BOOK I Hymns for Worship and Praise (continued 3)

George Croly was educated at Trinity College, Dublin. After ministering in Ireland for a number of years, he went to London to engage in literary pursuits. He had varied talents and became well known for his poetry, fiction, plays, and contributed articles to magazines. In 1835, he entered parish work in London, where he was greatly admired and loved. His outspoken utterances attracted large congregations of all ranks to his church. He prepared, at the request of his people, a collection of Psalms and Hymns for Public Worship, of which only one edition was printed. Dr. Croly dropped dead while walking one day on Holborn Street. A man of scholarship and culture, and author of many volumes, he is remembered chiefly through this hymn.

MUSIC. MORECAMBE, originally called “Hellespont,” was written to be sung with “Abide with me,” for use in the church at Mannington, England, where its composer was serving as organist.

Frederick Cook Atkinson, 1841-97, was an English organist and choirmaster, having received his musical education at Cambridge.

134. Holy Ghost, dispel our sadness

Paul Gerhardt, 1607-76

A hymn of entreaty for the indwelling of the Holy Spirit.

The original is as follows:

80

The first translation was made by John Christian Jacobi, 1670-1750, for his Psalmodia Germanica. His rendering began

which Augustus Montague Toplady recast into the familiar

For comments on Toplady see Hymn 148.

Paul Gerhardt, next to Martin Luther, is the most noteworthy hymn writer of the Evangelical Church in Germany. Even the hymns of Luther are not as widely used today in the English speaking world as those of Gerhardt. He was born March 12, 1607, in Gräfenhynichen, a village near the celebrated Wittenberg. At 21 he began the study of theology in Wittenberg, but he received no church position until 45, when he was ordained and appointed provost at Mittenwalde, a small village. During his six years there, his hymns were published and he became widely known. In 1657, he was appointed third assistant pastor of the famous Church of St. Nicholas in Berlin. From this position he was deposed because he refused to sign a document promising that all clergymen would abstain from any references in their sermons to doctrinal differences between the Lutherans and Calvinists. Though he felt the blow keenly, he met it with Christian patience and fortitude. “This,” he said, “is only a small Berlin affliction; but I am also willing and ready to seal with my blood the evangelical truth, and, like my namesake, St. Paul, to offer my neck to the sword.” Additional sorrows came into his life with the death of his wife and four of his children. He was left with a single child, a boy of six, when he was called to the church at Lübden, where he labored faithfully and successfully until his death on June 7, 1676. Most of his life being spent in the distractions 81 and disasters of the Thirty Years War, which left Germany in misery and ruins, Gerhardt knew the depths of human sorrow. Out of the depths came his hymns of comfort and hope which have been a source of strength to a multitude of believers.

MUSIC. INVOCATION was composed by Uzziah C. Burnap, 1834-1900, organist at the Church of the Heights, Brooklyn, and co-editor with John K. Paine, Professor of Music at Harvard, of Hymns and Songs of Praise.

135. Breathe on me, breath of God

Edwin Hatch, 1835-89

An earnest prayer for an inbreathing of the Holy Spirit and a greater consecration of life. The hymn was first published in a privately printed leaflet called, Between Doubt and Prayer, 1878. It is based on John 20:22: “He breathed on them and saith unto them, Receive ye the Holy Ghost.”

Edwin Hatch, Church of England clergyman and University Reader of Ecclesiastical History at Oxford, was a scholar of world reputation. His Bampton Lectures, The Organization of the Early Christian Church, 1881, were translated into German by Prof. Adolph Harnack, who wrote of Hatch: “In his learning that of England’s great old theologians, Ussher and Pearson, lived to me again. He was a glorious man, whose loss I shall never cease to mourn.” Though a man of profound learning, his faith was as simple and unaffected as that of a child.

MUSIC. TRENTHAM is a tune of great beauty, well fitted for these words of devotion. The tenor part is especially melodious.

Robert Jackson, 1840-1914, English composer of many anthems, hymn tunes, songs and part songs, succeeded his father as organist and choirmaster at St. Peter’s church, Oldham, the father and son together having a record of continuous service at the same church for 92 years. His whole life was devoted to music. He was a member of Sir Charles Halle’s orchestra and conductor of the Oldham Musical Society.

136. Holy Spirit, Truth divine

Samuel Longfellow, 1819-92

Entitled a “Prayer for Inspiration,” this superb hymn of the Holy Spirit appeared in Hymns of the Spirit, 1864, edited by Samuel Johnson and the author. Stanzas 5 and 6 are omitted.

For comments on Samuel Longfellow see Hymn 28.

MUSIC. MERCY is an arrangement of a piano composition called, “The Last Hope,” by Louis Gottschalk, 1829-69, American composer, conductor, and popular concert pianist. Among Gottschalk’s works are two operas, two symphonies, and some piano pieces and songs—most of 82 which are forgotten today. The arrangement of the tune is the work of Dr. Edwin P. Parker, 1836-1925, hymnologist and distinguished Congregationalist minister at Hartford, Conn.

137. Holy Spirit, faithful Guide

Marcus M. Wells, 1815-95

The hymn and tune were written by Marcus M. Wells, a farmer and maker of farm implements who lived all his life in New York State. Born at Otsego, N. Y., he was converted in a mission at Buffalo. Regarding the origin of the hymn and tune he wrote:

On a Saturday afternoon, Oct. 1858, while at work in my cornfield, the sentiment of the hymn came to me. The next day, Sunday, being a very stormy day, I finished the hymn and wrote a tune for it and sent it to Prof. I. B. Woodbury.

The hymn sets forth God as a Presence, near the Christian’s side, friendly and helpful and true, guiding him through the storms and floods and desert wastes of his pilgrimage from earth to his heavenly home. It was first published in the New York Musical Pioneer, edited by Isaac B. Woodbury.

138. Our blest Redeemer, ere He breathed

Harriet Auber, 1773-1862

One of the finest of our hymns on the Holy Spirit. It was written for Whitsunday and published in the author’s The Spirit of the Psalms, 1829, in seven stanzas, the second and third being omitted here. The hymn appears in most modern hymnals and has been translated into several languages.

Harriet Auber, whose grandfather went from Normandy to England in 1685 as a Huguenot refugee, was born in London. She was a woman of refinement and culture who spent most of her life in the quiet villages of Broxbourne and Hoddesdon, Hertfordshire. She wrote numerous poems and hymns, but her name survives as the author of this exquisite lyric.

MUSIC. ST. CUTHBERT was composed for these words by J. B. Dykes for the original edition of Hymns Ancient and Modern, 1861.

For comments on Dykes see Hymn 1.

139. Spirit divine, attend our prayer

Andrew Reed, 1787-1862

Samuel Longfellow, 1819-92

This is a revision by Samuel Longfellow of a hymn written by Andrew Reed, an English Congregational minister. Reed, a philanthropist and great organizer, and founder of six asylums and orphanages, wrote 21 hymns and published several hymn books. He was an 83 ardent supporter of missionary work at home and abroad. Writing to his son who suggested that the father should write his autobiography, Dr. Reed summed up his own life in these words:

I was born yesterday, I shall die tomorrow, and I must not spend today in telling what I have done, but in doing what I may for HIM who has done all for me. I sprang from the people, I have lived for the people—the most for the most unhappy; and the people when they know it will not suffer me to die out of loving remembrance.

MUSIC. BRECON. The origin of this tune has not been traced. It is a useful tune as a choir response after the prayer.

THE CHRISTIAN LIFE—THE CALL OF CHRIST

140. Jesus calls us o’er the tumult

Cecil Frances Alexander, 1823-95

A hymn of consecration which has had far-reaching influence especially over young people. It is based on Matt. 4:18, 19: “And Jesus, walking by the sea of Galilee, saw two brethren, Simon, called Peter, and Andrew, his brother, casting a net into the sea: for they were fishers. And he saith unto them, Follow me, and I will make you fishers of men.” There is also a reference to the incident by the lake recorded in John 21:15: “So when they had dined, Jesus saith to Simon Peter, son of Jonas, lovest thou me more than these?”

The hymn appeared first in Hymns, 1852, published by the Society for the Promotion of Christian Knowledge. In the Episcopal Church in the United States and Canada, it has been adopted as the hymn of the Brotherhood of St. Andrew.

Mrs. Alexander is known principally as a writer of children’s hymns (410 and 412), but she also contributed excellent church songs for adults.

For comments on Mrs. Alexander see Hymn 104.

MUSIC. GALILEE was written for this hymn by William H. Jude, 1852-1922, English organist, composer, and lecturer on musical subjects. The tune becomes waltz-like when sung in quick tempo. Recognizing this danger, some hymn books are using other tunes with this hymn.

141. Behold a stranger at the door

Joseph Grigg, 1720-68

A lyric revealing in a remarkable manner the tenderness and love of Christ. It is based on Rev. 3:20: “Behold, I stand at the door and 84 knock.” Bishop How’s hymn, “O Jesus Thou art standing” (144), with which this may be compared, is based on the same passage.

