and irreverent, some\n mere rhymed prose, others again have a real sweetness, fervour, and\n song in them.\n\nShe cites \u201cJesu geh voran\u201d as one of his best hymns.\n\nFor comments on the translator, Jane Borthwick, see Hymn 54.\n\n_MUSIC._ SEELENBR\u00c4UTIGAM is a tune of a \u201cpleasingly ingenious tinge,\nvery simply constructed.\u201d It is found in many English hymnbooks.\n\nThe composer, Adam Drese, 1620-1701, was born in Thuringia. He became\ndirector of music at the Court of Count Wilhelm IV of Saxe-Weimar; then\nwas appointed kapellmeister in Weimar, and later at Arnstadt, living\nmeanwhile a life of selfish indulgence in the atmosphere of the courts.\nUpon reading the works of Spener and Luther\u2019s _Introduction to the\nEpistle to the Romans_, Drese experienced a spiritual awakening which\nled him to aggressive missionary efforts and the organization of prayer\nmeetings in the community. He wrote hymns and tunes which were sung at\nthe meetings of pious persons in his house, before they came into print.\n\nThe tune was first published in the _Hallesches Gesangbuch_, 1695, but\nit was used in manuscript form as early as 1690, in the composer\u2019s home.\n\n\n\n\n BOOK V\n Metrical Psalms\n\n\n575. That man hath perfect blessedness _Psalm I_\n _Scottish Psalter_, 1650\n\nPsalm 1. The Tree and the Chaff.\n\nThe psalm embodies a fundamental teaching of the Old Testament, namely,\nthat true happiness is to be found only in knowing and serving God.\n\n_MUSIC._ DUNFERMLINE is a Scottish tune of unknown origin. The name is\nthat of a town in Scotland. It appeared as one of the twelve \u201cCommon\nTunes\u201d (tunes not attached to any particular psalms) in _The CL Psalms\nof David, &c._, Edinburgh, 1615. In England the tune was included in\nRavencroft\u2019s _Whole Book of Psalms_, 1621.\n\n\n Note on the Scottish Psalter, 1650\n\nThe origin of the _Scottish Psalter_, 1650, which is the source of\nnearly all the metrical psalms in Book Five of the _Hymnary_, may be\nbriefly summarized as follows:\n\nThe church in Scotland, at the time of the Reformation, modeled its\nservice after Calvin\u2019s in Geneva. No hymns were permitted to be sung;\nonly the Words of inspired Scripture were allowed for use in worship.\nFor two hundred years after Luther had inspired a rich treasury of\n\u201cman-made\u201d poems for use in congregational singing, the Calvinistic\nchurches were still using only psalms and paraphrases of Scripture.\n\nIn compiling a Psalter, the Scottish reformers adopted the entire\n_Anglo-Genevan Psalter_ used by John Knox, to which they added\nselections from the English _Old Version_ by Sternhold and Hopkins, and\n21 more by Scottish writers. Tunes, over 100 in all, were adopted from\nthe Anglo-Genevan, French, and English Psalters, in each case the melody\nonly being printed. In 1635 an edition was published with the tunes in\nharmony, the work of Edmund Millar.\n\nIn 1643, the House of Commons and the Westminster Assembly, interested\nin establishing uniformity of worship between the churches of England\nand Scotland, voted to adopt Francis Rous\u2019 version of the psalms for use\nthroughout the kingdom, after extensive revisions of the work. The\nScottish church, not satisfied with the Rous\u2019 version, appointed a\ncommission of four men to revise it still farther, largely to satisfy\nthe Puritan demand for more literalness to the Hebrew original. The\nresult of this revision was the classic _Scottish Psalter_ of 1650,\nstill in use in Scottish Presbyterianism and in American Covenanter\nChurches. The renderings are quaint and rude in spots but their\nfaithfulness and vigor cannot be denied. It is in this form that\nmillions of people have learned to love the psalms and all attempts to\nimprove or modernize them have so far failed.\n\nUnfortunately, no tunes were provided with the _Scottish Psalter_ of\n1650. This limited the singing to such tunes as precentor and people\nknew by heart, resulting in a long period of decline in church music in\nthe Church of Scotland. Later editions corrected this defect. In 1929,\nthe General Assemblies of the Church of Scotland and the United Free\nChurch of Scotland, then entered into union, published a new edition of\nthe _Scottish Psalter_, with 192 tunes.\n\n\n576. Lord, Thou shalt early hear my voice _Psalm V_\n _Scottish Psalter_, 1650\n\nPsalm 5:3, 4, 7, 11. A Prayer for Divine Aid.\n\nA morning prayer in which the Psalmist confidently looks to God, assured\nof an answer. He shows a deep concern for ethical purity and sincerity\nin worship.\n\n_MUSIC._ For comments on WARWICK see Hymn 20.\n\n\n577. Within Thy tabernacle, Lord _Psalm XV_\n _Scottish Psalter_, 1650\n\nPsalm 15. The Friend of God.\n\nThe psalm speaks of the type of life that brings man into the Divine\nPresence and makes of him a good citizen.\n\n_MUSIC._ TALLIS\u2019 ORDINAL. For comments on this tune see Hymn 326.\n\n\n578. God\u2019s law is perfect, and converts _Psalm XIX_\n _Scottish Psalter_, 1650\n\nPsalm 19:7-11. God\u2019s Praise in the Moral Universe.\n\nThe psalm describes God\u2019s revelation to man. God is revealed to us \u201cin\nthe starry heavens above and in the moral law within,\u201d (to use the\nphrase of Immanuel Kant). The hymn, composed of verses 7-11, deals only\nwith the latter, the law in the heart.\n\n_MUSIC._ ST. ANDREW appeared in _The New Harmony of Sion_ by William\nTans\u2019ur, in 1764, where it was set to Psalm 150, and inscribed \u201cBarby\nTune, composed in four parts, W.T.\u201d The initials may mean only that the\nharmony was by Tans\u2019ur.\n\nFor comments on William Tans\u2019ur see Hymn 74.\n\n\n579. The Lord\u2019s my Shepherd, I\u2019ll not want _Psalm XXIII_\n _Scottish Psalter_, 1650\n\nPsalm 23. The Good Shepherd Psalm. It has probably been translated and\nparaphrased more frequently than any other piece of literature in the\nworld, yet always carries the same joyous and sure faith in the Good\nShepherd. A version by James Montgomery is found at No. 62.\n\n_MUSIC._ MARTYRDOM. For comments on this tune see Hymn 108.\n\n\n580. Ye gates, lift up your heads on high _Psalm XXIV_\n _Scottish Psalter_, 1650\n\nPsalm 24:7-10. A Marching Chorus and Triumphant Song of Victory.\n\nThe procession escorting the ark, symbol of God\u2019s presence, has now\nreached the city gates and Jerusalem is called upon to open wide its\ngates to its true King. \u201cRaise up your arches, O gates, and open wide\nyour ancient doors, that the King of Glory may enter in.\u201d The full glory\nof God can come into our lives only as we enlarge the receiving\nfacilities of our hearts and minds.\n\n_MUSIC._ ST. GEORGE\u2019S, EDINBURGH was composed especially for these words\nby Dr. Andrew Thomson, minister of the church by the above name in\nEdinburgh. It became the custom in many places in Scotland for the\ncongregation to sing this psalm at Communion while ministers and elders\nin solemn procession brought the bread and wine into the church before\nthe administration of the sacrament.\n\nAndrew Thomson, 1778-1831, trained in the University of Edinburgh, was\nan outstanding Scottish Presbyterian preacher and leading public figure\nin Edinburgh. He had musical gifts and set himself to improve the\npsalmody of his church and composed a number of tunes. In collaboration\nwith his precentor, R. A. Smith, he compiled several collections of\npsalms and hymns. He also published books of sermons and lectures and\nwrote numerous magazine articles. Thomson died suddenly within a few\nsteps of his own door when returning from a Presbytery meeting. His son\nbecame professor of music in the University of Edinburgh.\n\n\n581. Show me thy ways, O Lord _Psalm XXV_\n _Scottish Psalter_, 1650\n\nPsalm 25:4-7. A Prayer to God for Guidance and Forgiveness.\n\n_MUSIC._ ST. BRIDE appeared in _Parochial Harmony; consisting of a\ncollection of Psalm tunes in three and four parts, &c._, by William\nRiley, 1762, where it was set to the new version of Psalm 130 and headed\n\u201cSt. Bridget\u2019s Tune by Mr. Sam\u2019l Howard.\u201d The tune is in strict\npsalm-tune style and therefore simple in structure. But it has strength\nand high quality and is deserving of its wide and continuous use.\n\nSamuel Howard, 1710-82, London musician, was organist of St. Clement\nDanes and of St. Bride\u2019s churches. He was a popular composer of both\nsacred and secular music.\n\n\n582. The Lord\u2019s my light and saving health _Psalm XXVII_\n _Scottish Psalter_, 1650\n\nPsalm 27:1-5. A Song of Assurance.\n\nThese verses reflect a confidence that knows no fear in the midst of\ndanger, because of God\u2019s protecting care.\n\n_MUSIC._ ST. MAGNUS, also called \u201cNottingham,\u201d is a \u201cgood solid melody,\nbuilt on familiar lines.\u201d It appeared, anonymously, in 1709 in a book\ncalled _The Divine Companion: or David\u2019s Harp new tuned. Being a choice\ncollection of New and Easy Psalms, Hymns and Anthems._ In 1762 the tune,\nbearing its present name and assigned to Jeremiah Clark, appeared in W.\nRiley\u2019s _Parochial Harmony_. In Gawthorn\u2019s _Harmonia Perfecta_, 1730, it\nis named \u201cNottingham.\u201d\n\nThe composer, Jeremiah Clark, 1670-1707, a Londoner of keen sensibility\nand gifted musicianship, wrote operatic music, a cantata, numerous\nsongs, and church music-anthems and psalm tunes. In a mood of\ndespondency he took his own life.\n\n\n583. Through all the changing scenes of life _Psalm XXXIV_\n _New Version, Tate and Brady_, 1698\n\nPsalm 34:1-10, 22. The Goodness of God.\n\nA hymn of praise to God for his care and protection in time of great\nneed.\n\nMost of our metrical psalms in the _Hymnary_ are from the _Scottish\nPsalter_, 1650. (See under Hymn 575.) But this one is from the revised\nedition of 1698, of the _New Version of the Psalms_ first published in\nEngland in 1696, by the two Irishmen, Tate and Brady. This version\npartly supplanted in England the older version of Sternhold and Hopkins.\n\nNahum Tate, 1652-1715, son of an Irish clergyman, was a literary man,\nplaywright, and a poet. Finally, to the surprise of everyone, he became\npoet laureate, by appointment of William III.\n\nNicholas Brady, 1659-1726?, received the degree of D.D. from Dublin\nUniversity and had a varied clerical career in Ireland and England,\nfinally becoming chaplain to King William. Brady and Tate collaborated\nto produce the _New Version_, a work which received royal endorsement\nand was officially adopted in England. Though better in smoothness and\nliterary grace than the versions of Sternhold and Hopkins, very little\nof it remains in modern hymnals. This hymn and \u201cAs pants the hart,\u201d\n(586), are among the gems still in use. \u201cWhile shepherds watched their\nflocks by night\u201d (73 and 74) a masterly adaptation of the Nativity\nstory, appeared in the supplement of the _New Version_, 1703, and is\nfound today in nearly all hymnals.\n\n_MUSIC._ WILTSHIRE, known in Scotland as \u201cNew St. Ann,\u201d appeared first\nin _Divine Amusement_, by Sir G. Grant, set to Psalm 48. The tune\nappears with variants in other collections.\n\nThe composer, George Thomas Smart, 1776-1867, was an organist and\ncomposer and a popular conductor of choral groups in London. He gave\nlessons in singing and harpsichord and composed anthems, chants and\npsalm tunes.\n\n\n584. O children, hither do ye come _Psalm XXXIV_\n _Scottish Psalter_, 1650\n\nPsalm 34:11-19. The Goodness of God.\n\nThe psalmist here becomes a teacher, instructing his listeners in the\nright paths of life.\n\n_MUSIC._ ARNOLD was first published in _The Psalms of David for the Use\nof Parish Churches. The Music celected, adapted, and composed by Dr.\nArnold ... assisted by J. W. Callcott_, 1791. The tune was set to Psalm\n15, arranged so that the first two lines should be sung as a duet by\nsoprano and alto, repeated as a duet by tenor and bass, and then the\nthird and fourth lines sung in full chorus. The present form of the tune\nis first found in Scotland in Robert Gilmore\u2019s _Psalm Singer\u2019s\nAssistant_ (undated, but before 1793).\n\nSamuel Arnold, 1740-1802, after ventures and heavy losses in the theater\nbusiness, received the degree of Mus. Doc. from Oxford and then became\norganist and composer to the Royal Chapel. Later he became conductor at\nthe Academy of Ancient Music, and in 1789 was appointed organist of\nWestminster Abbey. He wrote numerous songs, four oratorios and many\nanthems and edited important musical works, including _The Works of\nHandel_, in thirty-six volumes, at the request of King George III.\n\n\n585. I waited for the Lord my God _Psalm XL_\n _Scottish Psalter_, 1650\n\nPsalm 40:1-5. A Prayer for Speedy Relief from Trouble.\n\nAfter long and patient waiting, the psalmist\u2019s prayer for relief from\ntrouble has been answered, giving occasion for fresh thanksgiving for\nHis mercy.\n\n_MUSIC._ BALLERMA. For comments on this tune see Hymn 57.\n\nRobert Simpson, 1790-1832, who adapted this tune from a melody by F. H.\nBarth\u00e9lemon (See Hymn 57) was a weaver by trade, but of good education\nand fine musical taste. He was choir-leader in a Congregational Church\nin Glasgow, then became precentor and session-clerk of the East Parish\nchurch at Greenock, at a salary of forty pounds a year, and from that\ntime onward made music his profession. Of weak constitution, he fell\nvictim of one of the cholera epidemics.\n\n\n586. As pants the hart for cooling streams _Psalm XLII_\n _New Version, Tate and Brady_, 1698\n\nPsalm 42:1, 2, 5, 9, 11. Exiled from the House of God.\n\nThe psalmist, alone among taunting heathen strangers, yearns to return\nto the place of worship where he may again commune with God. His faith\nis sorely tried but it does not fail him. He recalls the mercy of God\nand renews his hope in God.\n\nFor comments on _New Version_, Tate and Brady, see Hymn 583.\n\n_MUSIC._ SPOHR is an adaptation from the solo and chorus, \u201cThough all\nthy friends forsake thee,\u201d in _Calvary_, an oratorio by Spohr.\n\nLudwig Spohr, 1784-1859, a German musician, born at Brunswick, was a\ncomposer and noted violinist. He went annually on concert tours\nthroughout Europe, with brilliant success. Few musicians have enjoyed so\nhigh a reputation with their contemporaries. Many musicians of his time\nconsidered Spohr a greater composer than Beethoven. His reputation,\nhowever, did not stand the test of time, partly because his compositions\nare characterized by a peculiar chromaticism. Most of his numerous\nworks, including operas, oratorios, 34 string quartets, violin\nconcertos, etc., have been forgotten. His oratorios, _Calvary_ and _The\nLast Judgment_, lasted longest.\n\nThe tune, \u201cSt. Anne,\u201d now fittingly sung to \u201cO God our help in ages\npast,\u201d (No. 61), was composed for this psalm, and may be used as an\nalternative tune. The Psalm has also been set to \u201cMartyrdom\u201d (579).\n\n\n587. O send Thy light forth and Thy truth _Psalm XLIII_\n _Scottish Psalter_, 1650\n\nPsalm 43:3-5. Exiled from the House of God (continued).\n\nPsalm 43 is clearly a continuation of Psalm 42. The same spirit,\nlanguage and situation are to be found in both and each ends with the\nsame refrain. Psalm 42 speaks of God as a fountain of living water;\nPsalm 43, as a guiding light. These vivid metaphors are combined in\nPsalm 36:9: \u201cFor with Thee is the fountain of life; in Thy light do we\nsee light.\u201d\n\n_MUSIC._ FARRANT is adapted from an air in the anthem, \u201cLord, for thy\ntender mercies\u2019 sake.\u201d usually attributed to the English organist and\ncomposer, Richard Farrant, c. 1530-1580, but by some to John Hilton, and\nby others to William Mundy.\n\n\n588. God is our refuge and our strength _Psalm XLVI_\n _Scottish Psalter_, 1650\n\nPsalm 46:1-5. The Mighty God.\n\nPsalm 46 has been a source of strength in time of dire distress,\nsustaining the spirit of the persecuted and dying, in all ages.\n\nOne should compare this version from the _Scottish Psalter_ with that of\nIsaac Watts (No. 257), and of Martin Luther in his classic hymn of the\nReformation, \u201cEin feste Burg ist unser Gott\u201d (No. 549).\n\n_MUSIC._ WINCHESTER OLD is from _Este\u2019s Psalter_ which was entitled\n\u201c_The Whole Booke of Psalmes with their wonted Tunes, as they are song\nin churches, composed into foure parts ... compiled by sondry authors_,\u201d\nLondon, Thomas Este, 1592, where it is set to Psalm 84.\n\nThomas Este, 1540?-1608?, was a London printer and music publisher. He\nprinted an important edition of the psalter in 1592 in which the tunes\nwere harmonized in four parts by ten eminent musicians of the time. In\nhis dedicatory word Este wrote: \u201cIn this booke the Church Tunes are\ncarefully corrected, and other short tunes added, which are sung in\nLondon and other places of this Realme.\u201d The Church Tunes (known also as\nProper Tunes), forty-six in all, were attached to their proper psalms\nand the remaining psalms were set to short, four line tunes, Common\nTunes, not attached to any particular psalms. Este\u2019s book is the\nearliest example in which the voice parts are printed on opposite\npages\u2014\u201cCantus and Tenor (i.e. the Melody) on the left-hand page, and the\nAltus and Bassus on the right\u201d\u2014instead of in separate books as was then\nthe custom. New editions of _Este\u2019s Psalter_, with slight changes, were\npublished in 1594, 1604, and 1611. In the 19th century it had the honor\nof being reprinted by the Musical Antiquarian Society of England.\n\n\n589. After Thy loving-kindness, Lord _Psalm LI_\n _Scottish Psalter_, 1650\n\nPsalm 51:1-3, 10, 17. A Prayer for Pardon.\n\nThe psalmist prays for pardon and cleansing, confessing the greatness of\nhis sins, and offering the sacrifice of a broken heart. Psalm 51 is the\nfourth of the seven psalms known from ancient times as the Penitential\nPsalms. The others are 6, 32, 38, 102, 130, and 143.\n\n_MUSIC._ DUNDEE, also known as \u201cWindsor,\u201d is first found in Damon\u2019s\n_Psalter_, which was entitled, _The Booke of the Musicke of M. William\nDamon, late one of her maiestes Musitions: conteining all the tunes of\nDavid\u2019s Psalmes, as they are ordinarily sung in the Church; most\nexcellently by him composed into 4 parts_, 1591. The tune, DUNDEE, is\nthere set to Psalm 116.\n\nDamon\u2019s _Psalter_ was one of the many private editions through which the\n_Old Version_ of Sternhold and Hopkins went, besides numerous official\neditions. William Damon, c.1540-c.91, was organist of the Chapel Royal\nunder Queen Elizabeth but is best known for the collection of psalms\nwhich he published in four parts. The work is in eight books, the first\nfour of which have the melody in the tenor, and the second four in the\nsoprano. Copies of Damon\u2019s _Psalter_ are rare. A few are to be found in\nthe British Museum.\n\n\n590. Praise waits for Thee in Zion, Lord _Psalm LXV_\n _Scottish Psalter_, 1650\n\nPsalm 65:1-4. A Liturgy.\n\nA hymn of praise and thanksgiving to God for an exceptionally abundant\nharvest.\n\n_MUSIC._ ST. STEPHEN (ABRIDGE).\n\nFor comments on this tune see Hymn 266.\n\n\n591. His name forever shall endure _Psalm LXXII_\n _Scottish Psalter_, 1650\n\nPsalm 72:17-19. A Description of the Ideal King.\n\nA universal hymn of praise.\n\n_MUSIC._ For comments on the tune, DUNFERMLINE, see Hymn 575.\n\n\n592. How lovely are Thy dwellings fair _Psalm LXXXIV_\n _John Milton_, 1608-74\n\nPsalm 84:1-7, 12. The Joy of the Godly.\n\nOne of the Songs of the Sanctuary, expressing the joy and happiness of\nthe pilgrim who, coming from afar, has at last arrived at the sanctuary\nof his God at Jerusalem. The vale of Baca (v. 6), a waterless, barren\nvalley through which he passed on the journey to Jerusalem, became, to\nthe devoted pilgrim, a place of springs and refreshment.\n\nThe version here is by John Milton and constitutes an improvement over\nthat in the _Scottish Psalter_.\n\nFor comments on Milton see Hymn 64.\n\n_MUSIC._ SALZBURG. For comments on this tune by J. Haydn see Hymn 167. A\ndifferent tune by J. Hintze bears the same name (No. 545).\n\n\n593. The Lord doth reign, and clothed is He _Psalm XCIII_\n _Scottish Psalter_, 1650\n\nPsalm 93. The Ruler of the Universe.\n\nA Song of Thanksgiving in which the psalmist celebrates God\u2019s\nsovereignty, not only over Israel, but over the whole world.\n\n_MUSIC._ IRISH. For comments on this tune see Hymn 268.\n\n\n594. All people that on earth do dwell _Psalm C_\n _William Kethe_, _c._ 1561\n _Scottish Psalter_, 1650\n\nPsalm 100. The Faithful God.\n\nThe Psalm was used as a processional hymn to be chanted by the people as\nthey went up to the temple for worship.\n\nSclater, in _The Public Worship of God_, discussing opening hymns of\nadoration, says: \u201cThere is none better than that grand old Puritan\nanthem, the 100th Psalm, set to Louis Bourgeois\u2019 noble tune,\u201d and adds\nthat \u201cthose who are in perplexity to find hymns which precisely fit into\nvarious parts of the service might do a great deal worse than take a\nlook at the Scottish Metrical Psalms. They will find them peculiarly\nrich in the noblest and simplest form of opening adoration.\u201d\n\nIn verse 4 the printer has omitted the question mark (?) after the word\n\u201cwhy,\u201d in the early editions of the _Hymnary_.\n\nWilliam Kethe, to whom this version is ascribed, was one of the exiles\nwith John Knox in Geneva during the persecutions of Mary, Queen of the\nScots. Little is known of him but his name has been immortalized by this\njustly renowned paraphrase of Psalm 100.\n\n_MUSIC._ OLD HUNDREDTH is the most famous of all Psalm tunes. It was\nadapted from a secular source by L. Bourgeois for Psalm 134 in the\n_Genevan Psalter_ of 1551. In later collections\u2014the Genevan _Fourscore\nand Seven Psalms of David_, and John Day\u2019s _Whole Book of Psalms_, both\npublished in 1561\u2014the tune was attached to Kethe\u2019s version of Psalm 100\nand has remained associated with this Psalm ever since. The tune is one\nof 46 known as \u201cProper\u201d or \u201cChurch\u201d tunes which are distinguished by the\nadjective \u201cOld\u201d prefixed to the number of the psalm to which they were\nattached. A later form of the melody, introduced about the middle of the\n18th century, is widely used with the \u201cDoxology\u201d (No. 618).\n\nFor comments on Louis Bourgeois see Hymn 34.\n\n\n595. Thou shalt arise, and mercy yet _Psalm CII_\n _Scottish Psalter_, 1650\n\nPsalm 102:13-22. The Everlasting God.\n\nOne of the Penitential Psalms. (See under Hymn 589.)\n\nZion is in ruins and her people in exile, but God, who is unchangeable,\nwill yet fulfill His promises to His people and make Jerusalem the\ncenter of a world-wide worship.\n\n_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.\n\n\n596. O thou my soul bless God the Lord _Psalm CIII_\n _Scottish Psalter_, 1650\n\nPsalm 103:1-5. The Goodness of God.\n\nThe psalm sets forth with exquisite beauty and tenderness the enduring\ngoodness and mercy of God. It is a song of thanksgiving to God for his\nmany benefits and blessings.\n\nIt was the custom in Scotland to sing the opening verses of this psalm\nas a song of thanksgiving and praise after the communicants had received\nthe bread and wine of the Lord\u2019s Supper. The people poured evangelical\ncontent into the words, thinking as they sang, of the great redemption\nthrough Jesus Christ: \u201cwho doth redeem thy life, etc.\u201d\n\n_MUSIC._ ST. PAUL. The origin of this tune is unknown. It appeared first\nin _A Collection of Twenty Church Tunes_, 1749, published by James\nChalmers, c. 1700-64, Aberdeen, Scotland, who was printer to the Town\nCouncil and publisher of _The Aberdeen Journal_. Only one copy of this\nsmall book is known to survive.\n\n\n597. I love the Lord, because my voice _Psalm CXVI_\n _Scottish Psalter_, 1650\n\nPsalm 116:1-7. Votive Song of the Worshipper.\n\nA Song of Thanksgiving to God for favors received and an expression of\ntriumphant faith in the Helper of the poor and needy.\n\n_MUSIC._ ST. ANDREW. For comments on this tune see Hymn 578.\n\n\n598. Unto the hills around do I lift up _Psalm CXXI_\n _John Campbell_, 1845-1914\n\nPsalm 121. The Guardian God.\n\nA splendid picture of the fatherly goodness of God and His watchful\nProvidence over His people.\n\nThe version is by John Campbell, Duke of Argyll, who married Princess\nLouise, the daughter of Queen Victoria. At one time he was the\nGovernor-General of Canada and Commander-in-Chief of Prince Edward\nIsland. He was keeper of the seal of Scotland. Though engaged in many\nand varied activities, he was an earnest Christian and found pleasure in\nthe study of the Psalms and in making them available for use in\nChristian worship.\n\n_MUSIC._ SANDON. For comments on this tune see Hymn 163.\n\n\n599. I joyed when to the house of God _Psalm CXXII_\n _Scottish Psalter_, 1650\n\nPsalm 122. A Prayer for Jerusalem.\n\nA song of the pilgrims who, having arrived at the gates of Jerusalem,\nare filled with admiration for the Holy City. They are moved at its\nbeauty and strength, recall its past stories, and pray for its peace and\nwelfare.\n\nIn the church of Scotland it has been the traditional practice to sing\nverses 3, 4, and 5 of this hymn immediately before the Benediction which\ncloses the General Assembly. Sung to the stately tune of \u201cSt. Paul,\u201d it\nleaves an indelible impression on the mind.\n\n_MUSIC._ ST. PAUL. For comments on this tune see Hymn 596.\n\n\n600. O Lord, Thou art my God and King _Psalm CXLV_\n _Scottish Psalter_, 1650\n\nPsalm 145:1-7. A Festal Anthem.\n\nA praise song celebrating the greatness and goodness of God as\nmanifested in all creation. The praise of God and of His marvelous works\nshall go on forever. The psalm has been called the _Te Deum_ of the Old\nTestament and this version is worthy of its original.\n\n_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.\n\n\n\n\n BOOK VI\n Responses\n\n\n601. Holy, holy, holy, Lord God of hosts\n\nKnown as the _Ter Sanctus_ or _Trisagion_. It is an anonymous 2d century\nreproduction of a Jewish synagogue \u201cDoxology,\u201d based on Isaiah 6:3:\n\n And one cried unto another, and said, Holy, holy, holy is the Lord of\n hosts: the whole earth is full of the glory of God.\n\nIt is intended to be sung at the beginning of a worship service.\n\n_MUSIC._ SANCTUS. The composer of the tune, Alexander Samuel Cooper, was\nborn in London in 1835. The date of his death is not known. He was an\norganist and composer of anthems, chants, and hymn tunes, and edited\n_The Parochial Psalter_ and _The Parochial Chant Book_, both of which\nhave passed through numerous editions.\n\n\n602. Holy, holy, holy. Lord God of hosts\n\nFor comments on the words see No. 601.\n\n_MUSIC._ SANCTUS. No information has been found concerning W. A. C.\nCruickshank, composer of the tune.\n\n\n603. The Lord is In His holy temple _Habakkuk 2:20_\n\nAn \u201cOpening Response\u201d or \u201cInvocation Sentence\u201d widely used to introduce\nservices of worship. The words are taken from Habakkuk 2:20.\n\nQUAM DILECTA. For comments on George F. Root, the composer of this tune,\nsee Hymn 418.\n\n\n604. Hear our prayer, O Lord\n\nA response to be sung by choir or congregation or both after public\nprayer.\n\nGeorge Whelpton, 1847-1930, composer of the tune, was born at Redbourne,\nEngland, but came to America with his parents when he was a child of\nfour years. He studied music under H. R. Palmer and with a private\nteacher in Boston. He became a well-known choir director in Buffalo and\nserved as editor of various publications. He died suddenly at Oxford,\nOhio.\n\n\n605. Thy word have I hid in my heart\n\nA response suitable for use in connection with the reading of the\nScriptures. The words are taken from Psalms 119:11, 12.\n\nNo biographical information regarding the composer, E. D. Beale, has\nbeen ascertained.\n\n\n606. Gloria Patri\n\nAn ancient canticle which is used in the service to give a trinitarian\nform to Old Testament unitarianism.\n\nThe first part, \u201cGlory to the Father, and to the Son, and to the Holy\nGhost,\u201d was used very early in the apostolic era of the church, as the\ncommon doxology. The second part, \u201cAs it was in the beginning, is now,\nand ever shall be, world without end,\u201d was added by the Western Church\nduring the second and third centuries when the Arian controversy raised\nthe question as to whether the God of the Old Testament is the same as\nthe God manifested in Christ in the New Testament. The answer,\nincorporated in the song, was an affirmative. It was always sung after\nthe Psalms to give them a New Testament or Trinitarian ending. This is\nstill the chief use of the Gloria Patri, though it is attached sometimes\nto some other part of the service. Concerning this point, Dr. Henry\nSloan Coffin says: \u201cIn view of the origin of the Gloria Patri and its\nlong historical association with the Psalms, it is vandalism to tear it\nfrom its proper context, and attach it to something else in the\nservice.\u201d (_The Public Worship of God_, Westminster Press, p. 101).\n\n_MUSIC._ For comments on Henry Greatorex see Hymn 230.\n\n\n607. Gloria Patri\n\nFor comments on the words see No. 606.\n\n_MUSIC._ The tune was composed by Charles Meineke, 1782-1850, a German\npianist and organist who came to America in 1810. For a time he was\norganist at St. Paul\u2019s Church, Baltimore.\n\n\n608. Let the words of my mouth\n\nFrom Psalm 19:14.\n\nPrayer, \u201cuttered or unexpressed,\u201d is a spiritual sacrifice. The sentence\nis used in the Jewish liturgy at the close of silent worship. If sung in\na quiet mood, the response is suitable for use by soloist, choir, or\ncongregation, before or after pastoral prayer of the worship service.\n\n_MUSIC._ The music was composed by Adolph Baumbach, 1830-80, teacher of\npiano and organ and composer of instrumental and choir music. Baumbach\nwas born in Germany about 1830, came to America in 1855, and lived in\nBoston and Chicago.\n\n\n609. Father, O hear us\n\nAnonymous.\n\nSuitable for use as a response after prayer, or before a prayer of\nspecial petition, as in the case of Elijah in I Kings 18:37: \u201chear me, O\nLord, hear me, that this people may know that thou art the Lord God.\u201d\n\n_MUSIC._ The tune is attributed to Handel but the work from which it is\ntaken has not been identified.\n\nFor comments on George Frederick Handel see Hymn 73.\n\n\n THE LORD\u2019S PRAYER\n\n\n610. Our Father, who art in heaven\n\nThe Lord\u2019s Prayer, as found in Matthew 6:9-13.