Joseph Grigg, an English Presbyterian minister, began writing hymns when only ten years old. After a brief pastorate, he retired from the active ministry to devote himself to literary work. He published about 40 volumes, including several collections of hymns. Only two of his 43 hymns are found in modern hymnals, this one and “Jesus, and shall it ever be” (192), the latter written when he was only ten years of age.

MUSIC. BERA, a very useful tune, was composed by John Edgar Gould, 1822-75, an American musical editor, dealer in musical instruments, choral conductor, and publisher of music books. He was born in Maine, but spent most of his adult life in New York City and Philadelphia.

142. I heard the voice of Jesus say

Horatius Bonar, 1808-89

Based on John 1:16: “Of his fulness have all we received, and grace for grace,” and originally published with the title, “The Voice from Galilee.”

The hymn is constructed on three sayings of Jesus: (1) “Come unto me, all ye that labor and are heavy laden, and I will give you rest,” Mt. 11:28; (2) “Whosoever drinketh of the water that I shall give shall never thirst,” John 4:14; (3) “I am the light of the world; he that followeth me shall not walk in darkness, but shall have the light of life.” John 8:12. In the hymn, these three sayings, blended into a perfect unity, have sounded down the ages by the “Voice from Galilee.”

The hymn, as C. S. Robinson reminds us, employs the personal pronoun to emphasize the intimate relationship between Christ and the individual. “Christ says, ‘Come to me,’ and the Christian says, ‘I come.’ Christ says, ‘I give the living water’; and the listener answers, ‘My thirst was quenched’; Christ says, ‘I am the light’; and the child of God replies, ‘I found in him my Star, my Sun.’”

For comments on Horatius Bonar see Hymn 129.

MUSIC. VOX DELECTI was composed by J. B. Dykes for this hymn in Hymns Ancient and Modern, Appendix, 1868. The musical difficulties of the tune are more apparent than real. They can be overcome and its possibilities appreciated by careful study and practice. The first half is written in the minor key to carry the quiet, invitational words of Jesus. The second part, the glad acceptance of the invitation, is written in the strongly contrasting major key.

For comments on J. B. Dykes see Hymn 1.

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143. Art thou weary, heavy laden

Stephen the Sabaite, 725-94

Tr. John M. Neale, 1818-66

A restful, appealing lyric on the theme, “Come unto me, all ye that labor and are heavy laden, and I will give you rest” Matt. 11:28.

It is one of the few dialog hymns. [Others are “Watchman, tell us of the night” (66), and “Who is He in yonder stall?” (96)]. It may be sung antiphonally, the choir singing the questions and the congregation the answers.

Neale published this hymn in his Hymns of the Eastern Church, 1862, as a translation of a Greek hymn by Stephen the Sabaite. It is a paraphrase, however, rather than a translation.

For comments on John Neale see Hymn 67.

Hymnody in the Eastern Church reached its height in the 8th century. Stephen was a nephew of John of Damascus. At the age of 10 he was placed by his uncle in the monastery of Saint Sabas, located on a lofty cliff overhanging the ravine of the Kidron, between Jerusalem and the Dead Sea. Here he lived for more than half a century, known as Stephen the Sabaite. The monastery, many of the cells cut out of solid rock, still stands. The monks have been subjected to persecution, at various times, at the hands of Persians, Moslems, and Bedouin Arabs, and the monastery looks much like a fortress.

MUSIC. STEPHANOS was composed for this hymn by Henry W. Baker, and was first published in the appendix of the original edition of Hymns Ancient and Modern, 1868. The tune was harmonized by W. H. Monk (See 40).

Henry Williams Baker, 1821-77, was educated at Cambridge, ordained in 1844, and served as vicar of Monkland, Herefordshire, from 1851 till his death in 1877. He was editor-in-chief of the epoch-making book, Hymns Ancient and Modern, to which he contributed several of his own hymns and tunes. As a High Churchman, he held to the doctrine of the celibacy of the clergy and was never married.

144. O Jesus, Thou art standing

William W. How, 1823-97

Based on Rev. 3:20: “Behold, I stand at the door and knock: if any man hear my voice and open the door, I will come in to him, and sup with him, and he with me.” It was composed after the author had been reading the beautiful poem by Jean Ingelow, entitled “Brothers and a Sermon,” describing two brothers listening to an old parson in a fishing-village church. A part of the poem is as follows:

Holman Hunt’s picture, “The Light of the World,” is an exquisite illustration of the spirit of this hymn.

William Walsham How was born at Shrewsbury, England, educated at Oxford, and ordained to the ministry in 1846. He served various churches as pastor and declined offers of positions of more distinction. He refused the bishopric of Durham, one of the most distinguished posts in the Anglican Church, with an income more than double what he then had. He was a man of broad sympathies and apostolical zeal, and was a master of the pastoral art. He collaborated with Thos. Baker Morrell in editing Psalms and Hymns, 1854, and in 1871 was joint editor of Church Hymns, published by the Society for the Promotion of Christian Knowledge, the latter becoming the greatest rival of Hymns Ancient and Modern which that book had had to date. His poems are marked by simplicity and beauty of diction and constitute some of the richest treasures of modern hymnody.

MUSIC. ST. HILDA, also known as “St. Edith,” is an arrangement by Rev. Edward Husband of a tune published by Justin H. Knecht in Vollständige Sammlung, Stuttgart, 1799.

For comments on Knecht see Hymn 511.

Edward Husband, 1843-1908, was an English clergyman with a great deal of musical talent and interest and was a well-known lecturer on the subject of church music.

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PENITENCE AND CONFESSION

145. Savior, when in dust to Thee

Robert Grant, 1779-1838

A hymn of penitence which has had a wide use. It was published in the Christian Observer, 1815, as a Lenten “Litany.” The last line of each stanza (five in the original) read, “Hear our solemn litany,” here changed to “Hear thy people when they cry.” Stanzas 2 and 4 have been much altered by an unknown hand. Grant’s original hymn of five stanzas reads as follows:

1.

2.

3.

4.

88

5.

For comments on Robert Grant see Hymn 7.

MUSIC. SPANISH HYMN, also called “Spanish Chant,” is from an old 17th century melody of unknown origin.

146. Come, let us to the Lord our God

John Morison, 1750-98

Scottish Paraphrase, 1781

A version, from the Scottish Presbyterian Church, of Hosea 6:1-4:

Come, and let us return unto the Lord: for he hath torn, and he will heal us; he hath smitten, and he will bind us up. After two days will he revive us: in the third day he will raise us up, and we shall live in his sight. Then shall we know, if we follow on to know the Lord: his going forth is prepared as the morning: and he shall come unto us as the rain, as the latter and former rain unto the earth.

O Ephraim, what shall I do unto thee? O Judah, what shall I do unto thee? for your goodness is as a morning cloud, and as the early dew it goeth away.

Our hymn is one of the 67 “Translations and Paraphrases, in Verse, of Several Passages of Sacred Scriptures,” together with five hymns, that are appended to the Scottish Psalter for use in public worship in the Scotch Presbyterian Church.

John Morison was a Scotch scholar, teacher, and minister. He wrote a number of paraphrases of scriptural passages, seven of which were accepted into the authorized collection of Scottish Paraphrases, 1781.

MUSIC. BALLERMA. For comments on this tune see Hymn 57.

147. Lord, thy mercy now entreating

Mary Ann Sidebotham, 1833-1913

A hymn of penitence which was contributed to The Children’s Hymn Book, 1881, published by the Society for the Promotion of Christian Knowledge, London.

The author, Mary Ann Sidebotham, was an accomplished musician and a lifelong friend of Henry Smart, the eminent organist and composer. 89 She spent much of her life in her brother’s vicarage, St. Thomas-on-the-Bourne, Surrey, England, where she served as organist. She composed numerous songs for children and was the music editor of the above-mentioned Children’s Hymn Book.

MUSIC. RINGE RECHT. For comments on this tune see Hymn 563.

FAITH AND VISION

148. Rock of Ages, cleft for me

Augustus M. Toplady, 1740-78

Few hymns are more generally familiar or more treasured in the affections of all ranks of people than this. It appeared first in the Gospel Magazine, edited by Toplady, March, 1776, at the end of an article entitled, “A remarkable calculation Introduced here for the sake of the Spiritual Improvements subjoined. Questions and answers relating to the National Debt.” The article points out that the national debt is so large that the government will never be able to pay it off. The author then proceeds to calculate the number of sins each human being commits. Figuring the rate to be one per second, he arrives at this:

Our dreadful account stands as follows: At ten years old each of us is chargeable with 315 millions and 360,000 sins. At twenty, with 630 millions and 720,000. At thirty with 946 millions and 80,000.... At eighty, with 2,522 millions and 880,000.

The conclusion is that the debt can only be paid by the blood of Christ. The hymn follows his “calculation,” under the heading, “A living and dying Prayer for the Holiest Believer in the World.”

For 45 years after its publication, the hymn had little acceptance in England. Its merits then became recognized, and it became very popular. In the last century and a quarter it has had world-wide use, in a form altered somewhat from the original. The hymn has been criticized for its mixed metaphors (“cleft rock,” “riven side,” “to thy cross I cling,” “to the fountain fly”), for its false rhymes, and its over-emphasis upon sin obsession; but it has certain heart-piercing qualities which override all its faults. Like other hymns of the first rank (e.g., “Jesus Lover of my soul,” “Lead kindly light,” and “Nearer my God to Thee”) it voices the universal need of divine help. Professor Saintsbury, a literary critic, says of this hymn: “Every word, every syllable, in this really great poem has its place and meaning.”

The central imagery of the hymn is found in the following Scripture passages: Ex. 33:22: “While my glory passeth by, I will put thee in a cleft of the rock, and will cover thee with my hand while I pass by”; 90 Isa. 26:4: “Trust ye in the Lord for ever: for in the Lord Jehovah is the rock of ages” (margin); I Cor. 10:4: “and that Rock was Christ.”

A picturesque story, which originated about 1850, had it that Toplady composed the hymn while he was sheltering from a thunder storm in a great cleft of a limestone rock, some twelve years before the publication of the hymn. The story is without foundation. Toplady was fascinated by the thought of Christ as a rock and in a sermon on Isa. 42:11: “Let the inhabitants of the rock sing,” he said: “Chiefly may they sing who inhabit Christ the spiritual Rock of Ages. He is a Rock in three ways: as a Foundation to support, a Shelter to screen, and a Fortress to protect.”

The hymn has had a wide use among German speaking people in a translation made by Ernst Gebhardt, 1832-99.

Augustus M. Toplady, born at Farnham, England, was educated at Trinity College, Dublin. His conversion occurred at the age of 16 while on a visit in Ireland. The service was held in a barn and the text was Eph. 2:13: “But now, in Christ Jesus, ye who sometimes were far off are made nigh by the blood of Christ.” The preacher was an illiterate 91 but warm-hearted layman named Morris. Concerning his conversion Toplady wrote:

Strange that I, who had so long sat under the means of grace in England, should be brought nigh unto God in an obscure part of Ireland, amidst a handful of God’s people met together in a barn, and under the ministry of one who could hardly spell his name. Surely this is the Lord’s doing, and it is marvelous.

Toplady was ordained to the ministry of the Church of England in 1762 and in 1768 became vicar of Broadhembury. The last years of his life were passed in London preaching in a chapel of French Calvinists. He was a powerful preacher, and large congregations came to hear him. A strong Calvinist, and bitterly opposed to what he considered the reproach of Arminianism, he became involved in unfortunate controversies with John Wesley, during which neither disputant showed himself at his best. He died of consumption at the early age of 38.

MUSIC. TOPLADY was composed for this hymn by Thomas Hastings, 1784-1872. It is a popular easily sung tune, and universally used in America with this hymn. Hastings was not a great musician and this tune, with its “sentimentality and rocking-chair rhythm,” can hardly be considered great music. But it has been a blessing to millions of people and will doubtless continue to be sung for years to come. In England the hymn is invariably set to other tunes and some American hymn books have introduced alternative tunes. The tune “Petra” (109) is used with this hymn, as is also Grosser Gott wir loben Dich (519).

For comments on Thomas Hastings see Hymn 120.

149. Strong Son of God, immortal love

Alfred Tennyson, 1809-92

From the prologue of Tennyson’s great poem, “In Memoriam,” 1850, containing eleven stanzas; these are 1, 4, 5, and 7, unaltered.

The story of “In Memoriam” is familiar. At Cambridge University, Tennyson and Arthur Hallam became intimate friends. Hallam became engaged to Tennyson’s sister, and, after graduating from the University, took a trip to the Continent. At Vienna, he became sick and died, which prompted Tennyson to write the following brief but beautiful words:

In 1850, seventeen years after Hallam’s death, Tennyson published “In Memoriam,” a memorial to Hallam, but also to himself as well. Among 92 the individual verses of the poem which have become immortal are the familiar lines beginning, “Ring out, wild bells, to the wild sky.” (See 379).

Alfred Tennyson was the son of Rev. George C. Tennyson. He was educated at Cambridge and wrote poetry while an undergraduate. Upon the death of Wordsworth in 1850, Tennyson was appointed Poet Laureate. He is regarded as one of England’s greatest poets. He was not a hymn writer, yet several of his poems are used as hymns. Tennyson died October 6, 1892, and was buried in Westminster Abbey.

MUSIC. ST. CRISPIN was composed for the hymn “Just as I am, without one plea.” The tune was used at the funeral of the composer.

For comments on the composer, George Elvey, see Hymn 118.

150. My faith looks up to Thee

Ray Palmer, 1808-87

This hymn was written when the author had just left Yale at the age of 21 and was looking forward to his lifework in the Congregational ministry. The origin of the hymn is given in Duffield’s English Hymns, as follows:

The hymn was written in 1830, but not published (as a hymn) until 1882. The author was in New York City, “Between his college and theological studies,” and was in poor health, and a teacher in a ladies’ school. Dr. Palmer says: “I gave form to what I felt by writing, with little effort, the stanzas. I recollect I wrote them with very tender emotion, and ended the last lines with tears.” The manuscript was then placed in a pocket-book, where it remained for some time. Its true discoverer was Lowell Mason, the musician, who asked young Palmer if he had not some hymn or hymns to contribute to his new book. The pocket-book was produced and the little hymn, then between two and three years old, and never previously utilized, though it had been in print as a poem, was brought to light. Dr. Mason was attracted by it, and desired a copy. They stepped together into a store (it was in Boston), and the copy was made and taken away without further comment. On carefully reading the hymn at home, Dr. Mason was so interested that he wrote for it the tune “Olivet,” to which it is usually sung. Two or three days later, he again met the author in the street, and scarcely waiting to salute him, he said, “Mr. Palmer, you may live many years, and do many good things, but I think you will be best known to posterity as the author of ‘My Faith looks up to Thee.’”

The hymn appeared first in Spiritual Songs for Social Worship, 1831, by Thomas Hastings and Lowell Mason. It has been translated into many languages on the mission fields.

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MUSIC. OLIVET. For comments on the composer, Lowell Mason, see Hymn 12.

151. How firm a foundation

“K” in Rippon’s Selection, 1787

A great song of faith, calling to mind such scripture passages as Heb. 13:5: “I will never leave thee nor forsake thee”; Isa. 43:1, 2: “Fear not, for I have redeemed thee: I have called thee by thy name; thou art mine. When thou passest through the waters, I will be with thee; and through the rivers, they shall not overflow thee; when thou walkest through the fire, thou shalt not be burned; neither shall the flame kindle upon thee.”

The authorship is uncertain. The hymn appeared in A Selection of Hymns from the Best Authors, 1787, edited by John Rippon, 1751-1836, pastor of the Baptist Church in Carter’s Lane, London, where it was signed “K.” Who “K” was remains uncertain. The best guess seems to be that it refers to Robert Keene, precentor in Dr. Rippon’s church. It is one more example of a writer sending forth an immortal song to bless and strengthen the faith of millions, and then hiding himself completely from public notice.

MUSIC. ADESTE FIDELIS. For comments on this tune see Hymn 80.

152. We walk by faith, and not by sight

Henry Alford, 1810-71

Based on the story of the incredulity of Thomas in John 20:25-29: “Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe ... blessed are they that have not seen, and yet have believed.”

Henry Alford was educated at Cambridge for the Anglican ministry. After serving various churches, he finally, in 1857, became Dean of Canterbury, the highest post in the church. He was a renowned scholar and the author of numerous volumes. His Greek Testament was his greatest work and remained the standard critical commentary of the latter 19th century. He was a member of the New Testament Revision Company, whose work resulted in the revised version in 1881. Greatly interested in hymnology, he himself wrote and translated many hymns, and published several collections of hymns. Dean Alford was a strenuous worker, never idle, always broad-minded and throughout his life maintained cordial relations with non-conformists. A lifelong desire to visit the Holy Land remained unfilled; which fact suggested the beautiful inscription on his tombstone: “Deversorium viatoris proficiscentis Hierosolymam”—“the inn of a pilgrim travelling to Jerusalem.”

MUSIC. ARLINGTON is a tune from Thos. A. Arne’s opera Artaxerxes, 94 arranged by Rev. Ralph Harrison, 1748-1810, an English Presbyterian minister who published it in his Sacred Harmony, 1784.