\n\nThe prayer which Christ taught the disciples is in its comprehensiveness\na pattern of prayer and may well be used in the prayers of the church.\n\n_MUSIC._ The musical setting is from a Gregorian Chant. In singing it,\nthe following general directions for chanting may be found useful:\n\n1. Chants consist of two distinct divisions, one portion is recited, the\nother portion is sung.\n\n2. The words from the beginning of each line up to the accented word,\nwhich is printed in italics, are called the Recitation, and should be\nsung smoothly, without undue haste, and observing stops (,) as in good\nreading. The Recitation may be of any length. The note on which it is\nsung is called the Reciting note.\n\n3. On reaching the accented word and beginning with it, sing in strict\ntime. If there is no syllable after that which is accented, as, for\nexample, in \u201cThy Kingdom _come_,\u201d the accented syllable is held for the\ntime value of one whole measure.\n\n\n OFFERTORIES\n\n\n611. Bless Thou the gifts our hands have brought _Samuel Longfellow_,\n 1819-92\n\nAn offertory hymn to be sung by the choir or congregation or both.\n\nFor comments on the author, Samuel Longfellow, see Hymn 28.\n\nConcerning the place of the collection in the worship service, Henry\nSloan Coffin says in his excellent book on public worship:\n\n Whether the collection be made in the middle of the service or near\n its conclusion, it should be an act of worship. The gifts of the\n people should be carried up to the holy table, and received and placed\n upon it by the minister. While they are brought up, the congregation\n may stand and sing a dedication, \u201cAll things come of Thee, O Lord, and\n of thine own have we given Thee,\u201d or a similar sentence. This may be\n varied by using Ken\u2019s familiar doxology, or a verse from an\n appropriate hymn, such as Bishop How\u2019s \u201cWe give Thee but Thine own.\u201d\n When the Offering is for a cause\u2014missions or a hospital or the Bible\n Society\u2014a stanza from a hymn which fits the purpose may be selected\n for use as the dedication and be printed on the order of worship in\n the calendar. A minister may use a prayer in the act of dedication,\n but it is difficult to find variety in its expression, and the prayer\n should usually be comprised in a short sentence. Congregations are\n helped to realize that in this act they are the offerers if they join\n the choir in singing the dedication. (_The Public Worship of God_,\n Westminster Press, 1946.) Quoted by permission.\n\nCANONBURY. For comments on this tune see Hymn 296.\n\n\n612. All things come of Thee, O Lord\n\nFrom 1 Chron. 29:14.\n\nThis is one of the mostly widely used offertory responses, usually sung\nby a congregation during the consecration of the offering.\n\nThe setting of the words is significant in its conception of the spirit\nof sacrifice and worship. David was assembling the material with which\nSolomon might build the temple. The people and leaders brought their\ngifts, all voluntarily, with no mention of a tithe or temple tax.\nGratitude for what God had done for them stirred their generosity and\nthey counted it a privilege to give back to God what came to them from\nHis hand.\n\n_MUSIC._ The tune is an arrangement from Beethoven. The work from which\nit comes has not been identified.\n\nFor comments on Ludwig van Beethoven see Hymn 10.\n\n\n BENEDICTIONS\n\n\n613. May the grace of Christ our Savior _John Newton_, 1725-1807\n\nA metrical version of the apostolic benediction in II Cor. 13:14: \u201cThe\ngrace of the Lord Jesus Christ, and the love of God, and the communion\nof the Holy Spirit, be with you all.\u201d The hymn has been translated into\nseveral languages. For more than 100 years the weekly meeting of the\nPresbyterian ministers in New York City closed with the singing of these\nwords.\n\n_MUSIC._ DORRNANCE first appeared in _The Choral_, 1845, by Isaac B.\nWoodbury and Benj. F. Baker.\n\nFor comments on the composer, Isaac B. Woodbury, see Hymn 261.\n\n\n614. The Lord bless you and keep you\n\nFrom the Authorized Version of the Aaronic blessing in Numbers 6:24-26,\nwith order of verses 25 and 26 reversed.\n\n_MUSIC._ The musical setting, the original of which has an elaborate\ncontrapuntal and sevenfold \u201cAmen,\u201d not suitable for congregational use,\nwas written as a farewell to William Smedley, choirmaster at the St.\nJames Protestant Episcopal Church, Chicago. Without Smedley\u2019s knowledge\nthe congregation, all kneeling, sang this with great effect, after the\nbenediction, at the service of farewell.\n\nFor comments on Peter C. Lutkin see Hymn 390.\n\n\n DOXOLOGIES\n\n\n615. Now to the King of heav\u2019n _Isaac Watts_, 1674-1748\n _and Philip Doddridge_, 1702-51\n\nThis doxology, according to James Moffatt, is made up of lines from a\nhymn by Doddridge and Watt\u2019s paraphrase of Psalm 148.\n\n_MUSIC._ ST. JOHN. There seems to be no information concerning the\ncomposer or source of this tune. It has been traced to the third volume\nof _The Parish Choir_, 1851, where it appears anonymously. It should be\nsung with vigor.\n\n\n616. To God the only wise _Isaac Watts_, 1674-1748\n\nA paraphrase of the doxology found in Jude vv. 24, 25.\n\nFor comments on Isaac Watts see Hymn 11.\n\n_MUSIC._ OLD 134TH (ST. MICHAEL) is one of the greatest of short meter\ntunes, derived from the tune composed by L. Bourgeois for Psalm 101 in\nthe _Genevan Psalter_ of 1551. It has been set to a number of other\npsalms and hymns and appears at Hymn 128 set to \u201cYe servants of the\nLord\u201d by Doddridge.\n\nFor comments on Louis Bourgeois see Hymn 34.\n\n\n617. Now to him who loved us, gave us _Samuel Miller Waring_,\n 1792-1827\n\nFrom the author\u2019s _Sacred Melodies_, 1826, where it was followed by a\nsecond verse.\n\nSamuel Miller Waring, an Englishman, was brought up in the Society of\nFriends but left it to unite with the Church of England. He published\n_Sacred Melodies_ in 1826, in which his hymns appear.\n\n_MUSIC._ TRIUMPH appeared first in _The Church Hymn and Tune Book_,\n1852, edited by W. J. Blew and H. J. Gauntlett.\n\nFor comments on the composer, Henry J. Gauntlett, see Hymn 412.\n\n\n618. Praise God from whom all blessings flow _Thomas Ken_, 1637-1711\n\nThe most famous of all doxologies and the most frequently sung of all\nhymn stanzas.\n\nBishop Ken wrote three hymns, for morning, evening, and midnight, (See\nNos. 25 and 33), ending each with this stanza. The words are simple\nenough so a child can sing them with understanding, yet they are so\nprofound that the wisest and most prudent cannot exhaust their meaning.\n\nFor comments on Thomas Ken see Hymn 25.\n\n_MUSIC._ OLD HUNDREDTH. The original form of this tune is found at No.\n594.\n\nFor comments on Louis Bourgeois see Hymn 34.\n\n\n AMENS\n\n\n619. Dresden Amen\n\nA cadence, or ending, much used in ecclesiastical music in the Royal\nChapel of Dresden (common also throughout Saxony). Wagner immortalized\nit in his _Parsifal_ and the tune also appears in Mendelssohn\u2019s\n_Reformation Symphony_, Stanford\u2019s _Service in B flat_, and elsewhere.\n\nThe composer, Johann Gottlieb Naumann (or Giovanni Amadeo), 1741-1801,\nwell-known musician in his day, was born at Blasewitz, near Dresden, the\nson of peasant parents. He was a successful opera composer in Saxony,\nItaly, Sweden, and Prussia. Naumann was also a prolific composer of\nchurch music: 13 oratorios, 21 masses with _Te Deums_, and smaller\nchurch pieces. Some of his compositions are still in use. His best known\nsingle work known beyond Dresden is his setting of Klopstock\u2019s _Vater\nunser_.\n\n\n620. Threefold Amen\n\nThe tune is from an unknown Danish source and has wide use in the\nLutheran churches of Denmark.\n\n\n621. Amen Sequence\n\nAn effective piece for women\u2019s voices, of unknown origin.\n\n\n622. Fourfold Amen\n\nFor comments on the composer, John Stainer, see Hymn 111.\n\n\n623. Sevenfold Amen\n\nFirst appeared in _A Choir-book for the Office of Holy Communion_, 1873,\nedited by Stainer.\n\nFor comments on John Stainer see Hymn 111.\n\n\n NOTE ON THE USE OF \u201cAMEN\u201d\n\nIn the Jewish and early Christian Church, the people said \u201cAmen\u201d after\nprayers were offered. Cf. I Cor. 14:16. In so doing, they gave a\ndeliberate endorsement to what had been said or sung. The \u201cAmen,\u201d\nmeaning \u201cso be it,\u201d should be sung with conviction, not thoughtlessly or\nhalf-heartedly, as if what went before is of doubtful importance.\n\nThe settings given here are principally for use by the choir after the\npastoral prayer or at the close of a service, in churches where such\nmusical elaboration is practiced.\n\nThe use of \u201cAmen\u201d after a hymn is optional. If sung well, it serves as a\nsatisfying concluding formula. Its use is entirely appropriate only with\nthose hymns which are prayer, praise, or otherwise addressed to God.\n\nThe first instance of its use at the end of a hymn is in a curious hymn\nbook entitled, _Seven Sobs of a Sorrowful Soul for Sinne_, published in\nEngland in 1583. During the last century most editors of hymnals have\nadopted the custom of adding the \u201cAmen\u201d to all hymns. The _Songs of\nPraise_, published in England in 1933, is a notable exception.\n\n\n\n\n PRINCIPAL WORKS CONSULTED\n\n\n General\n\n Benson, Louis F., _Studies of Familiar Hymns_. Series I and II.\n Westminster Press, 1903 and 1923.\n\n An authoritative study. One of the best.\n\n Breed, David R., _The History and Use of Hymns and Hymn-Tunes_.\n Revell, 1903.\n\n Useful but somewhat out of date, especially in its classification of\n hymns.\n\n Brown, Theron, and Butterworth, Hezekiah, _The Story of the Hymns and\n Tunes_.\n American Tract Society, 1906.\n\n Based on Butterworth\u2019s _Story of the Hymns and Story of the Tunes_,\n with much added material.\n\n Gillman, Frederick John, _The Evolution of the English Hymn_.\n Macmillan, 1927.\n\n Well written. Resembles Horder\u2019s _Hymn Lover_ but brings the\n material more nearly up to date.\n\n Horder, W. Garrett, _The Hymn Lover_.\n Curwen, 1889.\n\n An excellent introduction to Christian hymnology.\n\n Julian, John, ed. _A Dictionary of Hymnology_.\n Murray, 1908.\n\n A comprehensive and invaluable book of reference.\n\n Maitland, J. A. Fuller, ed., _Grove\u2019s Dictionary of Music and\n Musicians._\n Theodore Presser Co.\n\n A famous work in four volumes. 1940 edition by H. C. Colles.\n\n McCutchan, Robert G., _Hymns in the Lives of Men._\n Abingdon-Cokesbury, 1945.\n\n An interesting study of the influence of hymns.\n\n Phillips, Charles S., _Hymnody Past and Present._\n S.P.C.K., 1937.\n\n Scholarly. Deals largely with hymnody of the Church of England.\n\n Robinson, Charles S., _Annotations upon Popular Hymns._\n Hunt, 1893.\n\n Comments on hymns contained in _Laudes Domine._\n\n Ryden, Ernest Edwin, _The Story of Our Hymns._\n Augustana Book Concern, 1930.\n\n Popular in style. Part III deals with Scandinavian hymnody. The\n author is a Lutheran hymnologist.\n\n Schaff, Philip, _Literature and Poetry_.\n Scribner, 1890.\n\n Contains an informative chapter on St. Bernard as a hymnist.\n\n\n English Hymnody\n\n Benson, Louis F., _The English Hymn_.\n Doran, 1915.\n\n Best source of information on the development and use of standard\n English and American hymns. Scholarly. Unfortunately out of print.\n\n Brawley, Benjamin, _History of the English Hymn_.\n Abingdon Press, 1932.\n\n Popular in style.\n\n Duffield, Samuel Willoughby, _English Hymns_.\n Funk and Wagnalls, 1886.\n\n An old standard work giving the origin of hymns to the middle of the\n 19th century.\n\n Marks, Harvey B., _The Rise and Growth of English Hymnody_.\n Revell, 1937.\n\n An excellent account.\n\n\n American Hymnody\n\n Foote, Henry Wilder, _Three Centuries of American Hymnody_.\n Harvard University Press, 1940.\n\n An authoritative and readable account of American hymnody from the\n publication of the _Bay Psalm Book_, 1640, to the present day.\n\n Ninde, Edward S., _The Story of the American Hymn_.\n Abingdon Press, 1921.\n\n Popular stories of hymns. Supplements the more scholarly work by\n Foote.\n\n\n Stories of Hymns and Hymn Writers\n\n Butterworth, Hezekiah, _The Story of the Hymns_.\n American Tract Society.\n\n Deals with nearly one hundred hymns, emphasizing those that resulted\n from unusual religious experiences.\n\n Cope, Henry F., _One Hundred Hymns You Ought to Know_.\n New York, 1906.\n\n Laufer, Calvin W., _Hymn Lore_.\n Westminster Press, 1932.\n\n Comments on 50 hymns, mostly of American origin.\n\n Price, Carl F., _One Hundred and One Hymn Stories_.\n Abingdon.\n\n \u2014\u2014 \u2014\u2014, _More Hymn Stories_.\n Abingdon, 1931.\n\n Popular but authoritative.\n\n Smith, H. Augustine, _Lyric Religion_.\n Century, 1931.\n\n Excellent account of 150 hymns with suggestions for their use at\n song services.\n\n Stead, W. T., _Hymns That Have Helped_.\n Doubleday, 1897.\n\n Brief notes on 150 popular hymns.\n\n\n The German Chorales\n\n Bacon and Allen, _The Hymns of Martin Luther_.\n London, 1884.\n\n Luther\u2019s hymns set to their original melodies. Includes Luther\u2019s\n prefaces to successive hymn books published during his life time and\n under his supervision.\n\n Collitz, Klara Hechtenberg, _Selections from Classical German\n Literature_.\n Oxford University Press, 1914.\n\n Includes biographical notes.\n\n Knapp, Albert, _Evangelischer Liederschatz_.\n Stuttgart, 1865.\n\n More than 3,000 of the great hymns of Germany are included in this\n work, the most comprehensive hymn collection ever published in\n Germany. But Knapp took undue liberties in revising the hymns of\n some of the older writers.\n\n Koch, Edward Emil, _Geschichte des Kirchenliedes und Kirchengesangs_.\n Stuttgart, 1867.\n\n A standard work.\n\n Schultz, Walter, _Reichs\u00e4nger_.\n P. Ott, Gotha, 1930.\n\n A popular account of hymns used in Germany, including translations\n from English sources. The author was a pastor in Marburg.\n\n Wilson, A. W., _The Chorales_.\n Faith Press, London, 1920.\n\n A 78 page monograph by the then organist of Manchester Cathedral.\n\n Winkworth, Catherine, _Christian Singers of Germany_.\n London, 1869.\n\n \u2014\u2014 \u2014\u2014, _Lyra Germanica_.\n London, 1881.\n\n England\u2019s foremost translator of German chorales gives in these\n volumes a history of German hymnody and collections of her\n translations.\n\n Wolff, Dr. Eugen, _Das Deutsche Kirchenlied des 16. und 17. Jahrh_.\n Stuttgart.\n\n Detailed and scholarly account.\n\n\n The Gospel Songs\n\n Gabriel, Chas. H., _The Singers and Their Songs_.\n The Rodeheaver Co., 1915.\n\n Hall, J. H., _Biography of Gospel Song and Hymn Writers_.\n Revell, 1914.\n\n Rodeheaver, Homer A., _Hymnal Handbook for Standard Hymns and Gospel\n Songs_.\n The Rodeheaver Co., 1931.\n\n Sankey, Ira D., _My Life and the Story of the Gospel Hymns_.\n Harper and Brothers, 1907.\n\n Showalter, A. J., _The Best Gospel Songs and Their Composers_.\n A. J. Showalter Co., 1904.\n\n Stebbins, George C., _Reminiscences and Gospel Hymn Stories_.\n George H. Doran Co., 1924.\n\n\n Handbooks to Hymnals\n\n Covert, W. C., and Laufer, C. W., _Handbook to the Hymnal_.\n Presbyterian Board of Christian Education, 1935.