Thos. A. Arne, 1710-1778, was educated for the legal profession. He turned away from law to become the foremost English composer of the 18th century. He received his degree of Doctor of Music from Oxford in 1759. Arne wrote the patriotic air, “Rule Britannia,” besides many other popular songs. His sister, a famous contralto, was chosen by Handel as one of the soloists for the first performance of The Messiah in Dublin, April 13, 1742.

153. O for a faith that will not shrink

Wm. Hiley Bathurst, 1796-1877

An excellent hymn on “The Power of Faith,” based on I John 5:4: “And this is the victory that overcometh the world, even our faith.” It appeared in the author’s Psalms and Hymns for Public and Private Use, 1831.

William Hiley Bathurst graduated from Oxford in 1818. During 33 years of ministry at Barwick-in-Elmet, he endeared himself to his people by his “eminent piety, his great simplicity of character, his tender love, and his abundant generosity.” He was a shy and reserved man “and had the peculiarity of becoming utterly silent if one asked the most trivial question.” His father was Charles Bragge, a member of Parliament for Bristol. The son assumed the name of Bathurst on succeeding to the estate of his uncle, Earl Bathurst, at Lydney Park, Gloucester.

MUSIC. EVAN was originally a setting by Wm. H. Havergal for a poem by Burns, “O Thou dread power who reign’st above.” Lowell Mason took a part of the melody and arranged it, as here, for a psalm tune, publishing it in New Carmina Sacra, 1850, under the name “Eva.” It might be added that Havergal disapproved of the arrangement as a “sad estrangement.” In spite of this, Mason’s arrangement has remained popular.

Rev. W. H. Havergal, 1793-1870, graduated from Oxford and was ordained in the Church of England. He became the rector of a church, but due to a carriage accident which resulted in concussion of the brain and injury to his eyesight, he resigned his church and devoted himself to the study of church music. In this field, he made a significant contribution by his compositions and his efforts at purifying and elevating the music used in the church. His daughter, Frances Ridley Havergal (see 126), wrote many hymns, six of which are found in the Hymnary.

154. Faith of our fathers, living still

Frederick W. Faber, 1814-63

A stirring hymn of faith bringing to mind the story of the Christian martyrs and pledging loyalty till death to the faith of our fathers. The 95 last stanza, suggesting the preaching of the faith through “kindly words and virtuous life,” is especially fine and Christian in spirit.

By “faith of our fathers” we mean, as we sing the hymn, the truth contained in the Gospels, taught by the Apostles, and brought again into clear light at the Reformation. But the hymn originally, written by a Roman Catholic, had reference to the Roman Catholic faith. The author, an Englishman, wrote one verse as follows:

The lines have been adapted for Protestant services to read:

The stanza, somewhat over-optimistic, is omitted from the Hymnary.

For comments on the author, F. W. Faber, see Hymn 44.

MUSIC. ST. CATHERINE is of English origin. The composer, Henry F. Hemy, 1818-88, was organist at St. Andrew’s Roman Catholic Church in Newcastle-upon-Tyne, and a teacher of piano and singing. He wrote this tune for another hymn and published it in his Crown of Jesus Music, 1864, a popular book in Catholic churches in England. The refrain was added in an arrangement by James G. Walton, 1821-1905.

PEACE AND JOY

155. Jesus, the very thought of Thee

Ascribed to Bernard of Clairvaux, 1091-1153

Tr. Edward Caswall, 1814-78

“This may well be called the sweetest and most evangelical hymn of the Middle Ages.... It breathes the deepest love to Christ, as the fountain of all peace and comfort, and the sum of all that is pure and lovely.”—Philip Schaff.

It is from the famous medieval hymn “Jesu, dulcis memoria,” which David Livingstone used to repeat as he explored Africa: “That hymn of St. Bernard, on the name of Christ, although in what might be termed dog-Latin, pleases me so: it rings in my ears as I wander across the wide, wide wilderness.” Its beauty has charmed many others who are familiar with the Latin. The original poem has fifty quatrains, of which our hymn is a selection of the following five:

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It is usually attributed to Bernard of Clairvaux (See 539), but many authorities now question the authorship. Percy Dearmer says in Songs of Praise Discussed that “it is not by St. Bernard.... St. Bernard of Clairvaux was born 1091 and the poem itself has been found in a manuscript of the 11th century.” In further commenting on the authorship he says, “We really know nothing and are not likely to know.”

The translation here is by Edward Caswall.

For comments on Caswall see Hymn 19.

A translation of a different cento of the same hymn, by Ray Palmer, is found at No. 171.

MUSIC. ST. AGNES was written for this hymn in A Hymnal for Use in the English Church, 1866, edited by Rev. J. Grey. In England it is called “St. Agnes, Durham,” to distinguish it from the tune, “Langran” (303) which is known in England as “St. Agnes.”

For comments on the composer, John B. Dykes, see Hymn 1.

156. Rejoice, ye pure in heart

Edward H. Plumptre, 1821-91

A popular processional hymn written for that purpose in May, 1865, for a choir festival in Peterborough Cathedral, one of the most important Norman churches now standing in England. It was published 97 in the same year in the author’s Lazarus, and Other Poems. The refrain has been added.

For comments on Edward H. Plumptre see Hymn 95.

MUSIC. MARION was written in 1883 for this hymn. The tune is admirably adapted to the words and the combination has made this one of the choicest of processional hymns. It is also effective for antiphonal singing.

Arthur Henry Messiter, 1834-1916, born in Somersetshire, England, began the serious study of music at the age of 17. Coming to America in 1863, he sang for a time in the volunteer choir of Trinity Church, New York City. Three years later this famous church appointed him their director of music and organist, a position he held with distinction for 31 years. He is the author of several notable books on music and editor of Episcopal Hymnal of 1893.

157. Jesus, our Savior, grant us Thy peace

E. C. Poppe

Tr. Amanda Hostettler

and E. Shippen Barnes

A hymn of the peace of God, based on Col. 3:15: “And let the peace of God rule in your hearts, to which also ye are called”; and John 14:27: “Peace I leave with you, my peace I give unto you.”

The original poem of five stanzas appears in the Gesangbuch mit Noten where it is attributed to E. C. Poppe. Erhard Christoph Poppe, 1804-78, the son of a goldsmith, was born in Bremen. He was a colporteur for the Methodist church.

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This free translation, specially made for the Hymnary, is by Mrs. Amanda Hostettler, Upland, California, whose father, John Hirschler, was a prominent minister in the General Conference of Mennonites. A few changes in her work were made by E. Shippen Barnes.

For comments on Barnes see Hymn 48.

MUSIC. SELIGER FRIEDE, named after the initial words of the German text, appeared anonymously in the Gesangbuch mit Noten. Its quiet, pensive phrases are well adapted to the sentiment of the words.

158-9. Jesus, Lover of my soul

Charles Wesley, 1707-88

The greatest hymn of all time.

Many of the stories concerning the origin of this hymn, such as that of the bird flying in time of storm to Wesley, or a dove pursued by a hawk finding refuge in his room, or Wesley’s own escape from a threatening mob, cannot be substantiated and must be dismissed as legendary, however plausible and fitting they may be.

The hymn first appeared in Hymns and Sacred Poems, 1740, with the title, “In time of Prayer and Temptation.” The third stanza, omitted from all hymnals, reads:

The simplicity and literacy art of the hymn are unsurpassed. Of the 188 words in the four stanzas of the hymn generally used, all but 31 are monosyllables. The hymn has been translated into virtually every language and uncounted millions have found it a source of help in time of need. Henry Ward Beecher once said: “I would rather have 99 written that hymn than to have the fame of all the kings that ever sat upon the earth.”

In the annotated edition of the Book of Common Praise, 1909, the following story is given:

A party of Northern tourists were on the deck of an excursion steamer, on the Potomac, one summer evening in 1881. One of the party, who had a remarkable voice, began to sing hymns to the others. When he had sung two verses of “Jesu, lover of my soul,” a stranger made his way from the outskirts of the crowd: “Beg your pardon, sir, but were you actively engaged in the late war?” “Yes, sir, I fought under General Grant.” “Well,” the first speaker continued, “I did my fighting on the other side, and I think I was very near you one bright night eighteen years ago this month. It was much such a night as this. If I am not mistaken, you were on guard-duty. We of the South had sharp business on hand. I crept near your post of duty, my weapon in my hand; the shadows hid me. Your beat led you into the clear light. As you paced back and forth you were singing that same hymn. I raised my gun and aimed at your heart—and I had been selected for the work because I was a sure shot. Then out upon the night floated the words:

Your prayer was answered. I couldn’t fire after that. And there was no attack made upon your camp that night. I felt sure, when I heard you singing this evening, that you were the man whose life I was spared from taking.” The singer grasped the hand of the Southerner and said: “I remember the night very well, and the feeling of depression with which I went forth to my duty. I knew the post was one of great danger. I paced my lonely beat, thinking of home and friends and all that life holds dear. Then the thought of God’s care came to me with peculiar force, and I sang the prayer of my heart and ceased to feel alone. How the prayer was answered I never knew until this evening.”

For comments on Wesley see Hymn 6.

MUSIC. MARTYN. The composer of this tune, Simeon B. Marsh, 1798-1875, spent many years teaching singing classes in and near Albany, N. Y., travelling constantly on horseback from town to town through Albany Presbytery. It was while enroute on his weekly circuit, one day during the autumn of 1834, that the melody took form. He alighted from his horse and wrote the music which he set to a hymn by John Newton, “Mary to her Saviour’s tomb.” Thomas Hastings later set the tune to “Jesus, Lover of my soul,” a combination now deeply imbedded in the affections of the American Church.

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MUSIC. HOLLINGSIDE (159) is the tune composed by John B. Dykes, 1823-76, especially for this hymn. The tune has more of musical interest than the better known “Martyn,” and many hymnals give it first place for use with this hymn. Dykes was always particular about the naming of his tunes, often some incident in his life supplying the name. “Hollingside” was the name of the cottage he lived in, while precentor at Durham, when he wrote this. Regarding its composition, one of his sisters wrote:

Some scenes during that visit will live forever in my memory. As, for instance, one calm Sunday evening, when I sat in the verandah in the deepening twilight and heard, through the open window, my brother composing and playing over the tune “Hollingside,” to the words “Jesu, Lover of my soul.”

For comments on Dykes see Hymn 1.

GUIDANCE AND PROTECTION

160. Guide me, O Thou great Jehovah

William Williams, 1717-91

A superb hymn of guidance in which the analogies of the history of Israel in the wilderness appear in every stanza and almost in every line. It was written in Welsh in 1745 and translated into English in 1771 by Rev. Peter Williams, friend of the author and fellow-worker. Some think stanzas 2 and 3 were translated by the author himself or by his son, the Rev. John Williams.

The hymn in Welsh, with its unpronounceable words, is as follows:

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William Williams was the chief hymn writer of Wales and one of her greatest poets. He at first was in training for the medical profession but after attending some revival services, decided to become a minister. On account of his evangelical views (and his interest in evangelistic work), he came in conflict with church dignitaries, resulting in his withdrawal from the Established Church, and throwing himself into evangelistic work. His preaching itineraries took him throughout Wales. He travelled an average of 3,000 miles per year for 50 years. He wrote many hymns, stirring the nation, influencing its character, and deepening its faith. Williams was to Wales what Paul Gerhardt was to Germany and Isaac Watts to England.

MUSIC. DISMISSAL was composed for the hymn “Lord, dismiss us with Thy blessing” (45).

The composer, William Letton Viner, 1790-1867, was a student of Charles Wesley, Jr. He was organist at St. Michael’s Church, Bath, for 18 years and at St. Mary’s Penzance for 21 years. In 1859, he came to the United States. He composed organ and church music and songs, and edited several hymnals.

161. Jesus, Savior, pilot me

Edward Hopper, 1818-88

A beautiful hymn suggested by the seafaring life. It was published anonymously in Sailors’ Magazine, 1871, and again in the Baptist Praise Book, 1871, and in C. S. Robinson’s collection of Spiritual Songs, 1878. The author of the hymn, unknown for several years, was discovered at the anniversary of the Seamen’s Friend Society, held at the Broadway Tabernacle, New York City, May 10, 1880. Dr. Edward Hopper, popular pastor of the Church of the Sea and Land in New York, having been asked to write a special hymn for the occasion, brought instead, “Jesus Savior, pilot me,” not aware that the hymn had already been published in several church hymnals. The public learned then for the first time the real authorship of the hymn. The original has six stanzas, this being a selection of 1, 5, and 6.

Edward Hopper was born in New York City. He graduated from New York University and then prepared himself at Union Theological Seminary, New York, for the Presbyterian ministry. For many years he was pastor of the Church of the Sea and Land in New York, which sailors attended in large numbers.

MUSIC. PILOT, universally sung and beautifully adapted to these words, was written just before the composer sailed for Europe a short while before his death. He played the tune on the piano the night before he embarked on shipboard for his last earthly voyage.

For further comments on the composer, John E. Gould, see Hymn 141.

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162-3. Lead, kindly Light

John Henry Newman, 1801-90

A prayer for light and guidance, written on Sunday, June 16, 1833, while the author, travelling for his health, was lying, sick in mind and body, on the deck of a sail vessel that was becalmed for a whole week in the Straits of Bonifacio, in the Mediterranean Sea. Newman was going through a period of great heart-searching because of the disturbed conditions in England, both in church and state. His depressed feelings were accentuated by the wretched state of his health. The hymn deserves its wide popularity, for it expresses the universal longing for divine help in time of deep depression. The meaning of “kindly light” was never explained by the author. To some it represents the Inward Light of conscience; to others just the divine guidance; but to most people it doubtless means Christ as the Light of the World.

John Henry Newman was born in London, the son of a banker. His parents were devout nonconformists and brought up their son in the evangelical faith. After a distinguished career at Trinity College, Oxford, Newman was ordained in the Church of England, and became the vicar of the Oxford University Church, a post he filled with distinction from 1828 to 1843. His charm of personality and pulpit eloquence made him a profound influence at the University. Newman became a leader in the Oxford Movement and finally, in 1845, after a period of much hesitation, he left Anglicanism to unite with the Roman Catholic Church. His Apologia pro Vita Sua, a masterpiece of autobiography, constitutes a powerful defense of the Roman system of belief. In 1879, after some years of neglect by the church, he was made a cardinal. His fine Christian character, and spiritual force, as well as his literary ability, were universally recognized. Newman was a great Englishman and a great saint though referred to by some writers as an “angel who lost his way.”

MUSIC. LUX BENIGNA was written for these words by J. B. Dykes. Dykes told a friend that the tune came to him while walking through the Strand in London. The tune is also known as “St. Oswald.”

A friend visiting Cardinal Newman said to him of “Lead, Kindly Light”: “It must be a great pleasure to you to know that you have written a hymn treasured wherever English speaking Christians are to be found: and where are they not found?” To which Newman, after thoughtful silence, replied: “Yes, deeply thankful, and more than thankful: but you see it is not the hymn, but the tune, that has gained the popularity! The tune is Dykes’, and Dr. Dykes was a great master.”

For comments on J. B. Dykes see Hymn 1.

SANDON was also written for this hymn. It appeared in The Church and Home Metrical Psalter and Hymnal, 1860, edited by Purday 103 himself. It is simpler in form than LUX BENIGNA and is an effective and desirable alternative tune.

Charles Purday, 1799-1885, the composer, was at one time a noted singer in London. He became a publisher of music and was a popular lecturer on musical subjects.

164. Lead us, O Father, in the paths of peace

Wm. H. Burleigh, 1812-71

A hymn on the journey of life, entitled by the author, “Prayer for Guidance.”

William Henry Burleigh was brought up on a farm at Plainfield, Conn. At the age of 25, he went to Pittsburgh, Pa., and learned the printing trade and journalism. He later became editor of the Christian Freeman, an abolitionist journal, at Hartford, Conn. He was an ardent temperance reformer and advocate of the abolition of slavery. His last appointment was harbour master at New York, a post he held for 15 years. Burleigh belonged to a distinguished group of Unitarians who have contributed to American hymnody. His wife, Celia Burleigh, was for some time minister of the Unitarian Church at Brooklyn, Conn., and wrote the Life of her husband.

MUSIC. LONGWOOD was composed for John Ellerton’s hymn, “Savior, again to thy dear name we raise” (43).

For comments on the composer, Joseph Barnby, see Hymn 21.

165. O’er the trackless ocean guided

Wm. H. Adams, 1864—

A hymn on pioneer service, written probably with the Pilgrim Fathers in mind, but equally applicable to other groups of immigrants who came “o’er the trackless ocean” to build “rude homes” in the “new land, wild and lonely.”

Information concerning the author has not been traced. The hymn is not listed in Julian’s Dictionary.

MUSIC. BEECHER. For comments on this tune and its composer see Hymn 178.

166. For them whose ways are in the height

Richard Roberts, 1874—

This hymn for travellers by air was created to meet the new day of amazing development which has taken place in modern travel. It is a welcome addition to the hymnody of travel.

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Richard Roberts, born in Wales, in 1874, is an eminent preacher. Before going to Canada where he became the first Moderator of the United Church of Canada, he occupied pulpits in Wales, London, and Brooklyn. He is one of the founders of the “Fellowship of Reconciliation.” His views on the relation of the church to war are well expressed in his own words:

The world order in which war is inherent, the church exists to transform. When it supports the method of war, an end-product of the unredeemed world order, the church is not only proclaiming its own failure, but is hauling down its own flag and hoisting instead the flag of the world.