\n\n A Handbook to the current Presbyterian hymnal of 1931.\n\n Dearmer, Percy, _Songs of Praise Discussed_.\n Oxford University Press, 1933.\n\n Based on Moffatt\u2019s _Handbook to the Church Hymnary_. A companion to\n the popular English collection, _Songs of Praise_.\n\n _Hymns Ancient and Modern_, Historical Edition.\n Clowes, 1909.\n\n Hymns and music of the famous English hymnal, with an account of all\n the hymns and tunes.\n\n Macmillan, Alexander, _Hymns of the Church_.\n United Church Publishing House, Toronto, 1935.\n\n A companion to the _Hymnary_ of the United Church of Canada,\n constructed in the sequence of history.\n\n McCutchan, Robert Guy, _Our Hymnody_.\n Methodist Book Concern, 1937.\n\n A manual to the Methodist hymnal. Scholarly and comprehensive.\n\n Moffatt, James, and Patrick, Millar, _Handbook to the Church Hymnary_\n with Supplement.\n Oxford University Press, 1925.\n\n A companion to the Scottish _Church Hymnary_. One of the best\n Handbooks published.\n\n Polack, W. G., _Handbook to the Lutheran Hymnal_.\n Concordia Publishing Co., 1942.\n\n\n Practical Hymnology\n\n Ashton, Joseph N., _Music in Worship_.\n The Pilgrim Press, 1943.\n\n A manual for ministers, organists, and choir directors.\n\n Clokey, Joseph W., _In Every Corner Sing_.\n Morehouse Gorham Co., 1945.\n\n A small, practical book, written for amateurs and laymen, on music\n for the small church.\n\n Harper, Earl, _Church Music and Worship_.\n Abingdon Press.\n\n Lorenz, E. S., _The Singing Church_.\n Cokesbury, 1938.\n\n Much practical material. The author makes about as good a case as\n can be made for the use of Gospel songs.\n\n Pratt, Waldo S., _Musical Ministries of the Church_.\n Revell, 1901.\n\n Wolfe, Paul Austin; Dickinson, Helen A., and Clarence, _The Choir Loft\n and the Pulpit_.\n H. W. Gray, 1943.\n\n Includes Services of Worship and lists of choir and organ music used\n in the Brick Presbyterian Church, New York.\n\n\n Hymn Tunes and Composers\n\n Dickinson, Edward, _Music in the History of the Western Church_.\n Scribners, 1902.\n\n A broad survey. Excellent chapters on Luther and Bach.\n\n Douglas, Winfred, _Church Music in Theory and Practice_.\n Scribners, 1937.\n\n Emphasis on liturgical music, written from the point of view of an\n American Anglo-Catholic.\n\n Lightwood, James T., _Hymn Tunes and Their Story_.\n Epworth Press, London, 1923.\n\n A good account of tunes up to the latter part of the 19th century.\n\n Metcalf, Frank J., _Stories of Hymn Tunes_.\n Abingdon Press, 1928.\n\n A popular treatment.\n\n Scholes, Percy A., _The Oxford Companion to Music_. 7th Ed. Revised.\n Oxford University Press, 1947.\n\n A one volume encyclopedia of music, for both the amateur and\n professional musician.\n\n\n Mennonite Hymnody\n\n Bender, H. S., _Two Centuries of American Mennonite Literature_.\n Mennonite Historical Society, Goshen, Ind., 1929.\n\n Lists books, hymnbooks, pamphlets, papers and magazines by all\n branches of Mennonites since the beginning of the 18th century.\n\n Hohmann, Walter H., _Outlines in Hymnology with Emphasis on Mennonite\n Hymnology_.\n Mennonite Publication Office, 1941.\n\n The Outline, for the most part, follows Breed\u2019s _History and Use of\n Hymns and Hymn-Tunes_. Part II consists of a chronological list of\n Mennonite hymn books.\n\n _Mennonitisches Lexikon._\n Frankfurt-am-Main und Weierhof.\n\n A comprehensive work begun in 1913 by Hege and Neff, still\n unfinished.\n\n Smith, C. H., _The Story of the Mennonites_.\n Mennonite Book Concern, Berne, Ind., 1941.\n\n By request of the author before his death in 1948, the work is being\n revised and brought up to date by Dr. C. Krahn.\n\n\n\n\n Index of Scripture Texts\n\n\n Gen. 1:31 410\n 5:24 197\n 19:15-22 563\n 27:34 204\n 28:20-22 167, 202\n 50:26 193\n Exod. 13:17-22 168, 274\n 15 113\n 16:12-21 247\n 33:22 148\n 34:26 204\n Lev. 8:35 214\n Num. 6:24-26 614\n Deut. 32:3 512\n 32:4 567\n 32:7 398\n I Sam. 3:1-10 416\n 7:12 189\n I Kings 18:41-48 339\n I Chron. 12:18 190\n 17:16, 17 463\n 29:14 612\n II 15:15 465\n Chron.\n Job 19:25-27 453, 541\n Psalms 1 575\n 5 20, 576\n 15 577\n 19 291, 510, 578, 608\n 23 62, 478, 579\n 24 100, 523, 580\n 25 581\n 26:8 281\n 27 582\n 34 583, 584\n 37:5 558\n 40 585\n 42 586\n 43 499, 587\n 45 529\n 46:1-5 257, 549, 588\n 46:10 54\n 51 467, 469, 589\n 55:22 571\n 60:4 331\n 65:1-4 590\n 72 65, 341, 591\n 77:19 242\n 84:1-7, 12 592\n 87:3 274\n 90:1-6 60, 568\n 91:4 33\n 93 593\n 95 18\n 98 70\n 100 272, 594\n 102:13-22 595\n 103:1-6 515, 596\n 104 7, 518\n 104:30 385\n 116:1-7 597\n 118:24, 25, 26 100, 285\n 119:11, 12, 151 172, 605\n 121 598\n 122 599\n 123:3 519\n 130 531, 532\n 136 11, 64\n 137:5, 6 275\n 141:2 36\n 145 600\n 146 513, 597\n 148 16, 49, 615\n 150 515\n Prov. 3:24 29\n 6:23 289\n 19:17 213\n Songs 1:7 470\n of Sol.\n 2:1-2 446\n 5:10-16 120\n Isa. 6:3 601, 602\n 11:2 546\n 21:11, 12 66\n 26:3 256\n 26:4 148\n 33:20, 21 274\n Isa. 40:11 430\n 40:28-31 258\n 43:1, 2 151\n 52:7, 8 336, 522\n 53:7 533\n Jer. 33:11 376\n Lam. 3:22b, 23a 22\n Ezek. 3:17 522\n 47:1-12 232\n Hos. 6:1-4 146\n Hab. 2:20 2, 603\n Hag. 2:7 69\n Zech. 13:1 492\n 14:7 254\n Mal. 3:1 81\n 3:17 432\n 4:2 26\n Matt. 2:2 89\n 2:6 88\n 3:7 46\n 4:18, 19 140\n 4:24 370\n 5:8 206\n 6:9-13 342, 354, 356, 610\n 6:24-34 255\n 11:28 143, 240, 481\n 16:24 565\n 17 98\n 20:22 392\n 21:1-17 100, 404\n 25:1-13 522\n 26:39 252\n 26:42 245\n 28:9 115\n 28:19, 20 335\n Mark 1:32 37\n 4:37-41 479\n 8:38 192\n 14:36 250\n 15:29, 30 536\n Luke 2 71, 76, 527\n 2:9-11 73, 74\n 10:2 325\n 10:25-37 228\n 12:35-37 128\n 13:24 563\n 15:1 466\n 19:9 358\n 19:37, 38 100\n 22:19 305\n 22:32, 33 104, 195\n 24:28-31 307\n 24:29 30, 559\n John 1:16 142\n 1:29 533, 540\n 3:3-7 461\n 4:14 142\n 8:12 142\n 9:5 467\n 12:20-23 201\n 14:6 224\n 14:16 185\n 14:19 543\n 14:27 157\n 15:1-5 234\n 15:14 224\n 16:23-28 569\n 17:9 195\n 20:22 135\n 20:25-29 152\n Acts 9:6 220\n 10:33 553a\n 14:17 510\n 26:22 383\n Rom. 8:31 236\n 14:7 296\n I Cor. 1:30 55\n 2:9 522\n 3:11 487\n 5:7, 8 544\n 10:4 148\n 11:26 310\n 13 174\n 15:35ff 541\n II Cor. 13:14 613\n Gal. 5:25 133\n 6:14 110, 490\n Eph. 2:20, 21 277\n 4:23 385\n 6:10-18 198\n Phil. 1:21 253\n 2:12 563\n 3:7 105, 106\n 4:4 121\n 4:8 402\n Col. 3:11 320\n 3:15 157\n I Thess. 4:17 261\n 4:15-18 455\n 5:2 455\n I Tim. 1:13 562\n 6:6-8 252\n II Tim. 1:8-12 302, 450\n Heb. 1:6 123\n 10:22 475\n 13:5 151\n Jas. 1:27 229\n I Pet. 1:3-5 266\n 3:18 534\n 5:7 56, 439\n I John 1:7 209\n 4:8 55, 439\n 4:19 424\n Jude vv. 24, 25 616\n Rev. 1:7 130\n 3:10 459\n 3:20 141, 144\n 4:8-11 1\n 5:9 124\n 5:11-13 17\n 11:15 119\n 19:6-9 522, 544\n 19:12 118\n 21:21 262, 263\n 21:22 522\n 22:1, 17 232\n 22:20 127\n\n\n\n\n Topical Index of the Metrical Psalms\n\n\nTo facilitate the practical usefulness of the Psalms found in Book Five\n of the _Hymnary_, this brief subject index is given here. The\n numerals refer to the _number of the Psalm_.\n\n Advent 24, 72\n Affliction 25, 42\n Baptism 51\n Bereavement 23, 27\n Children 34 (No. 584)\n Christ\u2014Ascension 24\n Christ\u2014His Kingdom 72\n Church\u2014House of God 5, 15, 23, 27, 42, 43, 46,\n 65, 84, 102, 122\n Dedication of 24\n Unity of 122\n Worship 5, 15, 24, 27, 43, 65, 84,\n 100, 116, 122\n Comfort 23, 34, 90, 103, 121\n Commandments of God 19\n Communion 23, 24, 25, 34, 42, 43, 100,\n 103\n Communion, Preparation for 15, 24, 34, 65, 116\n Confession 25, 51\n Consecration 116\n Dependence upon God 27, 34, 40, 84, 121\n Dismission 72, 103, 121, 122\n Easter 24\n Festival Occasions 24, 100\n Forgiveness 25, 103\n Funeral 23, 121\n God\n His blessing 23, 24, 34, 65, 103\n His bounty 23, 34, 65, 103, 116, 145\n His glory 19, 72, 102\n Law of 1, 19\n Mercy of 25, 100, 102\n Guidance 23, 25\n Hope 25, 43\n Hospitals, For use in 23, 27, 103, 121\n International 100, 145\n Missions 72, 145\n Morning 5\n Palm Sunday 24\n Penitence 25, 51\n Praise 34, 51, 65, 72, 93, 100, 103,\n 116, 145\n Prayer 5, 19, 43, 51, 84, 122\n Purity 19\n Righteousness 1, 15, 19, 34\n Scripture, The Holy 19\n Shepherd, The divine 23\n Thanksgiving 34, 100, 103, 116, 145\n Travellers 23, 121\n Trust 5, 23, 27, 43, 116, 121\n Whitsunday 51\n Worship\n Close of 72, 122\n Morning 5, 145\n Year, New 1, 15, 23, 27, 40, 121\n\n\n\n\n Index of Composers and Sources of Tunes\n\n\n A\n HYMN\n Abbey, Alonzo J., 1825-87 259\n Adam, Adolphe, 1803-56 86\n Ahle, Johann R., 1625-73 553\n Albert, Heinrich, 1604-51 370, 573\n Allen. Chester G., 1812-77 438\n Ambrose, Robert S., 1824-1908 264\n Ancient Dutch Melody 122\n Ancient Plain Song (13th Century) 67\n Anton, Christoph, d. 1658 535\n Arndt, E. M., 1769-1860 371\n Arne, Thomas A., 1710-78 152\n Arnold, Samuel, 1740-1802 584\n Atkinson, Frederick G., 1841-97 133\n\n\n B\n Bach, Johann Christoph, 1642-1703 548\n Bach, Johann Sebastian, 1685-1750 539, 545, 556, 557, 564, 566\n Baker, Henry, 1835-1910 171, 172, 352\n Baker, Henry W., 1821-77 143\n Barnard, Mrs. Charles, 1830-69 400\n Barnby, Joseph, 1838-96 21, 29, 52, 164, 265, 312, 317, 393\n Barnes, Edward Shippen, 1887\u2014 48, 79, 407, 411\n Barrington, J. W. 267\n Barth\u00e9l\u00e9mon, Francois H., 1741-1808 25, 57\n Basswood, W. K. 435\n Batchellor, D. 423\n Baumbach, Adolph, 1830-80 608\n Beale, E. D. 605\n Beaty, Richard W., 1799-1883 447\n Beethoven, Ludwig van, 1770-1827 10, 612\n Belle, C. 411\n Berggreen, Anton P., 1801-80 219\n Biermann, J. M. 532\n Bishop, John, 1665-1737 176\n Bixel, James W., 1913\u2014 77\n Bliss, Philip P., 1838-76 442, 448, 467, 484, 494\n _Bohemian Brethren\u2019s Gesangbuch_, 1566 512\n Bohemian Folk Tune 79\n _Book of Psalmody_, 1718 228\n Bortniansky, Dimitri S., 1752-1825 28, 517\n Bourgeois, Louis, _c._ 1500-_c._ 61, 34, 306, 594, 618\n Boyd, William, 1847-1928 353\n Bradbury, William B., 1816-68 103, 182, 204, 311, 314, 395, 427, 428,\n 440, 458, 478, 487\n Bullinger, Ethelbert W., 1837-1913 227\n Bunnett, Edward, 1834-1923 398\n Burnap, Uzziah C., 1834-1900 134\n\n\n C\n Caldbeck, George T., 1852\u2014 256\n Calkin, John B., 1827-1905 331\n Callcott, William H., 1807-82 203\n Calvisius, Seth, 1556-1615 557\n _Cantus Diversi_, 1751 80, 130, 151\n Carey, Henry, 1692?-1743 44, 344\n Challinor, F. A., 1866\u2014 419\n _Chalmer\u2019s Collection_, Aberdeen, 1749 596, 599\n Chetham, John, _c._ 1700-63 501\n Clark, Jeremiah, 1670-1707 582\n Clemm, J. B. C. 325\n Coles, George, 1792-1858 468\n _Collection of Hymns and Sacred Poems_, Dublin, 1749 268, 593\n Conkey, Ithamar, 1815-67 110\n Converse, Charles C., 1832-1918 186\n Cooper, A. S. 601\n Cottman, Arthur, 1842-1879 218\n _Creation, The_, 1795 50\n Croft, William, 1678-1727 6, 61, 95, 276\n Cr\u00fcger, Johann, 1598-1662 242, 514, 534, 552, 564\n Cruickshank, W. A. C. 602\n Cummings, William, 1831-1918 85\n Cunningham, F., Early 19th cent. 307\n _Curwens Tune Book_, 1842 404\n Cutler, Henry S., 1824-1902 194\n\n\n D\n _Damon\u2019s Psalms_, 1591 39, 196\n _Damon\u2019s Psalter_, 1592 589\n _Darmstadt Cantionale_, 1687 535\n Darwall, John, 1731-1789 9\n Davis, Frank M. 502\n _Day\u2019s Psalter_, 1562 318\n De Corbeil, Pierre, d. 1222 102\n Doane, William Howard, 1832-1916 313, 472, 474, 475, 483, 485, 490,\n 495, 497\n Donizetti, 1797-1848 235\n Dougall, Neil, 1776-1862 338\n Drese, Adam, 1620-1701 574\n Dutch Traditional Melody 355\n Dyer, Samuel, 1785-1835 211, 282, 349\n Dykes, John B., 1823-76 1, 42, 138, 142, 155, 159, 162, 169, 184,\n 249, 315, 361\n\n\n E\n Early American 99\n Ebeling, Johann Georg, 1620-76 68, 525, 555\n Egli, Johann H., 1742-1810 359\n Ellor, James, 1819-99 5\n Elvey, George J., 1816-93 118, 149, 198, 357, 377\n Emerson, L. O., 1820-1915 35\n English Melody 417, 446\n English Traditional Carol 385\n English Traditional May-Day Carol 406\n English Traditional Melody 72, 290\n Esch, Louis von 2\n _Este\u2019s Psalter_, 1592 191, 588\n Ewing, Alexander, 1830-1895 262\n Excell, Edwin Othello, 1851-1921 420, 463\n\n\n F\n Farrant, Richard, _c._ 1530-80 587\n Filitz, Friedrich, 1804-76 174, 298\n Fillmore, Fred A. 498\n Fillmore, J. H. 453\n Fink, Gottfried W., 1783-1846 92\n _Finlandia_ 54\n Fischer, William Gustavus, 1835-1912 469, 493\n Flemming, Friedrich F., 1778-1813 59, 233, 278\n French Melody 64\n Freylinghausen\u2019s _Gesangbuch_ 510, 513, 523, 538, 551, 554, 569\n Fritsch, Ahasuerus, 1629-1701 566\n\n\n G\n Gardiner, William, 1770-1853 197, 209, 222, 280, 294, 302, 383\n Gastorius, Severus, 17th Century 524, 567\n Gauntlett, Henry John, 1805-76 412, 617\n Gawler, W., from \u201c_Hymns and Psalms_,\u201d 1789 93\n _Geistliche Kirchenges\u00e4ng_, 1623 11\n _Geistliche Lieder_, Leipsic, 1589 557\n _Genevan Psalter_, 1551 19, 128, 132, 306, 354, 594, 616\n German Chorale, 1738 509\n German Melody 211, 282, 285, 433, 434, 543, 572\n German Traditional Melody, adapted by J. Cr\u00fcger, 1598-1662 564\n Gerold, Johann Carl, 1745-1822 507\n _Gesangbuch der Herzogl_, 1784 47\n _Gesangbuch mit Noten_, 1890 32, 157, 240, 241, 252, 254, 301, 321,\n 342, 362, 387, 430, 436, 509, 533, 544, 558, 560\n Giardini, Felice De, 1716-96 8\n Gl\u00e4ser, Carl G., 1784-1829 12, 397\n _Glaubens Harfe_ 129, 532\n _Gloria Patri_ of Palestrina, From the 316\n _Gnadauer Choral Buch_, 1735 376, 537, 563\n Gordon, Adoniram J., 1836-95 216\n Goss, John, 1800-80 121, 190\n Gottschalk, Louis M., 1829-69 136\n Goudimel, Claude, _c._ 1510-72 34\n Gould, John E., 1822-75 141, 161\n Gounod, Charles F., 1818-95 26\n Gower, John H., 1855-1922 104\n Grape, John T., 1833-? 462\n Greatorex, Henry W., 1811-58 230, 606\n Greek Folk Song 427\n Gregorian Chant 106, 610\n Gregorian Choral 568\n Gregorian Origin 540\n Gruber, Franz, 1787-1863 83\n\n\n H\n _Hallelujah, The_ 131, 327\n Hamburger _Musikalisches Handbuch_, 1690 369\n Hanby, Benjamin Russell, 1833-67 96\n Handel, George F., 1685-1759 70, 73, 258, 609\n _Harmoniae Hymnorum Scholae Gorlicensis_, 1599 248\n Harrison, Ralph, 1748-1810 257\n Hassler, Hans Leo, 1564-1612 539\n Hastings, Thomas, 1784-1872 120, 125, 148, 293, 336, 350, 381\n Hatton, John, d. 1793 341, 367, 595, 600\n Havergal, William H., 1793-1870 153, 205, 253\n Haydn, Franz Joseph, 1732-1809 18, 27, 50, 274, 550\n Haydn, Johann Michael, 1737-1806 7, 167, 592\n Hayne, Leighton G., 1836-83 271\n Hebrew Melody 14, 366\n _Heilige Seelenlust_, 1657 37, 528\n Heins, Nicholas 139\n Hemy, Henri F., 1818-88 94, 154, 170\n Hintze, Jacob, 1622-1702 545\n _Hirschberg Gesangbuch_, 1741 244\n Hodges, John S. B., 1830-1915 304\n Hoffman, Elisha A., 1839-? 473\n Hohmann, W. H., 1892\u2014 400, 525\n Holbrook, Joseph, 1822-88 250\n Holden, Oliver, 1765-1844 4\n Hopkins, Edward J., 1818-1901 43, 286\n Hopkins, John H., Jr. 90\n Howard, Samuel, 1710-82 581\n Hull, A., 1828-? 