MUSIC. MORWELLHAM was composed by Charles Steggall, 1826-1905, an English musician who was educated at the Royal Academy of Music in London and then for half a century was chief professor of the organ in the same institution. He is said to have trained more organists than any teacher in England. Steggall was an enthusiast for the music of Bach and served as honorary secretary of the Bach Society. He composed anthems and church music and had a lifelong interest in hymnology. He succeeded W. H. Monk as musical editor of Hymns Ancient and Modern.

167. O God of Bethel, by whose hand

Philip Doddridge, 1702-51

and others

A paraphrase of Genesis 28:20-22: “And Jacob vowed a vow, saying, If God will be with me, and will keep me in this way that I go, and will give me bread to eat, and raiment to put on, so that I come again to my father’s house in peace; then shall the Lord be my God: and this stone, which I have set for a pillar, shall be God’s house: and of all that thou shalt give me I will surely give the tenth unto thee.”

The hymn has undergone certain changes and additions so that it really is a composite production, the details of which need not be enumerated here. Ours is the Scottish version found in the Scottish Paraphrases, 1781. In Scotland it is the best-loved of the paraphrases as “The Lord’s My Shepherd” is the best-loved of the psalms.

For comments on Philip Doddridge see Hymn 56.

MUSIC. SALZBURG is an adaptation of an air in a movement of a Mass composed by J. M. Haydn “for the use of country choirs.” It was originally in 6-8 time. An entirely different tune by the same name is found at Hymn 545.

For comments on Johann Michael Haydn see Hymn 7.

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168. Captain of Israel’s host, and Guide

Charles Wesley, 1707-88

Based on the story of God’s guidance of the Israelites during their exodus from Egypt and their journeyings in the wilderness, Exodus 13:17-22.

For comments on Charles Wesley see Hymn 6.

MUSIC. MIDDLESEX is an anonymous tune, the origin of which has not been traced. The hymn and tune were taken from The Hymnary, published in Toronto, 1930, by the United Church of Canada.

169. Eternal Father! strong to save

William Whiting, 1825-78

A hymn for travellers by sea. This hymn and tune have long been used more frequently than any other for that purpose. Sir Evelyn Wood wrote regarding this hymn: “It is much used by those at sea, and, when the wind blows hard, by those on land.” The words, written in 1860, have been revised several times.

It was the favorite hymn of the late Franklin D. Roosevelt and was sung at his funeral at Hyde Park, New York, April 14, 1945.

William Whiting was a native of Kensington, London, and was for over twenty years master of the Choristers’ School at Winchester College.

MUSIC. MELITA was written for this hymn. For comments on the composer, J. B. Dykes, see Hymn 1.

LOVE AND GRATITUDE

170. Jesus, Thy boundless love to me

Paul Gerhardt, 1607-76

Tr. John Wesley

A hymn of the love of Christ, suited especially well for the Communion Service. This great hymn by Paul Gerhardt first appeared in Crüger’s Praxis Pietatis Melica, Berlin, 1653, in sixteen stanzas. John Wesley, great revivalist and eminent translator of German hymns, rendered the entire hymn into English, in a different meter, and published it in Hymns and Sacred Poems, 1739. Our hymn consists of the first three stanzas, the original of which are as follows:

The prayer for the realization of the love of Christ was answered abundantly in Wesley’s own life. In his Plain Account of Christian Perfection, he wrote:

In the beginning of the year 1738, as I was returning from Savannah, the cry of my heart was

On May 24 of the same year, in the Society Meeting in Aldersgate Street, about a quarter before nine, during the reading of Luther’s Preface to the Epistle to the Romans, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for Salvation; and an assurance was given me that He had taken away my sins, even mine, and saved me from the law of sin and death.

Wesley became interested in the German chorales through his contact with the Moravians. In 1735, he and his brother Charles Wesley set sail for Georgia. Among their fellow passengers on the boat were 26 Moravians who made much of the singing of hymns and seemed to meet every storm and trial with unfaltering faith. Wesley was so impressed that on the third day out he began the study of German and soon joined in the daily worship of the Moravians. The fervor and spontaneity of their singing made an indelible impression on his mind. He later translated a number of chorales into English. (See 246, 508, 558.)

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For comments on Paul Gerhardt see Hymn 134.

MUSIC. STELLA. For comments on this tune see Hymn 94.

171. Jesus, Thou Joy of loving hearts

Latin 11th Century

Tr. Ray Palmer

A hymn of devotional meditation especially appropriate for the Communion Service.

From the same Latin hymn, “Jesu dulcis memoria,” as Hymn 155 (which see) but using a different set of quatrains, Nos. 4, 3, 20, 28, and 10, which appear in the Latin as follows:

For comments on the translator, Ray Palmer, see Hymn 131.

MUSIC. QUEBEC. This tune by Henry Baker was originally set to the hymn, “Sun of my soul.” It is also called “Hesperus” and “Whitburn.”

Henry Baker (not to be confused with Henry W. Baker), 1835-1910, son of Rev. James Baker, was educated as a civil engineer and spent many years in his profession on railroad work in India. He loved music, and, encouraged by John B. Dykes, proceeded in 1867 to his musical degree (Mus. Bac.) at Exeter College, Oxford.

172. O love divine, that stooped to share

Oliver Wendell Holmes, 1809-94

One of Holmes’ best hymns to which he gave the title, “Hymn of Trust.” It is found in the author’s Poems, 1862. It was first published as one of the poems in The Professor at the Breakfast Table, where it was represented as having been heard by the professor as he walked by a sick room. The little refrain, “Thou art near,” is based on Psalm 119:151: “Thou art near, O Lord; and all thy commandments are truth.”

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Oliver Wendell Holmes, American poet and man of letters, was the son of Rev. Abiel Holmes, a Congregational minister. He graduated from Harvard in 1829, studied medicine at home and abroad, and became Professor of Anatomy and Physiology at Dartmouth in 1838. He was elected to the same chair at Harvard in 1847, a position he filled with distinction for 35 years. During all his years of teaching he was also engaged in literary work and published many volumes. Holmes was chief founder of the Atlantic Monthly. He was a member of the Unitarian Church though in later years he fell back for spiritual comfort on the great evangelical hymns of Watts and Wesley, finding in them a source of satisfaction and power which the hymns of his own denomination failed to supply. His son, Oliver Wendell, Jr., became an eminent member of the Supreme Court of the United States.

For further comments on Holmes see Hymn 53.

MUSIC. QUEBEC. For comments on this tune see Hymn 171.

173. Immortal Love, forever full

John Greenleaf Whittier, 1807-92

One of the great hymns on the living presence and sympathy of Christ. It is taken from the poem, “Our Master,” of 38 stanzas, of which this hymn is a selection of stanzas 1, 5, 13, 14, and 16 of the original.

John Greenleaf Whittier, the “Quaker Poet,” was born near Haverhill, Mass., where he began life as a farm boy and village shoemaker. At the age of 20, with only a limited education, he entered the profession of journalism, largely as the result of becoming acquainted with William Lloyd Garrison. He became editor of the American Manufacturer in 1828, and of the New England Review in 1830. In 1836 he became the secretary of the American Anti-Slavery Society and editor of its official organ, the Freeman. Whittier was a staunch advocate of the freedom of slaves, and as a Quaker, he was just as strongly opposed to war. His poems are characterized by wide sympathy and a fervent love for God and man. Though a staunch Quaker, wearing the distinctive garb and using the Quaker mode of speech all his life, there was no narrow sectarianism in his heart. A letter written to friends in Whittier, California, a city named after the poet, for the dedication of the Protestant Episcopal Church at that place, illustrates his large-hearted religious views:

I see the good in all denominations, and hope that all will be represented in the settlement; ... diligent in business and serving the Lord, not wasting strength and vitality in spasmodic emotions, not relying on creed and dogma, but upon faithful obedience to the voice of God in the soul. I see your town is spoken of as an orthodox Quaker colony. I hope 109 there will be no sectarian fence about “Whittier,” but that good men, irrespective of their creeds, will find a home there. Nothing would be worse for it than to have the idea get abroad that anything like intolerance and self-righteousness was its foundation. I am gratified to know that the people of the town which bears my name will remember me on my birthday. I watch its growth with great interest. It has the reputation among all who have seen it that it occupies one of the loveliest sites in California, and that in a moral and religious and educational point of view it need

MUSIC. SERENITY is taken from a larger work entitled, Waft ye winds. Though the tune is named “Serenity,” the composer’s life was anything but serene; he was the world’s most restless and most picturesque composer. William Vincent Wallace, 1812-65, son of an Irish bandmaster, became a brilliant violinist. He loved adventure and travel and made successful concert tours to Australia, the South Sea Islands, India, South America, Mexico, the United States, and elsewhere. Wallace spent 14 years in Germany composing piano music chiefly, but also writing a number of operas. On account of failing health, he abandoned writing, and went to New York where he lost all his fortune through the failure of a piano factory. Undiscouraged by this disaster, he once more resumed his career as composer, returned to London, and then on doctor’s orders went to the Pyrenees where he died at the age of 51.

174. Gracious Spirit, Holy Ghost

Christopher Wordsworth, 1807-85

Written for one of the pre-Lenten Sundays (Quinquagesima), the lesson for the day being I Corinthians 13. It is a fine enough hymn, but no poet can render this great paean of praise of love into verse to equal in poetic beauty the English of the King James Version.

Christopher Wordsworth was a nephew of the poet William Wordsworth. He was a brilliant student and a good athlete. After graduation from Cambridge, he became Head Master of Harrow for a time, then minister of a church where he proved to be a model parish priest, and later was appointed Bishop of Lincoln. Among his writings are a Commentary on the Bible, and a book of devotional poetry, The Holy Year, prepared for use in public worship.

MUSIC. CAPETOWN is an adaptation of a melody in “Vierstimmiges Choralbuch herausgegeben von Dr. F. Filitz,” Berlin, 1847. It 110 was originally set to the hymn, “Morgenglanz der Ewigkeit” (554).

The composer, Friedrich Filitz, 1804-76, was a musician and editor of German chorale books. He spent all his life in Munich except the years 1843-47 in Berlin.

175. O Love that wilt not let me go

George Matheson, 1842-1906

A song of joyful resignation, love, and trust, born out of the author’s experience of suffering. The story has been circulated that the hymn was written after the woman whom Matheson loved gave him up because of his becoming blind—a good story with one defect, viz., that it isn’t true. It could not be true because Matheson became blind at 15 and the hymn was not written until he was 40 years old.

The author’s own account of the composition of the hymn is as follows:

My hymn was composed in the manse of Innellan, on the evening of June 6, 1882. I was at that time alone. It was the day of my sister’s marriage, and the rest of the family were staying over night in Glasgow. Something had happened to me, which was known only to myself, and which caused me the most severe mental suffering. The hymn was the fruit of that suffering. It was the quickest bit of work I ever did in my life. I had the impression rather of having it dictated to me by some inward voice than of working it out myself. I am quite sure that the whole work was completed in five minutes, and equally sure that it never received at my hands any retouching or correction. The Hymnal Committee of the Church of Scotland desired the change of one word. I had written originally “I climb the rainbow in the rain.” They objected to the word “climb” and I put in “trace.”

George W. Matheson, son of a wealthy merchant in Glasgow, was an able and greatly honored minister in the Presbyterian Church of Scotland. He was educated at Glasgow University and licensed to preach when 24 years old. During his University course, and all the rest of his life, he had to depend on the eyesight of others, which makes his accomplishments all the more remarkable. He was a brilliant student and became a distinguished preacher and pastor. At St. Bernard’s Church, Edinburgh, he served a membership of over 2,000, never neglecting his duties of pastoral calling in which he was invariably accompanied by his devoted sister. He was a scholar of distinction and was the author of 25 books, including such well-known works as Representative Men of the Bible, Representative Women of the Bible, The Spiritual Development of St. Paul, and a book of Sacred Songs. Of the many hymns he wrote, several have been used in hymn books but only this one has gained universal popularity.

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MUSIC. ST. MARGARET was written one summer day as the composer was sitting by the sea on the island of Arran and reading over Matheson’s verses. The tune came to him suddenly and he hastened to the house where he was staying where (in his own words): “I wrote the music straight off, and I may say that the ink of the first note was hardly dry when I finished the tune.”

The composer, Albert Lister Peace, 1844-1912, was organist at Glasgow Cathedral and at the time he wrote this tune, he was music editor of the revised Scottish Hymnal of 1885.

176. For common gifts we bless Thee, Lord

Charlotte M. Packard

A hymn of gratitude for the common gifts too often taken for granted—the physical senses, the air, sun, darkness and sleep, the courtesies of friendship, etc. The last stanza is a prayer for unforgetful gratitude.

Information regarding the author, Charlotte M. Packard, has not been traced. The hymn was taken from Hymns of the Spirit, 1937, Boston.

MUSIC. ILLSLEY appeared in A Sett of New Psalm Tunes in Four Parts by John Bishop, c. 1700, where it is set to Psalm 100.

John Bishop, the composer, 1665-1737, was an English musician who became organist of Winchester College in 1695 and in 1729 was appointed organist of Winchester Chapel. He is buried in the Cloisters of the College with the following epitaph:

Vir singulari probitate, integerrima vita, moribus innocuis, musicaeque scientiae bene peritus, qui, postquam huic Collegio per XLII, annos sedulo inserviisset, ad Caelestam Choram placide migravit, decimo nono die Decembris, anno Dom. 1737, Aetat. 72. (A man of unexampled honesty, purest life, blameless morals, and of excellent skill in music, who, after serving this College diligently for 42 years, passed tranquilly to the Celestial Choir on the 19th of December A.D. 1737, aged 72.)

177. My God, I thank Thee, who hast made

Adelaide Anne Proctor, 1825-64

A hymn of pure gratitude, expressing thankfulness even for the trials of life. It is equally useful for the sick and the well.

Adelaide Anne Proctor was born in London, the daughter of Bryan W. Proctor, known in literary circles as “Barry Cornwall.” She possessed extraordinary intellectual power and was specially gifted in 112 music and language. Miss Proctor contributed lyrics to Household Verses, edited by Chas. Dickens, who wrote with admiration of her verse making, her mental resources, humor, and works of beneficence. At 38 years of age her physical strength weakened and then followed 15 weary months of helplessness during which, however, she maintained her old cheerfulness with never a trace of depression or regret. She was brought up in the Church of England, but at the age of 26 united with the Roman Catholics. Her broad sympathies and deep religious convictions placed her above the dogmas of any one communion and enabled her to express the aspirations of all God’s children. Besides her hymns, Miss Proctor is best known as the author of the popular song, “The Lost Chord,” set to music by Arthur Sullivan.

MUSIC. WENTWORTH was composed for this hymn in The Bristol Tune Book, 2d series; 1876. The middle section of the tune, lines 3 and 4, passes from the Key of C to A minor, D major and G major, making an effective contrast to the opening and closing lines, in the key of C.

For comments on the composer, Frederick C. Maker, see Hymn 112.

178-9. Love divine, all loves excelling

Charles Wesley, 1707-88

The hymn appeared in the curiously named collection, Hymns for those that seek and those that have Redemption in the Blood of Christ, 1747, and was entitled “Jesu, show us Thy salvation.” It dwells upon the thought of God as love, an idea not too common in the early hymns. The thought of the hymn is complete without stanza 2 and many hymnals omit it. Some have objected to this stanza because of the line, “Take away our power of sinning.” Literally interpreted this would be a prayer to have taken away the power of free moral choice, which is hardly what Wesley intended. To obviate this difficulty, the line has been changed to “Take away the love of sinning.”

For comments on Wesley see Hymn 6.

MUSIC. BEECHER was composed by John Zundel, 1815-82, German-American organist and composer who rendered distinguished service as minister of music in the Plymouth Congregation Church, Brooklyn, of which Henry Ward Beecher was pastor. He assisted Beecher in the production of the famous Plymouth Collection of hymns published in 1855. The tune, now known throughout the world, was named after the great pulpiteer.

SONATA (179) is an adaptation of the theme-melody in Mozart’s piano Sonata No. 16, where it is marked, Andantino grazioso. Dudley Buck writes:

Wolfgang Amadeus Mozart, 1756-91, composed 972 pieces 113 of which we know. He is considered the greatest composer the world has ever seen, judged by the versatility and power of his genius. In every sort and kind of composition he was equally excellent. Beside being a great composer he was also a great performer, being the most accomplished pianist of his day. He was also an excellent player on the violin.

PRAYER AND COMMUNION

180. Pray when the morn is breaking

Mrs. Jane Cross Simpson, 1811-86

and others

A hymn setting forth the idea of prayer in a very simple way.

Jane Cross Simpson was the daughter of James Bell, a Glasgow attorney. In 1837, she married her cousin J. B. Simpson, of Glasgow. At the age of 20, she had written a poem, “Go when the morning shineth,” which, after some revision, had become popular. When Songs of Praise, an important English hymnbook, was in the making, this poem was again revised to make the present hymn. The “others” referred to are responsible for the revision and according to Songs of Praise Discussed consisted of Percy Dearmer, Stephen Gwynn, Mabel Dearmer, and Jan Struther.

MUSIC. MEIRIONYDD is a vigorous tune of easy rhythm, on the pattern of many Welsh tunes except that the last two lines, instead of being simple repeats of the first two lines, as in the majority of such melodies, are varied imitations of them.

The composer, William Lloyd, 1786-1852, a Welshman, was a self-educated man. Though a cattle-dealing farmer, he possessed an excellent voice and had a considerable knowledge of music. He held singing meetings and conducted music classes in Wales.