232, 323\n Hungarian Chorale, 16th Century 98\n Husband, Edward, 1834-1908 144\n Husband, J. J., 1760-1825 437\n _Hymn Book of the Bohemian Brethren_, 1531 292\n _Hymns for Children_ 409\n\n\n I\n Irish Traditional Melody 396\n Isaak, Heinrich, _c._ 1455-1517 556\n\n\n J\n Jackson, Robert, 1842-1914 135\n Jenner, Henry L., 1820-98 281\n Jones, Darius E., 1815-81 55\n Josephi, George, 17th cent. 37\n Jude, William H., 1851-92 140\n\n\n K\n _Katholisches Gesangbuch_, Vienna, _c._ 1774 30, 519, 541\n Kirkpatrick, William J., 1838-1921 334, 482, 488\n _Kleiner Liederschatz_ 407, 421, 433\n _Klug\u2019s Gesangbuch_, 1535 527\n Knapp, Mrs. Joseph F., 1839-1908 480, 491\n Knapp, William, _c._ 1698-1768 208, 368\n Knecht, Justin H., 1752-1817 144, 511, 518\n Kocher, Conrad, 1786-1872 51, 530\n _K\u00f6nig\u2019s Choralbuch_, 1738 287\n K\u00f6nig, Johann B., 1691-1758 205\n Koschat, Thomas 62\n Kremser, Edward, 1838-1914 15\n\n\n L\n La Feill\u00e9e, Francois de, 18th Century 24\n Lahee, Henry, 1826-1912 379\n Lane, Spencer, 1843-1903 195\n Langran, James, 1835-1909 303\n LeJeune, George F., 1842-1904 263\n Leoni, Meyer, d. 1797 14, 366\n Lewis, Freeman, 1780-1859 470\n Lloyd, William, 1785-1852 180\n Lorenz, E. S., 1854\u2014 439, 476\n Lowry, Robert, 1826-99 187, 220, 443, 452\n Luther, Martin, 1483-1546 549\n Lutkin, Peter C., 1858-1931 390, 614\n Lwoff, Alexis T., 1799-1870 351\n _Lyra Davidica_, 1708 114\n\n\n M\n Main, Hubert P., 1839-1925 426\n Maker, Frederick C., 1844-1927 112, 177, 181, 270, 310, 384\n Malan, Henri A. C., 1787-1864 215\n Mann, Arthur H., 1850-1929 212\n Marsh, Simeon B., 1798-1875 158\n Marshall, W. S. 479\n Mason, Harry S., 1881\u2014 392\n Mason, Lowell, 1792-1872 12, 13, 41, 56, 63, 66, 106, 123, 150, 188,\n 201, 202, 214, 221, 231, 251, 255, 284, 285, 291, 332, 333, 348, 401,\n 492\n Mathews. Henry E., b. 1820 405\n Maunder, John H., 1858-1920 340\n McAfee, C. B., 1866-1944 239\n McGranahan, James, 1840-1907 450, 451, 455, 466\n McNaughton, John H. 360\n Meineke, Charles, 1782-1850 607\n Mendelssohn-Bartholdy, Felix, 1809-47 23, 85, 203, 289, 568\n Messiter, Arthur H., 1834-1916 156\n Miller, Edward, 1731-1807 105\n Monk, William H., 1823-89 40, 107, 116, 119, 126, 292, 316\n Moore, Willis A. 364\n Mozart, Wolfgang Amadeus, 1756-91 179, 329\n Mueller, Carl 414\n\n\n N\n N\u00e4geli, Hans G., 1768-1836 41, 56, 251\n Nares, James, 1715-83 200\n Naumann, Johann Gottlieb, 1741-1801 619\n Neander, Joachim, 1650-80 127, 505, 506\n Netherlands Folk Song, 1625 15\n Neumark, George, 1621-81 571\n _Neuvermehrtes Meiningisches Gesangbuch_, 1693 289\n Nichol, Henry E., 1862-1928 335\n Nicolai, Philipp, 1556-1608 522, 529, 546\n Niemeyer, Edward, 1854 358\n Norris, J. S. 500\n Norse Melody 391\n\n\n O\n Ogden, William A., 1841-97 481\n Old Breton Melody as in _School Worship_, 1926 388\n Old English Melody 78, 94, 170\n Old French Melody 82, 394\n Old German Melody 526, 540\n Oliver, Henry K., 1800-85 192\n Owen, W., 1814-93 444\n\n\n P\n Paisiello, G., 1741-1816 210\n Palestrina, Giovanni P. da, 1525-94 116, 316\n Palmer, Horatio R., 1834-1907 477\n _Parish Choir_, 1850 64, 429, 615\n Peace, Albert L., 1844-1912 175, 471\n Peek, Joseph Yates, 1843-1911 207\n Perkins, William O. 499\n Pitts, William, 1829-1903 89\n Pleyel, Ignaz, 1757-1831 199, 238\n _Plymouth Collection_, 1855 234\n Pond, Sylvanus B., 1792-1871 322\n Praetorius, Michael, 1571-1621 87, 415, 522, 526\n Prichard, Rowland, 1811-1887 69, 372\n _Psalmodia Sacra_, Gotha, 1715 88\n _Psalteriolum Harmonicum_, 1642 308\n Purday, Charles H., 1799-1885 163, 598\n\n\n R\n Randall, John, 1715-99 17\n _Ravenscroft\u2019s Psalter_, 1621 279, 319\n Redhead, Richard, 1820-1901 109\n Redner, Lewis H., 1831-1908 84\n Reichardt, Louise, 1780-1826 190, 431\n Reinagle, Alexander R., 1799-1877 320\n Reimann, Johann B., 1702-47 244\n Richter, C. F., 1676-1711 516\n Rimbault, Edward F., 1816-76 465\n Roberts, John, 1822-77 131, 327\n Root, George F., 1820-95 418, 432, 503, 603\n Rousseau, Jean Jacques, 1712-78 459\n\n\n S\n _St. Basil\u2019s Hymnal_, 1918 124, 235, 237, 363\n _St. Gall Gesangbuch_, 1863 378\n Salvatore, Ferretti, 1817-74 283, 422\n Sankey, Ira D., 1840-1908 460\n Scheidt, Samuel, 1587-1654 547\n Scheffler, Johann, 1624-77 528\n Schein, Johann H., 1586-1630 508, 565\n Schicht, Johann G., 1753-1823 562\n Schmidt, Johann E., 1670-1745 520\n Schulthes, Wilhelm A. F., 1816-79 185\n Schulz, Johann A. P., 1747-1800 375\n Schulz, Karl F., 1784-1850 413\n Schumann, Robert, 1810-56 213, 296, 389, 611\n Schweizer Melodie 562\n _Scottish Psalter_ 60, 206, 297, 319, 575, 591\n _Seelenharfe_, Halle, 1650 547\n Sheppard, Franklin L., 1852-1930 48\n Sherwin, William F., 1826-88 31, 288\n Showalter, Anthony J., 1858\u2014 489\n Shrubsole, William, 1760-1806 3\n Sibelius, Jean, 1865\u2014 54\n Sicilian Melody 45, 345\n Silcher, Friedrich, 1789-1860 561\n Silesian Folk Song 97\n Simper, Caleb, 1856\u2014 49\n Simpson, Robert, 1790-1832 146, 585\n Smart, George, 1776-1867 583\n Smart, Henry, 1813-1879 46, 81, 115, 260, 277, 399, 402\n Smith, Henry P., 1825-98 223\n Smith, Isaac, _c._ 1735-1800 266, 374, 590\n Smith, Joseph, 1800-? 64\n Smith, Samuel, 1821-1917 386\n Spanish Melody 57, 145\n Spohr, Ludwig, 1784-1859 586\n Southgate, Thomas B., 1814-68 373\n Stade, Sigmund T., 1607-55 542\n Stainer, John, 1840-1901 111, 425, 622, 623\n Stanley, Samuel, 1767-1822 20, 129, 576\n Stebbins, George C., 1846-1945 38, 217, 445, 461\n Steggall, Charles, 1826-1905 166\n Stevenson 237\n Stockton, John H., 1813-77 457, 464\n _Stralsund Gesangbuch_, 1665 515\n Strattner, Georg Christoph, 1650-1705 424\n Straub, S. W., 1842-99 408\n Sullivan, Arthur S., 1842-1900 113, 225, 245, 416\n Sweetser, Joseph E., 1825-73 236\n Sweney, John R., 1837-99 454\n\n\n T\n Tallis, Thomas, _c._ 1510-85 33, 326, 382, 577\n Tans\u2019ur\u2019s _New Harmony of Zion_, 1764 578, 597\n Tans\u2019ur, William, 1700-83 74\n Taylor, Virgil C., 1817-91 53\n Teschner, Melchior, 1584-1635 100\n _Teutsch Kirchenampt_, Strassburg, 1525 531, 533\n Thommen, Johann\u2014_Chorale Book_, 1745 147\n _Thommen\u2019s Christenschatz_, Basil, 1745 536\n Thompson, Will L., 1847-1909 449, 456\n Thomson, Andrew Mitchell, 1778-1831 580\n Thrupp, Joseph F., 1827-67 91\n Tomer, William G., 1832-96 365\n Tourjee, Lizzie E., 1858-1913 58\n Towner, D. B., 1850-1920 486\n Traditional 76, 496\n Turle, James, 1802-82 283, 305, 422\n Tye, Christopher, _c._ 1508-72 107\n\n\n V\n Venua, Frederick M. A., 1788-1872 272\n Vincent, Charles J., 1852-1934 256\n Viner, William L., 1790-1867 160\n Voightl\u00e4nder, J. 32\n Vulpius, Melchior, 1560-1616 559\n\n\n W\n Wade, James C., 1847\u2014 381\n Wade, John F. 80, 130, 151\n Waghorne, W. R. 410\n Wainwright, John, 1723-68 71\n Wakefield 301\n Walch, James, 1837-1901 328\n Wallace, William V., 1812-65 173\n Walton, James G., 1821-1905 154\n Ward, Samuel A., 1847-1903 343\n Warren, George W., 1828-1902 347\n Webb, George J., 1803-87 65, 193, 324\n Webbe, Samuel, 1740-1816 22, 243, 295, 339\n Weber, Carl von, 1786-1826 36, 247, 250\n Webster, J. P., 1819-75 504\n _Weimar Gesangbuch_, 1681 567\n Weisse, Michael, 1480-1534 292\n Wellesley, Garret, 1735-81 226\n Wells, Marcus M., 1815-95 137\n Welsh Melody 35, 183, 224, 346, 356\n Wesley, Samuel S., 1810-76 273\n Whelpton, George, 1847-1930 604\n Wilcox, John H., 1827-75 16\n Williams, Aaron, 1731-76 269, 299\n Williams, R. Vaughan, 1872\u2014 290\n Williams, Robert, _c._ 1781-1821 117\n Williams, T. J. 346\n Willing, Christopher E., 1830-1904 300, 330\n Willis, Richard S., 1819-1900 75, 97\n Wilson, Hugh, 1766-1824 108, 579\n Witt, Christian F., _c._ 1660-1716 88\n _Wittenberg Gesangbuch_, 1535 521\n Wolder\u2019s _Catechismus-Gesangb\u00fcchlein_, 1598 570\n Woodbury, Isaac B., 1819-58 261, 613\n Woodman, Jonathan C., 1813-94 246, 275\n Woodward, G. R., 87, 415\n Wyeth, John, 1770?-1858 189\n\n\n Z\n Zeuner, Charles Heinrich, 1795-1857 337\n Zundel, John, 1815-82 165, 178\n\n\n\n\n Index of Authors, Translators, and Sources\n\n\n A\n HYMN\n Adams, Jessie, 1863\u2014 391\n Adams, Sarah F., 1805-48 202\n Adams, William H., 1864\u2014 165\n Addison, Joseph, 1672-1719 50, 338\n Albert, Heinrich, 1604-51 573\n Alexander, Cecil F., 1823-95 104, 140, 410, 412\n Alexander, James W., 1804-59 539\n Alford, Henry, 1810-71 152, 377\n Andres, Joanna Sudermann, 1903\u2014 565\n Anstice, Joseph, 1808-36 255\n Auber, Harriet, 1773-1862 138\n\n\n B\n Babcock, Maltbie D., 1858-1901 48\n Bacon, Leonard, 1802-81 367\n Bahnmaier, Jonathan F., 1774-1841 329, 551\n Baker, Henry W., 1821-77 281, 292, 352\n Bakewell, John, 1721-1819 122\n Baring-Gould, Sabine, 1834-1924 29, 225\n Barnes, E. Shippen, 1887\u2014 157\n Barton, Bernard, 1784-1849 209\n Bates, Katherine Lee, 1859-1929 343\n Bathurst, William Hiley, 1796-1877 153, 206\n Baxter, Lydia, 1809-74 485\n Baxter, Richard, 1615-91 253\n Beaven, Emma Frances, 1827-1909 466\n Bennett. S. F., 1836-98 504\n Benson, Louis F., 1855-1930 92\n Bernard of Clairvaux, 1091-1153 155, 539\n Bernard of Cluny, 12th Century 262, 263\n _Berwick Hymnal_, 1886 59\n Bethune, George W., 1805-62 440\n Bickersteth, Edward H., 1825-1906 256\n Blandy, E. W. 500\n Blatchford, Ambrose Nichols, 1842-1924 403\n Bliss, Philip P., 1838-76 442, 448, 467, 494\n Blomfield, Dorothy F., 1858-1932 312\n Bode, John E., 1816-74 212\n Bohemian Folk Song 79\n Bonar, Horatius, 1808-89 129, 142, 203, 231, 252, 303, 444\n _Book of Praise for Children_ 418\n Borthwick, Jane L., 1813-97 54, 250, 574\n Bowie, W. Russell, 1882\u2014 402\n Bowring, John, 1792-1872 55, 63, 66, 110\n Brandenburg, Luise Henriette von 541\n Bridges, Matthew, 1800-94 118\n Bridges, Robert, 1844-1930 32, 34, 534, 556\n Briggs, George Wallace, 1875\u2014 307, 570\n Bront\u00eb, Anne, 1820-49 210\n Brooke, Stopford A., 1832-1916 49\n Brooks, Charles 348\n Brooks, Phillips, 1835-93 84\n Brown, Jessie H., 1861-1921 453\n Brownlie, John, 1859-1925 125\n Brueckner, H., 1883\u2014 517, 561\n Buckoll, Henry James, 1803-71 27\n Buermeyer, Ferdinand F., 431\n Bullock, William, 1798-1874 281\n Burke, Christian, 1859\u2014 363\n Burkitt, F. C. 572\n Burleigh, William H., 1812-71 164\n Burns, James D., 1823-64 416\n Burton, John, Jr., 1803-77 394\n Byrom, John, 1692-1763 71\n\n\n C\n Cady, Julia Bulkley, 1882\u2014 15\n Campbell, Jane M., 1817-78 375\n Campbell, John, 1845-1914 598\n Canitz, Friedrich R. Freiherr von, 1654-99 27\n Cary, Phoebe, 1824-71 264\n Caswall, Edward, 1814-78 19, 21, 88, 155\n Cennick, John, 1718-55 130, 468\n Chadwick, Bishop 82\n Chadwick, John W., 1840-1904 381\n Chandler, John, 1806-76 9, 87\n Chatfield, Allen W., 1808-96 196\n Chorley, Henry F., 1808-72 351\n Claudius, Matthias, 1740-1815 375\n Clausnitzer, Tobias, 1619-84 553a\n Clement of Alexandria, _c._ 170-_c._ 220 398\n Clephane, Elizabeth C., 1830-69 112\n Cluff, S. O\u2019Maley 460\n Codner, Elizabeth, 1824-1919 204\n Coffin, Charles, 1676-1749 87\n Coffin, Henry Sloan, 1877\u2014 67\n Coghill, Anna L., 1836-1907 221\n Cole, L. F. 409\n Collyer, Robert, 1823-1912 282\n Conder, Eustace R., 1820-92 94\n Conder, Josiah, 1789-1855 247, 311\n Conover, Howard J., 1850-1925 350\n Cowper, William, 1731-1800 60, 197, 492\n Cox, Frances E., 1812-97 510, 512, 543\n Coxe, Arthur C., 1818-96 276\n Cramer, Johann A., 1723-88 518\n Crasselius, Bartholom\u00e4us, 1677-1724 569\n Crewdson, Jane F., 1809-63 259\n Croly, George, 1780-1860 133\n Crosby, Fanny J., 1820-1915 313, 438, 454, 474, 475, 480, 483, 490,\n 491, 497\n Cross, Ada, 1844\u2014 283\n Cushing, William O., 1823-1903 432\n Cutler, J. S., 1856-1930 364\n Cutter, William, 1801-67 228\n\n\n D\n Davis, Frank M., 1839-96 502\n Dearmer, Percy, 1867-1936 24, 436, 551\n Decius, Nikolaus von Hofe, 16th Century 521, 540\n Dexter, Henry M., 1821-90 398\n Dix, William C., 1837-98 78, 124, 240, 378, 530\n Doane, George W., 1799-1859 36, 185, 331\n Doddridge, Philip, 1702-51 56, 128, 167, 218, 383, 465\n Dodge, Mary Mapes, 1831-1905 435\n Downton, H., 1818-85 528\n Draper, Bourne H., 1775-1843 337\n Duffield, George, Jr., 1818-88 193\n Duncan, Mary Lundie, 1814-40 425\n Dwight, Timothy, 1752-1817 275\n\n\n E\n Edmeston, James, 1791-1867 38\n Ellerton, John B., 1826-93 42, 43, 109, 287, 293, 312, 315, 351\n Elliott, Charlotte, 1789-1871 233, 245, 458\n\n\n F\n Faber, Frederick W., 1814-63 44, 58, 154, 260\n Farrington, Henry, 1880-1931 99\n Fawcett, John, 1740-1817 41, 45\n Featherstone, William R., 1842-78 216\n Ferguson, M. P. 479\n Findlater, Sarah B., 1823-1907 358\n Fischer, G. N., 1748-1800 376\n Fletcher, Frank, 1870-1936 396\n Flint, James, 1779-1855 368\n Foster, Frederick W., 1760-1835 506\n _Foundling Hospital Collection_, 1796 16\n Francis, Benjamin, 1734-99 192\n Franck, Johann, 1618-77 552, 564\n Fry, C. W. 446\n\n\n G\n Gambold, J., 1711-71 533\n Gaskell, William, 1805-84 374\n Gebhardt, Ernst Heinrich, 1832-99 148, 232\n Gellert, Christian F., 1715-69 516, 543\n Gerhardt, Paul, 1607-76 134, 170, 236, 246, 525, 533, 539, 555, 556,\n 558\n German 19, 21, 97\n Germanus of Constantinople, 634-734 526\n Gill, Thomas H., 1819-1906 385, 397\n Gilmore, Joseph H., 1834-1918 478\n Gladden, Washington, 1836-1918 223\n Grant, Robert, 1779-1838 7, 145\n Greek 32, 34, 125\n Gregory the Great, 540-604 24\n Grigg, Joseph, _c._ 1720-68 141, 192\n Grose, Howard B., 1851\u2014 400\n Grundtvig, Nicolai F. S., 1783-1872 411\n Guiterman, Arthur, 1871-1943 362\n\n\n H\n Haas, C., 1862-1928 507\n Hall, Mrs. Elvina M., 1818-? 462\n Hammond, J. Dempster, 1819-83 340\n Hanby, Benjamin Russell, 1833-67 96\n Hankey, Katherine, 1834-1911 493, 495\n Hansen, J. C. 537\n Hart, Joseph, 1712-68 459\n Hastings, Thomas, 1784-1872 243, 332\n Hatch, Edwin, 1835-89 135\n Haussmann, Julie V., 1826-1901 561\n Havergal, Frances R., 1836-79 126, 190, 215, 219, 296, 380\n Hawkes, Henry W., 1843-1917 356\n Hawks, Annie S., 1835-1918 187\n Hayn, Henriette Louise von, 1724-82 430\n Hearn, Marianne, 1834-1909 393\n Heber, Reginald, 1783-1826 1, 35, 91, 304, 306, 333\n Hedge, Frederick, 1805-90 549\n Heermann, Johann, 1585-1647 534, 566\n Held, Heinrich, 1620-59 548\n Heller, Philipp F., 1699-1769 562\n Hengstenberg, Ernst William 560\n Hengstenberg, Johann H. K., 1770-1834 560\n Henley, John, 1800-42 404\n Hensley, Lewis, 1824-1905 271\n Herbert, George, 1593-1632 226\n Herrnschmidt, Johann D., 1675-1723 513\n Hey, Johann W., 1789-1854 433\n Hickson, William Edward, 1803-70 348, 371\n Hiller, Philip Frederick, 1699-1769 524, 562\n Hodder, Edwin, 1837-1904 290\n Hofe, Nikolaus von (Decius), 1490?-1541 521, 540\n Hofer, Mari Ruef 79\n Hoffman, Elisha A., 1839-? 464, 473, 489\n Holland, Henry Scott, 1847-1918 345\n Holmes, Oliver W., 1809-94 53, 172, 359\n Homburg, Ernst C., 1605-81 535\n Hopkins, John H., Jr., 1820-91 90\n Hopper, Edward, 1818-88 161\n Horstmann, J., 1869\u2014 550\n Hosmer, Frederick L., 1840-1929 72, 98, 191, 248, 249, 267, 268, 270,\n 299, 316, 318, 366, 545\n Hostetler, Lester, 1892\u2014 513\n Hostettler, Amanda H., 1886\u2014 157\n Housman, Laurence, 1865\u2014 354\n How, William W., 1823-97 144, 213, 289, 317, 386, 387\n Hutton, Frances A., 1811-77 195\n\n\n J\n Jacobi, Johann C., 1670-1750 573\n John of Damascus, 8th Century 113, 115\n Johns, John, 1801-47 269\n Johnson, Samuel, 1822-82 188\n Johnston, Julia H., 1852-? 421\n Judah, Daniel Ben, 14th Century 14\n\n\n K\n \u201cK\u201d in _Rippon\u2019s Selection_, 1787 151\n Kaufman, Frieda, 1883-1944 562\n Keble, John, 1792-1866 22, 30, 205, 298\n Kelly, Thomas, 1769-1854 119, 123, 336\n Ken, Thomas, 1637-1711 25, 33, 618\n Kethe, William, 1510-94 594\n Key, Francis Scott, 1779-1843 511\n Kipling, Rudyard, 1865-1936 401\n Krehbiel, C. E., 1869-1948 376, 507\n\n\n L\n Lathbury, Mary A., 1841-1913 31, 288\n Latin 67, 80, 87, 114, 116, 171, 277, 382, 415\n Leeson, Jane Eliza, 1807-82 298, 424, 429\n Lewis, Howell E., 1860\u2014 342\n Littlefield, Milton S., 1864-1934 373\n L\u00f6wenstern, Matthaus Apelles von, 1594-1648 278\n Longfellow, Samuel, 1819-92 28, 52, 102, 136, 139, 194, 211, 238,\n 244, 280, 294, 369, 384, 611\n Lowell, James Russell, 1819-91 346\n Lowry, Robert, 1826-99 452\n Luke, Jemima T., 1813-1906 427\n Luther, Martin, 1483-1546 414, 527, 531, 532, 549\n Lyte, Henry F., 1793-1847 40\n\n\n M\n Macduff, John R., 1818-95 127\n Mackay, Margaret, 1802-87 314\n Mackay, William P., 1835-88 437\n Mahlmann, Siegfried A., 1771-1826 348\n _Major\u2019s Book of Praise_ 407\n Marlatt, Earl, 1892\u2014 392\n Martineau, James, 1805-1900 242\n Mason, William, 1725-97 286\n Massie, Richard, 1800-87 554, 555\n Matheson, George, 1842-1906 175\n Mattes, John Casper, 1876-1947 547\n McAfee, Cleland B., 1866-1944 239\n McNaughton, John H. 360\n Mentzer, Johann, 1658-1734 509\n Mercer, William, 1811-73 35, 506\n Merrill, William P., 1867\u2014 183, 230, 355\n Miller, John, 1756-1810 506\n Milman, Henry H., 1791-1868 101\n Milton, John, 1608-74 64, 592\n Mohr, Joseph, 1792-1848 83\n Monsell, J. S. B., 1811-75 308\n Montgomery, James, 1771-1854 62, 65, 81, 107, 132, 184, 195, 261,\n 295, 305, 330, 568\n Moore, Thomas, 1779-1852 243\n Morison, John, 1750-98 146\n Mote, Edward, 1797-1874 487\n M\u00fcnsterberg, Margarete 516\n\n\n N\n Neale, John M., 1818-66 67, 100, 113, 115, 143, 262, 263, 277, 415,\n 526\n Neander, Joachim, 1650-80 510, 515\n Nelson, David, 1793-1844 503\n Neumark, George, 1621-81 571\n Neumeister, Erdman, 1671-1756 466\n Newman, John Henry, 1801-90 162, 163\n Newton, John, 1725-1807 274, 279, 284, 463, 613\n Nicholson, James 469\n Nicolai, Philipp, 1556-1608 522, 529\n Niedling, Johann, 1602-68 547\n North, Frank Mason, 1850-1936 222\n Nunn, Marianne, 1778-1847 447\n\n\n O\n Oakeley, Frederick, 1802-80 80\n Ogden, William A., 1841-97 481\n Olivers, Thomas, 1725-99 14\n Osler, Edward, 1798-1863 16\n Owens, Priscilla J., 1829-_c._ 99 334, 482\n Oxenham, John, 1852-1941 320, 357\n\n\n P\n Packard, Charlotte M., 1839-1923 176\n Palmer, Horatio R., 1834-1907 477\n Palmer, Ray, 1808-87 131, 150, 171\n Parker, Theodore, 1810-60 224\n Parker, William H., 1845-1929 419\n Perronet, Edward, 1726-92 3, 4, 5\n Pfeffel, G. K., 1736-1809 507\n Phelps, Sylvanus D., 1816-95 220\n Pierpoint, Folliott S., 1835-1917 51\n Plumptre, Edward H., 1821-91 95, 156\n Pollard, Adelaide A., 1862-1934 217\n Poppe, C. C. 157\n Pott, Francis, 1832-1909 116, 382\n Pounds, Jessie Brown, 1861-1921 498\n Preiswerk, S., 1799-1871 550\n Prentiss, Elizabeth P., 1818-78 472\n Procter, Adelaide A., 1825-64 177, 471\n Prudentius, Aurelius C., 348-_c._ 413 88\n Psalm I 575\n Psalm V 576\n Psalm XV 577\n Psalm XIX 510, 578\n Psalm XXIII 62, 579\n Psalm XXIV 580\n Psalm XXV 581\n Psalm XXVII 582\n Psalm XXXIV 583, 584\n Psalm XL 585\n Psalm XLII 586\n Psalm XLIII 499, 587\n Psalm XLVI 588\n Psalm LI 589\n Psalm LXV 590\n Psalm LXXII 591\n Psalm LXXXIV 592\n Psalm XC 568\n Psalm XCIII 593\n Psalm C 594\n Psalm CII 595\n Psalm CIII 596\n Psalm CXVI 597\n Psalm CXXI 598\n Psalm CXXII 599\n Psalm CXLV 600\n Pusey, Philip, 1799-1855 278\n\n\n R\n Rankin, Jeremiah E., 1828-1904 365, 476\n Rawnsley, Hardwicke Drummond, 1851-1920 326\n Rawson, George, 1807-89 297, 310\n Reed, Andrew, 1787-1862 139\n Rights, Douglas L., 1891\u2014 68\n Rinkart, Martin, 1586-1649 514\n Roberts, Daniel C., 1841-1907 347\n Roberts, Richard, 1874\u2014 166\n Robertson, William, 1820-64 300\n Robinson, Richard Hays, 1842-92 254\n Robinson, Robert, 1735-90 46, 189\n Rodigast, Samuel, 1649-1708 567\n Rosenroth, Christian Knorr von, 1636-89 554\n Royce, E. 77\n Russell, Arthur T., 1806-74 573\n\n\n S\n Sammis, J. H., d. 1919 486\n Savonarola, Girolamo, 1452-98 536\n Schaeffer, Charles William, 1813-96 548\n Scheffler, Johann, 1624-77 565\n Schirmer, Michael, 1606-73 546\n Schlegel, Katharina von, b. 1697 54\n Schmidt, Christian, 1768-1854 413\n Schmolck, Benjamin, 1672-1737 250, 505, 542, 553\n Sch\u00fctz, Johann J., 1640-90 512\n _Scottish Paraphrases_, 1781 146, 167, 266, 575\n _Scottish Psalter_, 1650 575, 576, 577, 578, 579, 580, 581, 582, 584,\n 585, 587, 588, 589, 590, 591, 593, 594, 595, 596, 597, 599, 600\n Scriven, Joseph, 1820-86 186\n Scudder, Eliza, 1821-96 57\n Seagrave, Robert, 1693-1759 200\n Sears, Edmund H., 1810-76 75\n Seiss, Joseph A., 1823-1904 524\n Selnecker, Nicolaus, 1532-92 557\n Shepherd, Anne, 1809-57 405\n Shurtleff, Ernest W., 1862-1917 399\n Shuttleworth, Henry Cary, 1850-1900 388\n Sidebotham, Mary Ann, 1833-1913 147\n Simpson, Jane Cross, 1811-86 180\n Simpson, William J. S. 111\n Sleeper, W. T. 461\n Sloan, John M., b. 1835? 529\n Small, James G., 1817-88 445\n Smith, Samuel F., 1808-95 324, 344\n Spaeth, Harriett R., 1845-1925 518\n Spafford, Horatio G., 1828-88 484\n Spitta, Carl J. P., 1801-59 358\n Stanfield, F. 237\n Stead, Louisa M. R. 488\n Steele, Anne, 1716-78 251\n Stegmann, Josua, 1588-1632 559\n Stennett, Samuel, 1727-95 120\n Stephen The Sabaite, _c._ 725-794 143\n \u201cSterne, Colin,\u201d 1682-1928 335\n Stevenson, William Fleming, 1832-86 430\n Stocking, Jay T., 1870-1936 93\n Stockton, John H., 1813-77 457\n Stone, Samuel J., 1839-1900 273\n Stowe, Harriet B., 1811-96 23\n Straub, Maria, 1838-98 408\n Stryker, M. Woolsey, 1851-1929 390\n Swain, Joseph, 1761-96 323, 470\n Synesius of Cyrene, _c._ 375-430? 196\n\n\n T\n Tappan, William B., 1794-1849 103\n Tate and Brady, 1696 18, 583, 586\n Tate, Nahum, 1652-1715 73, 74\n Tennyson, Alfred, 1809-92 149, 265, 379\n Tersteegen, Gerhard, 1697-1769 506, 508, 517\n Theodulph of Orleans, _c._ 820 100\n Thierstein, J. R., 1867-1941 433\n Thompson, J. O. 325\n Thompson, Mary A., 1834-1923 328\n Thompson, W. L., 1847-1909 449, 456\n Thring, Godfrey, 1823-1903 89, 370\n Thrupp, Dorothy A., 1779-1847 395\n Toplady, Augustus, 1740-78 148, 251\n Torrey, R., Jr. 232\n Traditional 76, 78\n Trench, Richard C., 1807-86 183\n Turner, H. L. 455\n Tuttiett, Lawrence, 1825-97 389\n Twells, Henry, 1823-1900 37\n\n\n V\n Van Dyke, Henry, 1852-1933 10, 372\n _Veni Sancte Spiritus_, 12th or 13th Century 131\n Vories, William Merrill, 1880\u2014 353\n Voth, J. J., 1891\u2014 571\n\n\n W\n Walford, William W., 19th Century 182\n Walter, Howard, 1884-1918 207\n Walworth, C., 1820-1900 519\n Ware, Henry, Jr., 1794-1843 13, 361\n Waring, Samuel Miller, 1792-1827 617\n Warner, Anna B., 1820-1915 201, 428\n Warner, Susan, 1819-85 420\n Watt, Lauchlan MacLean, 1867\u2014 538\n Watts, Isaac, 1674-1748 11, 17, 20, 47, 61, 70, 105, 106, 108, 257,\n 258, 266, 272, 291, 302, 341, 443, 615, 616\n Weisse, Michael, 1480-1534 544\n Weissel, Georg, 1590-1635 523\n Wells, Marcus M., 1815-95 137\n Wesley, Charles, 1707-88 6, 8, 12, 26, 69, 85, 114, 117, 121, 158,\n 159, 168, 178, 179, 198, 214, 238, 301, 309, 319, 321, 322, 339, 501\n Wesley, John, 1703-91 170, 226, 246, 272, 508, 558\n Weston, Rebecca J. 423\n Whately, Richard, 1787-1863 35\n Whitfield, Frederick, 1829-1904 496\n Whiting, William, 1825-78 169\n Whittier, John G., 1807-92 173, 181, 229, 241\n Whittle, Daniel W., 1840-1901 450\n Wilde, Jane F., 1826-96 536\n Williams, Helen M., 1762-1827 199\n Williams, Theodore C., 1855-1915 227\n Williams, William, 1717-91 160\n Wills, Whitfield G., 1841-91 417\n Winkler, Johann J., 1670-1722 563\n Winkworth, Catherine, 1829-78 236, 329, 506, 509, 510, 514, 515, 521,\n 522, 523, 525, 527, 531, 532, 535, 541, 542, 544, 546, 552, 553, 563,\n 564, 566, 567, 569\n Wolcott, Samuel, 1813-86 327\n Woodhull, A. A., 1810-36 349\n Wordsworth, Christopher, 1807-85 174, 285\n Wotton, Henry, 1568-1639 208\n Wreford, John R., 1800-81 102\n Writer, Clara, 1859-1915 406\n\n\n Y\n _Yattendon Hymnal, The_, 1899 32, 557\n _Yigdal, The_ 14\n\n\n Z\n Zaremba, F., 1799-1871 550\n Zinzendorf, C. R. von, 1727-52 537\n Zinzendorf, Nicolaus L. von, 1700-60 574\n\n\n\n\n Index of Tunes\n\n\n A\n HYMN\n Abridge 374\n Ach bleib bei uns 557\n Ach, bleib mit deiner Gnade 559\n Adelaide 217\n Adeste Fideles 80, 151\n Aletta 311\n All Saints New 194\n All to Christ 462\n Allein Gott in der H\u00f6h sei Ehr\u2019 568\n Alleluia! Sing to Jesus 124\n Allen 438\n Alstone 300, 330\n Amara 499\n Amen, Jesus Han Skal Raade 219\n America 344\n Amsterdam 200\n Angel\u2019s Story 212\n Angelus 37\n Antioch 70\n Ar Hyd Y Nos 35\n Arlington 152\n Armageddon 190\n Armenia 322\n Arnold 584\n Arnsberg 506\n Arthur\u2019s Seat 121\n Assurance 480\n Aughton 478\n Aurelia 273\n Aus dem Himmel ferne 433\n Aus meines Herzens Grunde 570\n Aus tiefer Not 531, 532\n Austrian Hymn 274\n Autumn 2\n Away in a Manger 414\n Azmon 12, 397\n\n\n B\n Ballerina 57, 146, 585\n Barnard 400\n Beacon Hill 392\n Beatitudo 42\n Beecher 165, 178\n Befiehl du deine Wege 558\n Belmont 197, 294\n Benevento 339\n Bera 141\n Bethany 202\n Bethlehem 92\n Beverly 126\n Birds Are Singing 409\n Birmingham 307\n Born Again 461\n Boylston 214\n Bradbury 395\n Brattle Street 199\n Bread of Life 288\n Brecon 139\n Brightest and Best 91\n Brookfield 373\n Broughton 293\n Bullinger 227\n Burford 228\n\n\n C\n Cambridge New 17\n Canaan 403\n Canonbury 296, 389, 611\n Caritas 447\n Carmen Naturae 235\n Carol 75\n Chautauqua 31\n Christ Arose 452\n Christ ist erstanden 543\n Christ Returneth 455\n Christ the King 78\n Christe Sanctorum 24\n Christmas 73\n Cleansing Fountain 492\n Cluff 460\n Comfort 229\n Consolation 23\n Consolator 243\n Cooling 259\n Coronae 119\n Coronation 4\n Creation 50\n Cross of Jesus 111\n Crossing the Bar 265\n Crucifer 46\n Crucifix 380\n Crusaders\u2019 Hymn 97\n Culbach 528\n\n\n D\n Dalehurst 218\n Darwall 9\n Dedham 209, 302\n Dennis 41, 56\n Diadem 5\n Diademata 118, 198, 357\n Die g\u00fcldne Sonne 555\n Die helle Sonne ist dahin 542\n Die Sach ist Dein 550\n Dir, Dir Jehovah 569\n Dismissal 160\n Dix 51, 530\n Dolce Domum 264\n Dorking 72\n Dorrnance 441, 613\n Dort 348\n Draw Me Nearer 475\n Duane Street 468\n Duke Street 341, 367, 595, 600\n Dundee 589\n Dundee (French) 60, 297, 319\n Dunfermline 575, 591\n Durham 279\n\n\n E\n Easter Hymn 114\n Ebeling 68\n Ein feste Burg 549\n Ein Lamm geht hin 533\n Eintracht 436\n Eisenach 548\n Ellacombe 47\n Ellers 43, 286\n Ellon 418\n Endsleigh 283, 422\n Erbarmung 562\n Eric 186\n Ernan 231\n Es ist ein Born (I do Believe) 99, 241\n Es ist ein Ros entsprungen 526\n Es kam die Gnadenvolle 359\n Eucharistic Hymn 304\n Evan 153, 253\n Even Me 204\n Evening Prayer (Stebbins) 38\n Evening Prayer (Stainer) 425\n Eventide 40\n Ewing 262\n\n\n F\n Faben 16\n Fahre Fort 520\n Farewell 365\n Farrant 587\n Federal Street 192\n Ffigysbren 183, 224, 356\n Fillmore 453\n Finlandia 54\n Fischer 469\n Flemming (Integer Vitae) 59, 233, 278\n Forest Green 290\n Fortem Virili Pectore 572\n Franconia 205, 287\n Friend 445\n\n\n G\n Galilee 140\n Gastorious 524\n Germany 222, 280, 383\n Gethsemane 107\n Glenluce 206\n Gloria 82\n Gloria Patri 606, 607\n Glory 405\n Glory to His Name 464\n God Is Love 439\n God Speed the Right 371\n Gordon 216\n Gott des Himmels und der Erden 370, 573\n Gott ist getreu 560\n Gott sei Dank 510, 551\n Graefenberg 242\n Greenville 459\n Greenwood 236\n Greystone 410\n Grosser Gott 519, 541\n Guide 137\n\n\n H\n Hallelujah, \u2019tis Done 442\n Hamburg 106\n Hanford 245\n Hankey 493\n Hanover 6\n Happy Day 465\n Happy Home 358\n Hardy Norseman 391\n Harwell 123\n Hast du Jesu Ruf vernommen 342\n Haydn 27\n Hear Our Prayer, O Lord 604\n Hebron 13, 401\n Hendon 215\n Henley 188, 201\n Herr, Dir ist Niemand zu vergleichen 518\n Herzliebster Jesu 534\n Hide Me 483\n Hoffman 473\n Hollingside 159\n Holy Cross 381\n Holy Night 86\n Holy Quietness 479\n Holywood 130\n Home 360\n Hursley 30\n Hyfrydol 69, 372\n Hymn to Joy 10\n\n\n I\n Ich singe Dir 362\n Ich weiss an wen ich glaube 240\n Ich weiss einen Strom 232\n Ihr Kinderlein kommet 413\n Illa 63\n Illsley 176\n In Babilone 122, 355\n In Memoriam 310\n Infant Praise 404\n Innocents 64, 429\n Innsbruck 556\n Integer Vitae (Flemming) 59, 233, 278\n Intercession 203\n Invitation 270\n Invocation 134\n Irby 412\n Irish 268, 593\n Italian Hymn (Trinity, Moscow) 8\n It Is Well with My Soul 484\n\n\n J\n Jehovah 507\n Jerusalem, Jerusalem 125\n Jesu, meine Freude 564\n Jesu, meines Lebens Leben 535\n Jesus Bids Us Shine 420\n Jesus Loves Me 428\n Jesus Saves 334\n Jewels 432\n Jewett 250\n Just As I Am 393\n\n\n K\n Kilmarnock 338\n King\u2019s Langley 385, 406\n Kings of Orient 90\n Kirby Bedon 398\n Kommet ihr Hirten 79\n Kremser 15\n\n\n L\n Lambeth 185\n Lancashire 115, 399\n Langran 303\n Lasst uns erfreuen 11\n Laudes Domini 21\n Lead Me, Savior 502\n Leaning on Jesus 489\n Leighton 230\n Leoni (Yigdal) 14, 366\n Let the Words of My Mouth 608\n Liebster Jesu 553a\n Light of the World 467\n Lille 394\n Lily of the Valley 446\n Llanfair 117\n Lobe den Herren 515\n Lobe den Herren, O meine Seele 513\n Londonderry 396\n Longwood 164\n Louvan 53\n Lower Lights 448\n Lowliness 96\n Lux Benigna 162\n Lux Prima 26\n Lyons 7\n\n\n M\n Mache dich, mein Geist, bereit 544\n Mach\u2019s mit mir Gott (Schein, Eisenach) 508\n Macht hoch die T\u00fcr 523\n Malvern 131, 327\n Mannheim 298\n Marching to Zion 443\n Marion 156\n Marlow 501\n Marter Christi 537\n Martyn 158\n Martyrdom 108, 579\n Maryton 223\n Materna 343\n McIntosh 463\n Meditation 104\n Meirionydd 180\n Melcombe 22, 295\n Melita 169\n Melrose 384\n Mendebas 285\n Mendelssohn 85\n Mendon 211, 282, 349\n Mercy 136\n Meribah 255\n Merrial 29\n Message 335\n Middlesex 168\n Miles Lane 3\n Mir nach, spricht Christus, unser Held 565\n Missionary Chant 337\n Missionary Hymn 333\n Mit Freuden zart 512\n Morecambe 133\n Morgenglanz der Ewigkeit 554\n Morning Hymn 25\n Mornington 226\n Morwellham 166\n Motherhood 364\n Mozart 329\n M\u00fcde bin ich, geh zur Ruh 254, 321\n Munich 289\n My Beloved 470\n\n\n N\n Naomi 251\n National Hymn 347\n Neander 127, 505\n Near the Cross 490\n Nearer Home 261\n Need 187\n Nettleton 189\n Neumeister 466\n Nicaea 1\n Nicht so traurig (Pressburg) 538\n Nicolai 546\n None but Christ 451\n Nun danket 514\n Nun freut euch 521\n Nun sich der Tag geendet hat 299\n Nunc Dimittis 34\n\n\n O\n O dass ich tausend Zungen h\u00e4tte 509\n O du Liebe meiner Liebe 536\n O Gott, du frommer Gott 566\n O heiliger Geist, O heiliger Gott 547\n O Jesu 244\n O Lamm Gottes unschuldig 540\n O leide, leide gern 252\n O Seigneur 19\n O, How I Love Jesus 496\n Old 100th 594, 618\n Old 124th 354\n Old 134th (St. Michael) 128, 616\n Olive\u2019s Brow 103\n Olivet 150\n Onslow 423\n Onward 267\n Orientis Partibus 102\n Ortonville 120, 350\n Our Father, Who Art in Heaven 610\n\n\n P\n Park Street 272\n Pass Me Not 474\n Passion Chorale 539\n Patten 390\n Pax Tecum 256\n Peek 207\n Penitence 195\n Pentecost 353\n Perfect Love 312\n Pilgrims 260\n Pilot 161\n Pleading Savior 234\n Pleyel 238\n Poland 62\n Posen 424\n Praetorius 248\n Precious Name 485\n Princethorpe 89\n Providence 408\n Prysgol 444\n Puer Nobis 87, 415\n\n\n Q\n Quam Dilecta 281, 603\n Quebec 171, 172, 352\n\n\n R\n Rathbun 110\n Ravenshaw 292\n Redhead No. 76 (Petra) 109\n Regent Square 81, 277, 402\n Remember Me 323\n Rendez a Dieu 306\n Requiescat 315\n Rescue 497\n Rest 314\n Revive Us Again 437\n Ringe Recht 147, 376, 563\n Rockingham Old 105\n Roland 49\n Rosslyn 417\n Russian Hymn 351\n Ruth 386\n\n\n S\n Sabbath 284\n Safe in the Arms 313\n St. Agnes 155, 184, 361\n St. Andrew 578, 597\n St. Anne 61, 276\n St. Bride 581\n St. Catherine 154\n St. Cecilia 271\n St. Christopher 112\n St. Crispin 149\n St. Cuthbert 138\n St. Drostane 101\n St. Flavian 318\n St. Gall 378\n St. George\u2019s Edinburgh 580\n St. George\u2019s Windsor 377\n St. Gertrude 225\n St. Hilda 144\n St. John 615\n St. John\u2019s Westminster 305\n St. Kevin 113\n St. Lo 388\n St. Louis 84\n St. Magnus 582\n St. Margaret 175\n St. Martins 74\n St. Matthew 95\n St. Michel\u2019s 93\n St. Paul 596, 599\n St. Peter 320\n St. Petersburg 517\n St. Stephen (Abridge) 266, 590\n St. Theodulph 100\n St. Thomas 269\n Salzburg (Haydn) 167, 592\n Salzburg (Hintze) 545\n Samson 258\n Samuel 16\n Sanctus 601, 602\n Sandon 163, 598\n Sarum 317\n Schlaf\u2019, Kindlein, schlaf\u2019 431\n Schm\u00fccke dich 552\n Schumann 213\n Seeds of Promise 498\n Seelenbr\u00e4utigam 574\n Seliger Friede 157\n Serenity 173\n Seymour 36, 247\n Sheltering Wing 52\n Shining Shore 503\n Shirland 129\n Sicilian Mariners 45, 345\n Silent 77\n So lange Jesus bleit der Herr 301\n So nimm denn meine H\u00e4nde 561\n Solid Rock 487\n Something for Jesus 220\n Sonata 179\n Southwell 196\n Spanish Hymn 145\n Spohr 586\n State Street 246, 275\n Stella 94, 170\n Stephanos 143\n Stille Nacht 83\n Stockton 457\n Stockwell 55\n Stories of Jesus 419\n Strength and Stay 249\n Stuttgart 88\n Submission 471\n Surrey 44\n Sweet By and By 504\n Sweet Hour 182\n Sweet Story 427\n Sweetest Name 440\n\n\n T\n Tallis\u2019 Evening Hymn 33\n Tallis\u2019 Ordinal 326, 382, 577\n Tell It to Jesus 476\n Terra Beata 48\n Thanksgiving 435\n The First Noel 76\n The Lord Bless You and Keep You 614\n The Way of the Cross 454\n The Whole Wide World 340\n Thompson 456\n Thy Word Have I Hid in My Heart 605\n Tidings 328\n Ton-Y-Botel 346\n Toplady 148\n Transylvania 98\n Trentham 135\n Triumph 617\n Trust and Obey 486\n Trusting 488\n\n\n U\n Unsearchable Riches 454\n Unter Lilien jener Freuden 32\n Urbs Beata 263\n Uxbridge 291\n\n\n V\n Veni Emmanuel 67\n Vesper Hymn 28\n Victory 116, 316\n Vigil 210\n Vom Himmel hoch 527\n Vox Dilecti 142\n\n\n W\n Wachet auf 522\n Waltham 370\n Wareham 208, 368\n Warrington 257\n Warum sollt ich mich denn gr\u00e4men? 525\n Warwick 20, 576\n Was Gott tut, das ist wohlgetan 567\n Was kann es Sch\u00f6n\u2019res geben 387\n Watchman 66\n Webb 65, 193, 324\n Weil ich Jesu Sch\u00e4flein bin 430\n Wellesley 58\n Wentworth 177\n Wer nur den lieben Gott 571\n Wesley 309, 332\n Where He Leads Me 500\n Where He Leads Me I\u2019ll Follow 481\n Whittier 181\n Wie gross ist des Alm\u00e4cht\u2019gen G\u00fcte 516\n Wild Bells 379\n Will Your Anchor Hold 482\n Wiltshire 583\n Winchester New 369\n Winchester Old 191, 588\n Windsor 39\n Wir pfl\u00fcgen 375\n Womit soll ich Dich wohl loben 511\n Wonderful Words of Life 494\n Woodworth 458\n Work Song 221\n\n\n Y\n Yield Not to Temptation 477\n Yorkshire 71\n\n\n Z\n Zion 336\n\n\n\n\n Index of Original First Lines of Translations\n\n\n _German_\n HYMN\n Ach bleib\u2019 bei uns, Herr Jesu Christ 557\n Ach bleib mit deiner Gnade 559\n Allein Gott in der H\u00f6h sei Ehr\u2019 521\n Aus dem Himmel ferne 433\n Aus tiefer Not schrei\u2019 ich zu dir 531\n\n Befiehl du deine Wege 558\n Bei fr\u00fchen Morgenlicht 19\n\n Christe, du Beistand deiner Kreuzgemeine 278\n Christus ist erstanden 544\n\n Dankt dem Herrn 376\n Die g\u00fcldne Sonne 555\n Die Sach\u2019 ist Dein, Herr Jesu Christ 550\n Dir, dir Jehova, will ich singen 569\n\n Ein\u2019 feste Burg ist unser Gott 549\n Ein L\u00e4mmlein geht und tr\u00e4gt die Schuld 533\n Es ist ein Reis entsprungen 526\n\n Fels des Heils, ge\u00f6ffnet mir 148\n Fr\u00f6hlich soll mein Herze springen 525\n\n Gott des Himmels und der Erden 573\n Gott ist gegenw\u00e4rtig 506\n Gott ist mein Licht 560\n Gott segne Sachsenland 348\n Grosser Gott, wir loben dich 519\n\n Hab ich das Haupt zum Freunde 236\n Herr! Dir ist Niemand zu vergleichen 518\n Herzliebster Jesu, was hast du verbrochen 534\n Himmel, Erde, Luft und Meer 510\n\n Ich bete an die Macht der Liebe 517\n Ich weiss einen Strom 232\n (Text in Hymnary)\n Ihr Kinderlein, kommet 413\n\n Jehova! Jehova! Jehova! 507\n Jesu, geh voran 574\n Jesu, meine Freude 564\n Jesu, meines Lebens Leben 535\n Jesu nimmt die S\u00fcnder an 466\n Jesus lebt, mit ihm auch ich 543\n Jesus, meine Zuversicht 541\n\n Komm, o komm, du Geist des Lebens 548\n\n Licht vom Licht! erleuchte mich 553\n Liebster Jesu, wir sind hier 553a\n Lobe den Herren, den m\u00e4chtigen K\u00f6nig 515\n Lobe den Herren, o meine Seele 513\n Macht hoch die T\u00fcr, die Tor\u2019 macht weit 523\n Marter Gottes, wer kann dein vergessen 537\n Mein Jesu, wie du willt 249\n Mir ist Erbarmung widerfahren 562\n Mir nach! spricht Christus 565\n Morgenglanz der Ewigkeit 554\n\n Nun danket alle Gott 514\n Nun ruhen alle W\u00e4lder 556\n\n O dass ich tausend Zungen h\u00e4tte 509\n O Du allers\u00fcsste Freude 134\n O Gott, du frommer Gott 566\n O Haupt voll Blut und Wunden 539\n O heil\u2019ger Geist, kehr bei uns ein 546\n O heiliger Geist, o heiliger Gott 547\n O Jesu Christ, mein sch\u00f6nstes Licht 170\n O Lamm Gottes, unschuldig 540\n O selig Haus, wo man dich aufgenommen 358\n\n Ringe recht, wenn Gottes Gnade 563\n\n Schm\u00fccke dich, o liebe Seele 552\n Sch\u00f6nster Herr Jesu 97\n Seele, du musst munter werden 27\n Seliger Friede, k\u00f6stliche Gab\u2019 157\n Sei Lob und Ehr\u2019 dem h\u00f6chsten Gut 512\n So nimm denn meine H\u00e4nde 561\n Stille, mein Wille! Dein Jesus hilft siegen 54\n Stille Nacht, heilige Nacht 83\n\n Tut mir auf die sch\u00f6ne Pforte 505\n\n Vom Himmel hoch, da komm\u2019 ich her 527\n Von Gr\u00f6nlands eis\u2019gen Zinken 333\n\n Wachet auf! ruft uns die Stimme 522\n Walte, walte nah und fern 551\n Was Gott tut, das ist wohlgetan 567\n Weil ich Jesu Sch\u00e4flein bin 430\n Wer nur den lieben Gott l\u00e4sst walten 571\n Wie gross ist des Allm\u00e4cht\u2019gen G\u00fcte 516\n Wie ich bin, komm\u2019 ich zu dir 458\n Wie sch\u00f6n leuchtet der Morgenstern 529\n Willkommen, Held im Streite 542\n Wir pfl\u00fcgen und wir streuen 375\n Wir warten dein, O Gottes Sohn 524\n\n\n _Greek_\n \u0391\u1f34\u03c3\u03c9\u00b5\u03b5\u03bd, \u03c0\u03ac\u03bd\u03c4\u03b5\u03c2 \u03bb\u03b1\u03bf\u03af 113\n \u1f08\u03bd\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03c9\u03c2 \u1f21\u00b5\u03ad\u03c1\u03b1 115\n \u039c\u03bd\u03ce\u03b5\u03bf, \u03a7\u03c1\u03b9\u03c3\u03c4\u03ad 196\n \u03a3\u03c4\u03cc\u00b5\u03b9\u03bf\u03bd \u03c0\u03ce\u03bb\u03c9\u03bd \u1f00\u03b4\u03b1\u1ff6\u03bd 398\n\n\n _Italian_\n Ies\u00fa, sommo conforto 536\n\n\n _Latin_\n Adeste, fideles 80\n Alleluia, alleluia, alleluia 116\n Angularis fundamentum 277\n Aurora lucis rutilat 415\n\n Gloria, laus et honor tibi sit 100\n\n Jesus dulcis memoria 155\n Jesu, dulcedo cordium 171\n\n Lapsus est annus 382\n\n Urbs Sion aurea, patria lactea 262\n\n Veni, veni, Emmanuel 67\n Veni, Sancte Spiritus 131\n\n\n _Welsh_\n Arglwydd, arwain trwy\u2019r anialwch 160\n\n\n\n\n Index of First Lines\n\n\n Capital letters indicate titles of hymns rather than first lines.\n\n\n A\n HYMN\n A charge to keep I have 214\n A gladsome hymn of praise we sing 403\n A great and mighty wonder 526\n A little Child the Savior came 300\n A little seed lay fast asleep 406\n A mighty fortress is our God 549\n A ruler once came to Jesus 461\n Abide with me 40\n Abide with us our Savior 559\n According to Thy gracious word 305\n After Thy loving-kindness, Lord 589\n Again, as evening\u2019s shadow falls 280\n Again returns the day of holy rest 286\n Ah, dearest Jesus, how hast Thou offended 534\n Alas! and did my Savior bleed 108\n All glory be to God on high 521\n All glory, laud and honor 100\n All hail the power of Jesus\u2019 name (Miles Lane) 3\n All hail the power of Jesus\u2019 name (Coronation) 4\n All hail the power of Jesus\u2019 name (Diadem) 5\n All hidden lie the future ways 299\n All my heart this night rejoices 525\n All people that on earth do dwell 594\n All praise to Our redeeming Lord 322\n All praise to Thee, my God this night 33\n All things bright and beautiful 410\n All things come from Thee, O Lord 612\n Alleluia sing to Jesus 124\n Alleluia! Alleluia! 116\n Almighty Lord, with one accord 390\n Amazing grace! how sweet the sound 463\n Amen, Amen 619, 620, 621, 622, 623\n And must I be to judgment brought 501\n Angels, from the realms of glory 81\n Angels, we have heard on High 82\n Another year is dawning! 380\n Another year of setting suns 381\n \u201cAre ye able,\u201d said the Master 392\n Are you weary, are you heavy-hearted 476\n Around the throne of God in heaven 405\n Art thou weary, heavy laden 143\n As pants the heart for cooling streams 586\n As with gladness men of old 530\n Asleep in Jesus! blessed sleep 314\n At even, when the sun was set 37\n Author of life divine 309\n Awake, my soul! and with the sun 25\n Awake, our souls! away, our fears! 258\n Away in a manger 414\n\n\n B\n Be still, my soul: the Lord is on thy side 54\n Before Jehovah\u2019s awful throne 272\n Behold a Stranger at the door! 141\n Believe not those who say 210\n Beneath the cross of Jesus 112\n Bethlehem, of noblest cities 88\n Birds are singing 409\n Bless the four corners of this house 362\n Bless Thou the gifts our hands have brought 611\n Blessed assurance 480\n Blest are the pure in heart 205\n Blest be the everlasting God 266\n Blest be the tie that binds 41\n Bread of heaven, on Thee we feed 311\n Bread of the world, in mercy broken 304, 306\n Break Thou the bread of life 288\n Breathe on me, Breath of God 135\n Brightest and best of the sons of the morning 91\n Brightly beams our Father\u2019s mercy 448\n By Christ redeemed, in Christ restored 310\n\n\n C\n Can a little child like me 435\n Captain of Israel\u2019s host and Guide 168\n Children of Jerusalem sang the praise 404\n Christ for the world we sing 327\n Christ has for sin atonement made 473\n Christ is coming! let creation 127\n Christ is made the sure foundation 277\n Christ is our cornerstone 9\n Christ the Life of all the living 535\n Christ the Lord is risen again 544\n Christ, whose glory fills the skies 26\n Christians, awake! salute the happy morn 71\n Come, all ye shepherds 79\n Come, every soul by sin oppressed 457\n Come, Father, Son, and Holy Ghost 301\n Come hither, ye children 413\n Come, Holy Ghost, in love 131\n Come, Kingdom of our God 269\n Come, let us all unite to sing 439\n Come, let us join our cheerful songs 17\n Come, let us join our friends above 319\n Come, let us to the Lord our God 146\n Come, Lord, and tarry not 129\n Come, my soul, thou must be waking 27\n Come, O come, Thou quickening Spirit 548\n Come, risen Lord, and deign to be our guest 307\n Come, Thou Almighty King 8\n Come, Thou bright and morning star 554\n Come, Thou Fount of every blessing 189\n Come, Thou long expected Jesus 69\n Come unto Me, ye weary 240\n Come, we that love the Lord 443\n Come, ye disconsolate 243\n Come, ye faithful, raise the strain 113\n Come, ye sinners, poor and needy 459\n Come, ye thankful people, come 377\n Commit thou all thy griefs 558\n Cross of Jesus, cross of sorrow 111\n Crown Him with many crowns 118\n\n\n D\n Dark the day on Calvary\u2019s Cross 538\n Darkening night the land doth cover 32\n Day by day the manna fell 247\n Day is dying in the west 31\n Dear Lord and Father of mankind 181\n Dear Shepherd of Thy people 279\n Deck thyself, my soul, with gladness 552\n Down at the cross where my Savior died 464\n Doxology 618\n\n\n E\n Eternal Father! strong to save 169\n Eternal One, Thou living God 369\n Evening and morning, sunset and dawning 555\n\n\n F\n Fairest Lord Jesus, Ruler of all nature 97\n Faith of our fathers! living still 154\n Far and near the fields are teeming 325\n Father Almighty, bless us with Thy blessing 59\n Father and Friend, Thy light, Thy love 63\n Father eternal, Ruler of creation 354\n Father in heaven, who lovest all 401\n Father, in Thy mysterious presence kneeling 188\n Father, O hear us 609\n Father of men in whom are one 388\n Father, to Thee we look in all our sorrow 249\n Father, we praise Thee, now the night is over 24\n Father, we thank Thee for the night 423\n Father, what-e\u2019er of earthly bliss 251\n Father, whose will is life and good 326\n Fling out the banner 331\n For all the saints who from their labors rest 317\n For common gifts we bless Thee, Lord 176\n For the beauty of the earth 51\n For them whose ways are in the height 166\n For Thy mercy and Thy grace 528\n Forever with the Lord 261\n Forward through the ages 267\n Fountain of good, to own Thy love 218\n From Greenland\u2019s icy mountains 333\n From heaven above to earth I come 527\n From the eastern mountains 89\n From yon distant heaven 433\n\n\n G\n Give of your best to the Master 400\n Give to our God immortal praise 11\n Give to the winds thy fears 246\n Gloria Patri 606, 607\n Glorious things of thee are spoken 274\n Glory be to the Father 606, 607\n Go forth to life, O child of earth 211\n Go, labor on; spend and be spent 231\n Go to dark Gethsemane 107\n God be with you till we meet again 365\n God bless our native land 348\n God is in His Holy Temple 2\n God is love; His mercy brightens 55\n God is my Light! 560\n God is our Refuge 588\n God is the Refuge of His saints 257\n God\u2019s law is perfect 578\n God moves in a mysterious way 60\n God of my heart 235\n God of our fathers, whose almighty hand 347\n God of the earth, the sky, the sea 52\n God reveals His presence 506\n God sees the little sparrow fall 408\n God that madest earth and heaven 35\n God the All-merciful 351\n God\u2019s trumpet wakes the slumb\u2019ring world 194\n God who madest earth and heaven 573\n Gracious Savior, Gentle Shepherd 298\n Gracious Spirit, Holy Ghost 174\n Great God of nations 349\n Great God, the followers of Thy Son 13\n Great God, we sing that mighty hand 383\n Guide me, O Thou great Jehovah 160\n\n\n H\n Hail the day that sees Him rise 117\n Hail, Thou once despised Jesus 122\n Hail to the brightness of Zion\u2019s glad morning 332\n Hail to the Lord\u2019s Anointed 65\n Happy the home when God is there 361\n Hark, hark, my soul! angelic songs 260\n Hark ten thousand harps and voices 123\n Hark! the herald angels sing 85\n Have Thine own way, Lord! 217\n He leadeth me: O blessed thought! 478\n He who would be in God confiding 571\n Hear our prayer, O Lord 604\n Heaven and earth, the sea and air 510\n Here, O my Lord, I see Thee face to face 303\n Here we come with gladness 421\n Hide me, O my Savior 483\n His name forever shall endure 591\n Holy Father, cheer our way 254\n Holy Ghost, dispel our sadness 134\n Holy God, we praise Thy name 519\n Holy, Holy, Holy, Lord God Almighty! 1\n Holy, holy, holy, Lord God of hosts 601, 602\n Holy Lord, holy Lord 520\n Holy Spirit, faithful Guide 137\n Holy Spirit, Truth divine 136\n How are Thy servants blest, O Lord 338\n How blest are they whose hearts are pure 206\n How brightly shines the Morning Star! 529\n How firm a foundation, ye saints of the Lord 151\n How gentle God\u2019s commands 56\n How great, Almighty, is Thy kindness! 516\n How happy is he born and taught 208\n How lovely are Thy dwellings fair! 592\n How sweet, how heavenly is the sight 323\n Hushed was the evening hymn 416\n\n\n I\n I am Jesus\u2019 little lamb 430\n I am the Lord, O hear My voice 565\n I am Thine, O Lord 475\n I can hear my Savior calling 500\n I do not ask, O Lord 471\n I feel the winds of God today 391\n I have a Savior 460\n I have found a friend in Jesus 446\n I hear the Savior say 462\n I heard the voice of Jesus say 142\n I hunger and I thirst 308\n I joyed when to the house of God 599\n I know not how that Bethlehem\u2019s Babe 99\n I know not why God\u2019s wondrous 450\n I know that my Redeemer liveth 453\n I Know Whom I Have Believed 450\n I lay my sins on Jesus 444\n I look to Thee in every need 244\n I love the Lord 597\n I love Thy kingdom, Lord! 275\n I love to tell the story 493\n I need Thee every hour 187\n I sing the mighty power of God 47\n I think when I read that sweet story of old 427\n I waited for the Lord my God 585\n I would be true 207\n Immortal Love, forever full 173\n I\u2019m not ashamed to own my Lord 302\n In Christ there is no East or West 320\n In our work and in our play 417\n In pleasant lands have fallen the lines 368\n In the cross of Christ I glory 110\n In the hour of trial 195\n It came upon a midnight clear 75\n It may be at morn, when the day is awaking 455\n I\u2019ve found a Friend 445\n\n\n J\n Jehovah, Jehovah 507\n Jehovah, let me now adore Thee 569\n Jerusalem the golden 262, 263\n Jesus, and shall it ever be 192\n Jesus bids us shine 420\n Jesus calls us: o\u2019er the tumult 140\n Jesus Christ is ris\u2019n today 114\n Jesus Christ, my sure defense 541\n Jesus, I never can forget 533\n Jesus, keep me near the cross 490\n Jesus lives! thy terrors now 543\n Jesus, Lord, we look to Thee 321\n Jesus, Lover of my soul 158, 159\n Jesus loves me! this I know 428\n Jesus, my all 468\n Jesus, our Savior, grant us Thy peace 157\n Jesus, priceless treasure 564\n Jesus, Refuge of the weary 536\n Jesus, Savior, pilot me 161\n Jesus shall reign where\u2019er the sun 341\n Jesus, still lead on 574\n Jesus, tender Shepherd, hear me 425\n Jesus, the very thought of Thee 155\n Jesus, Thou divine Companion 372\n Jesus, Thou joy of loving hearts 171\n Jesus, Thy boundless love to me 170\n Joy dawned again on Easter-Day 415\n Joy to the world! the Lord is come 70\n Joys are flowing like a river 479\n Joyful, joyful, we adore Thee 10\n Judge Eternal, throned in splendor 345\n Judge me, God of my salvation 499\n Just as I am, Thine own to be 393\n Just as I am 458\n\n\n L\n Lamb of God, most holy 540\n Lead, kindly Light, amid the encircling gloom 162, 163\n Lead me gently home, Father 449\n Lead on, O King Eternal 399\n Lead us, O Father, in the paths of peace 164\n Let the whole creation cry 49\n Let the words of my mouth 608\n Let there be light, Lord God of hosts 353\n Let us with a gladsome mind 64\n Life of all that lives below 238\n Lift up your heads, ye mighty gates 523\n Light of light, enlighten me 553\n Lo, God is here! let us adore 508\n Lo, He comes, with clouds descending 130\n Lo, the day of days is here 545\n Lo, the heav\u2019ns are breaking 434\n Look, ye saints! The sight is glorious 119\n Lord, dismiss us with Thy blessing 45\n Lord God, the Holy Ghost 132\n Lord, I hear of show\u2019rs of blessing 204\n Lord, in the fullness of my might 397\n Lord, in the morning 20\n Lord, it belongs not to my care 253\n Lord Jesus, I long to be perfectly whole 469\n Lord Jesus, think on me 196\n Lord of all being, throned afar 53\n Lord of life and King of glory 363\n Lord of light, whose name outshineth 342\n Lord of our life, and God of our salvation 278\n Lord, speak to me, that I may speak 296\n Lord, Thou hast been Thy people\u2019s rest 568\n Lord, Thou shalt early hear my voice 576\n Lord, through changing days, unchanging 402\n Lord, Thy mercy now entreating 147\n Lord, Thy Word abideth 292\n Lord, what a change within us one short hour 183\n Lord, who can be with Thee compared? 518\n Lord, with glowing heart I\u2019d praise Thee 511\n Love Divine, all loves excelling 178, 179\n Loving Shepherd of Thy sheep 429\n Low in the grave He lay 452\n\n\n M\n Majestic sweetness sits enthroned 120\n Man of Sorrows, now my soul shall greet Thee 537\n Master, speak! Thy servant heareth 219\n May the grace of Christ our Savior 613\n Mighty God, while angels bless Thee 46\n More love to Thee 472\n Motherhood, sublime, eternal 364\n My country, \u2019tis of thee 344\n My days are gliding swiftly by 503\n My faith looks up to Thee 150\n My God and Father 245\n My God, I thank Thee, Who hast made the earth 177\n My hope is built 487\n My Jesus, as Thou wilt! 250\n My Jesus, I love Thee 216\n\n\n N\n Near to the Heart of God 239\n Nearer, my God, to Thee 202\n Nearer the cross! 491\n New every morning is the love 22\n Not alone for mighty empire 355\n Not always on the mount may we 98\n Now cheer our hearts this eventide 557\n Now, on land and sea descending 28\n Now thank we all our God 514\n Now the day is over 29\n Now the laborer\u2019s task is o\u2019er 315\n Now to heaven our prayer ascending 371\n Now to Him who loved us 617\n Now to the King of heaven 615\n Nun ruhen alle W\u00e4lder 556\n\n\n O\n O beautiful for spacious skies 343\n O brother man, fold to thy heart thy brother 229\n O children, hither do ye come 584\n O Christ in Thee my soul hath found 451\n O come, all ye faithful 80\n O come, loud anthems let us sing 18\n O come, O come, Emmanuel 67\n O day of rest and gladness 285\n O for a closer walk with God 197\n O for a faith that will not shrink 153\n O for a thousand tongues to sing 12\n O gladsome light 34\n O God, beneath Thy guiding hand 367\n O God of Bethel, by whose hand 167\n O God of love, O King of peace 352\n O God, our help in ages past 61\n O God, Thou faithful God 566\n O God, we pray for all mankind 350\n O grant us light, that we may know 389\n O happy day, that fixed my choice 465\n O happy home, where Thou art loved 358\n O have you not heard of that beautiful stream 232\n O Heart of God 237\n O Holy Night 86\n O Holy Savior, Friend unseen 233\n O Holy Spirit, enter in 546\n O Jesus, I have promised 212\n O Jesus, Thou art standing 144\n O little town of Bethlehem 84\n O Lord, how happy should we be 255\n O Lord of life where\u2019er they be 316\n O Lord, Thou art my God and King 600\n O Love divine, that stooped to share 172\n O Love that wilt not let me go 175\n O Master, let me walk with Thee 223\n O Master Workman of the race 93\n O perfect Love, all human thought 312\n O pow\u2019r of love, all else transcending 517\n O sacred Head, now wounded 539\n O Savior, bless us ere we go 44\n O scatter seeds of loving deeds 498\n O send Thy light 587\n O sing a song of Bethlehem 92\n O Son of God, we wait for Thee 524\n O Son of Man, our Hero 396\n O Son of Man, Thou madest known 373\n O Spirit of Life, O Spirit of God 547\n O Spirit of the living God 330\n O still in accents sweet and strong 294\n O that I had a thousand voices 509\n O the unsearchable riches 454\n O Thou great Friend to all 224\n O Thou, in whose presence 470\n O thou my soul, bless God the Lord 596\n O where are kings and empires now 276\n O Word of God Incarnate 289\n O worship the King 7\n O Zion haste, thy mission high fulfilling 328\n O\u2019er the trackless ocean guided 165\n Once in royal David\u2019s city 412\n Once to every man and nation 346\n On the mountain top appearing 336\n One is kind above all others 447\n One sweetly solemn thought 264\n One thought I have, my ample creed 248\n Onward, Christian soldiers 225\n Open now Thy gates of beauty 505\n Our blest Redeemer, ere He breathed 138\n Our Father, who art in heaven 610\n Our Lord, His Passion ended 572\n Out of the depths I cry to Thee 531, 532\n\n\n P\n Pass me not, O gentle Savior 474\n Peace in our time, O Lord 357\n Peace, perfect peace 256\n Pour out Thy Spirit from on high 295\n Praise God, from whom all blessings flow 618\n Praise Him, praise Him, all ye 426\n Praise Him! praise Him! Jesus 438\n Praise the Lord: ye heavens adore Him 16\n Praise thou the Lord, O my soul 513\n Praise to the Lord, the Almighty 515\n Praise waits for Thee in Zion 590\n Pray when the morn is breaking 180\n Prayer is the soul\u2019s sincere desire 184\n\n\n R\n Rejoice, the Lord is King 121\n Rejoice, ye pure in heart 156\n Remember all God\u2019s children 436\n Rescue the perishing 497\n Ride on! ride on in majesty 101\n Ring out, wild bells 379\n Rise, my soul, and stretch thy wings 200\n Rise up, O men of God 230\n Rock of Ages, cleft for me 148\n\n\n S\n Safe in the arms of Jesus 313\n Safely through another week 284\n Sanctus 601, 602\n Savior again to Thy dear Name we raise 43\n Savior, breathe an evening blessing 38\n Savior lead me lest I stray 502\n Savior, like a shepherd lead us 395\n Savior, teach me, day by day 424\n Savior, Thy dying love 220\n Savior, when in dust, to Thee 145\n Savior, while my heart is tender 394\n See how great a flame aspires 339\n See the shining dewdrops 407\n Shepherd of eager youth 398\n Shine Thou upon us, Lord 293\n Show me Thy ways, O Lord 581\n Silent night, holy night 83\n Since Jesus is my Friend 236\n Sing praise to God who reigns above 512\n Sing them over again to me 494\n Sinners Jesus will receive 466\n Sleep, baby, sleep! 431\n Softly and tenderly Jesus is calling 456\n Softly now the light of day 36\n Soldiers of Christ, arise 198\n Spirit divine, attend our prayer 139\n Spirit of God descend 133\n Spread, still spread, thou mighty word 551\n Stand up, stand up for Jesus! 193\n Still, still with Thee 23\n Strive aright when God doth call thee 563\n Strong Son of God, immortal Love 149\n Summer suns are glowing 386\n Sun of my soul, Thou Savior dear 30\n Sunset and evening star 265\n Sweet are the promises 481\n Sweet hour of pray\u2019r! 182\n\n\n T\n Take my heart, O Father 441\n Take my life and let it be 215\n Take the Name of Jesus 485\n Take Thou my hand, O Father 561\n Teach me, my God and King 226\n Tell me the old, old story 495\n Tell me the stories of Jesus 419\n Thank the Lord 376\n That man hath perfect blessedness 575\n The Church\u2019s one foundation 273\n The dawn of God\u2019s dear Sabbath 283\n The day of resurrection 115\n The duteous day now closeth 556\n The first Noel the angel did say 76\n The glory of the spring how sweet 385\n The God of Abraham praise 14\n The happy Christmas 411\n The heavens declare Thy glory 291\n The King shall come when morning dawns 125\n The Lord be with us as we bend 42\n The Lord bless you and keep you 614\n The Lord doth reign 593\n The Lord is in His holy temple 603\n The Lord\u2019s my light 582\n The Lord\u2019s my Shepherd 579\n The Lord is my Shepherd, no want shall I know 62\n The morning light is breaking 324\n The spacious firmament on high 50\n The Spirit of the Lord revealed 570\n The stars were silent 77\n The strife is o\u2019er, the battle done 116\n The wise may bring their learning 418\n The whole wide world for Jesus 340\n The whole world was lost 467\n The work is Thine, O Christ our Lord 550\n The year is gone beyond recall 382\n The year is swiftly waning 387\n There is a fountain 492\n There is a green hill far away 104\n There is a Name I love to hear 496\n There is a place of quiet rest 239\n There is beauty all around 360\n There is no name so sweet on earth 440\n There is no sorrow, Lord, too light 259\n There\u2019s a land that is fairer than day 504\n There\u2019s a wideness in God\u2019s mercy 58\n Thine Arm, O Lord, in days of old 95\n This is my Father\u2019s world 48\n This is the day of light 287\n Thou art coming, O my Savior 126\n Thou art the way, to Thee alone 185\n Thou Grace Divine, encircling all 57\n Thou gracious God, whose mercy lends 359\n Thou shalt arise, and mercy yet 595\n Thou to whom the sick and dying 370\n Thou true Vine, that heals the nations 234\n Thou who Thyself didst sanctify 297\n Though lowly here our lot may be 374\n Throned upon the awful tree 109\n Through all the changing scenes of life 583\n Thy kingdom come, O God 271\n \u201cThy kingdom come!\u201d O Lord, we daily cry 356\n Thy kingdom come, O Lord, wide circling 270\n \u201cThy kingdom come,\u201d on bended knee 268\n Thy way is in the deep, O Lord 242\n Thy way, not mine, O Lord 252\n Thy Word have I hid in my heart 605\n Thy Word is like a garden, Lord 290\n \u2019Tis midnight and on Olive\u2019s brow 103\n \u2019Tis so sweet to trust in Jesus 488\n \u2019Tis the promise of God 442\n \u2019Tis winter now 384\n To God the only wise 616\n To Thee, O Lord, our hearts we raise 378\n Today be joy in ev\u2019ry heart 72\n\n\n U\n Unheard the dews around me fall 39\n Unto the hills 598\n Unto Thy temple, Lord, we come 282\n Uplift the song of praise 366\n\n\n V\n Veiled in darkness Judah lay 68\n\n\n W\n Wake, awake, for night is flying 522\n Walk in the light! so shalt thou know 209\n Watchman, tell us of the night 66\n We cannot think of them as dead 318\n We give Thee but Thine own 213\n We have heard the joyful sound? 334\n We love the place, O God 281\n We plow the fields, and scatter 375\n We praise Thee, O God! for the 437\n We praise Thee, O God, our Redeemer 15\n We thank Thee, O Our Father 422\n We three kings of Orient are 90\n We walk by faith, and not by sight 152\n We would see Jesus 201\n Welcome, Thou Victor in the strife 542\n We\u2019ve a story to tell the nations 335\n What a fellowship, what a joy divine 489\n What a Friend we have in Jesus 186\n What a Wonderful Savior 473\n What Child is this, who, laid to rest 78\n What mercy and divine compassion 562\n What star is this, with beams so bright 87\n Whate\u2019er my God ordains is right 567\n When courage fails, and faith burns low 191\n When He cometh 432\n When I survey the wondrous cross 105, 106\n When in the maddening maze of things 241\n When morning gilds the skies 19, 21\n When my love to God grows weak 102\n When peace, like a river 484\n When the weary, seeking rest 203\n When thy heart with joy o\u2019erflowing 227\n When we walk with the Lord 486\n Where cross the crowded ways of life 222\n While shepherds watched their flocks by night 73, 74\n While Thee I seek, protecting power 199\n Who is He in yonder stall 96\n Who is on the Lord\u2019s side 190\n Who is thy neighbor? He whom thou 228\n Will your anchor hold? 482\n Within Thy tabernacle, Lord 577\n Word of Life, most pure, most strong 329\n Work, for the night is coming 221\n\n\n Y\n Ye Christian heralds, go proclaim 337\n Ye fair green hills of Galilee 94\n Ye gates, lift up your heads 580\n Ye Must Be Born Again 461\n Ye servants of God, your Master proclaim 6\n Ye servants of the Lord 128\n Yield not to temptation 477\n\n\n\n\n Transcriber\u2019s Notes\n\n\n--Retained publication information from the printed edition: this eBook\n is public-domain in the country of publication.\n\n--In the text versions only, text in italics is delimited by\n _underscores_.\n\n--Silently corrected a few typos; retained many archaic spellings,\n especially in German source material.\n\n--Added a suffix (\u201ca\u201d) to one duplicate hymn number (553) and all\n references to it, to avoid ambiguous links.\n\n--Collated hymnal topics (from the table of contents) and headings in\n the text; silently added headings to the text, and added {bracketed\n headings} to the table of contents.\n\n--Generated hymnal topics (Praise under Children) to fill a gap in the\n headings.\n\n--Added the first lines of Greek hymns to the index of original first\n lines, and added one additional Greek first line.","title":"Handbook to the Mennonite Hymnary","tradition":"scripture-revelation","translated_text":null,"word_count":175785}