181. Dear Lord and Father of mankind

John Greenleaf Whittier, 1807-92

A song of quietude and peace, reflecting the inner life of the “Quaker Poet.”

The verses are from a poem called, “The Brewing of Soma,” in which Whittier tells of a certain sect of devotees in India who drank intoxicating liquor brewed from the Soma plant. The drinking of it brought them to a state of intoxicated excitement in which they imagined they were god-possessed. The poet then points out how among Christians emotional excitement is often mistaken for spiritual power.

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Then follow the beautiful verses of our hymn in praise of the higher life of restfulness in God. The poem was written in 1832, after a particularly noisy and distasteful revival in Whittier’s neighborhood.

For comments on John Greenleaf Whittier see Hymn 173.

MUSIC. WHITTIER, also called “Rest” and “Elton,” was written for this hymn.

For comments on the composer, Frederick C. Maker, see Hymn 112.

182. Sweet hour of prayer

William W. Walford

One of the most popular of all modern prayer meeting hymns, sometimes erroneously ascribed to Fanny Crosby. It was composed in 1842 by Rev. William W. Walford, a blind minister of England, of whom little is known except that he recited the words of this hymn to Rev. Thos. Salmon, Congregational minister at Coleshill, England, who wrote them down and later sent them to the New York Observer, in which publication they were printed September 13, 1845. The original has four stanzas, the last two being omitted here.

MUSIC. CONSOLATION, a tune well suited to the words, was composed by Wm. B. Bradbury in 1859. It is also known as “Sweet Hour” and “Walford.”

For comments on the composer, Wm. B. Bradbury, see Hymn 103.

183. Lord, what a change within us one short hour

Richard C. Trench, 1807-86

Arr. W. P. Merrill, 1867—

A hymn of the peace and power available through the practice of prayer. It is an arrangement of Trench’s sonnet on “Prayer.”

Richard Chenevix Trench was born in Dublin, educated at Twyford School, Harrow, and Trinity College, Cambridge. He was preacher, poet, professor of divinity and later the Archbishop of Dublin. Trench, a scholar of distinction, is the author of valuable books, including Notes on the Parables, Notes on the Miracles, and Study of Words.

The poem came into the hymn books through the arrangement made of it by Dr. W. P. Merrill who first became acquainted with the sonnet through hearing it read about 1907 by President Charles Cuthbert Hall, of Union Theological Seminary in the course of a lecture at the University of Chicago. As sonnets each have fourteen lines, changes were necessary to make the poem suitable for singing. Dr. Merrill 115 omitted two lines and arranged the rest to make three symmetrical four-line stanzas.

William Pearson Merrill was born in Orange, N. J., January 10, 1867. After graduating from Rutgers College, he trained for the Presbyterian ministry at Union Theological Seminary, New York. He served churches in Philadelphia and Chicago and then went, in 1911, to the Brick Presbyterian Church in New York City to begin a long and distinguished pastorate which ended with his retirement in 1938. He was president of the Church Peace Union, was long active in The American Hymn Society, and is the author of several books. His influence as preacher and religious leader extends beyond his own denomination.

MUSIC. FFIGYSBREN, known in Wales as “Clod” (Praise), is a tune of simple construction, but when sung rather slowly it is remarkably powerful and effective. It appeared in America in The Harvard University Hymn Book, edited by Archibald T. Davidson in 1926. It is one of an increasing number of Welsh tunes which are becoming available to enrich our hymnody with the element of unique beauty and fervor that is so characteristic of the singing of the Welsh people.

184. Prayer is the soul’s sincere desire

James Montgomery, 1771-1854

A classic poem on prayer, written in 1818 at the request of the Rev. E. Bickersteth for his Treatise on Prayer. In 1825 it was published in The Christian Psalmist, headed, “What is Prayer?” The original has eight stanzas of which our hymn is a selection of 1, 2, 4, 5. Prayer is more, to be sure, than “the soul’s sincere desire,” for we sincerely desire many things that are in conflict with God’s will. But taken as a whole, the poem is an elaborate description of the nature of prayer and teaches its principles and practice with truth and power. The last stanza, unfortunately omitted in the Hymnary, is itself a beautiful, direct petition:

For comments on James Montgomery see Hymn 62.

MUSIC. ST. AGNES. For comments on this tune see Hymn 155. In some books the hymn is set to the tune “Es Ist Ein Born” (241).

185. Thou art the Way, to Thee alone

George W. Doane, 1799-1859

Based on John 14:6: “I am the way, the truth, and the life; no man cometh unto the Father, but by me.”

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The hymn was written by one of the most able and influential men in the Episcopal Church in America. It takes high rank among all the hymns America has produced, and is one of the few hymns of American origin included in the famous English book, Hymns Ancient and Modern. It is written in simple style, employing only twelve words of more than one syllable.

For further comments on Bishop Doane see Hymn 36.

MUSIC. LAMBETH was composed in 1871 by Wilhelm A. F. Schulthes. No information is at hand concerning the composer. The tune was taken from The Hymnal (Protestant Episcopal, 1916).

186. What a friend we have in Jesus

Joseph Scriven, 1820-86

A spiritual song of comfort and hope and the most popular Canadian contribution to the hymnody of the church.

The authorship of this hymn long remained a secret. In one publication it was erroneously attributed to Horatius Bonar. Scriven composed it for his mother to comfort her in time of special sorrow, not intending that anyone else should see it. This information was revealed to a friend who sat up with the author in his last illness.

Joseph Scriven, born in Dublin, came to Canada at the age of 25 and settled first at Rice Lake and later at Port Hope, Ontario. He was unmarried and lived with several families in succession. An eccentric person, he was always assisting others, and was known as “the man who sawed wood for widows and sick people who are unable to pay.” He was found drowned in a stream near Rice Lake. A monument to his memory was erected by the people who had been helped by him, and by others in the district.

MUSIC. ERIE was composed for this hymn by Charles Crozat Converse, 1832-1918, an American, trained in Germany for the musical profession. On returning to America, he studied law, graduating from Albany Law School in 1861, and from 1875 practicing the legal profession at Erie, Pa. He maintained his interest in music and published several compositions during his career as lawyer.

187. I need Thee every hour

Annie Sherwood Hawks, 1835-1918

A song expressing the Christian believer’s ever-present sense of divine help and guidance. It first appeared in a small collection of gospel songs prepared for the National Baptist Sunday School Association which met in Cincinnati, Ohio, November, 1872, and was sung there.

Mrs. Annie Sherwood Hawks was an active member of the Baptist Church in Brooklyn of which Rev. Robert Lowry, who wrote the music 117 to the words and added the refrain, was the pastor. Concerning the hymn, Mrs. Hawks wrote:

Whenever my attention is called to it I am conscious of great satisfaction in the thought that I was permitted to write the hymn, “I need Thee every hour,” and that it was wafted out to the world on the wings of love and joy, rather than under stress of a great personal sorrow, with which it has so often been associated in the minds of those who sing it.

I remember well the morning ... when in the midst of the daily cares of my home ... I was so filled with the sense of nearness to the Master that, wondering how one could live without Him either in joy or pain, these words, “I need Thee every hour,” were ushered into my mind, the thought at once taking full possession of me....

For myself the hymn was prophetic rather than expressive of my own experience at the time it was written, and I do not understand why it so touched the great throbbing heart of humanity. It was not until long years after, when the shadow fell over my way—the shadow of a great loss—that I understood something of the comforting in the words I had been permitted to write and give out to others in my hours of sweet security and peace.

MUSIC. NEED. The tune was written for this hymn. The composer, Rev. Robert Lowry, 1826-99, was born in Philadelphia and educated at Bucknell University. After a few years in the Baptist ministry he became Professor of Rhetoric at his alma mater. The University gave him his doctorate in 1875. He resigned his chair in 1875 and the following year resumed the work of the ministry at Plainfield, N. J., continuing until his death. Though he had no serious training in music, Lowry wrote many tunes and edited several popular collections of hymns. He did much to encourage the gospel song movement in America.

188. Father, in Thy mysterious presence kneeling

Samuel Johnson, 1822-82

A beautiful hymn of contrition, and prayer for the “Presence.”

Samuel Johnson was born in Salem, Mass. After graduating from Harvard University and Harvard Divinity School, he became minister of the Independent Church at Lynn, Mass., where he served from 1853 to 1870. He was a fellow-student and close friend of Samuel Longfellow, the two “Sams” collaborating in the editing of A Book of Hymns which passed through twelve editions and became the source of excellent hymnic material not published before. He was a Unitarian by faith. A competent scholar, he published Oriental Religions, the first adequate study of comparative religions by an American.

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MUSIC. HENLEY is one of Mason’s most appreciated tunes. It appeared in The Hallelujah, 1854, by the composer, set to the hymn “Come unto me, when shadows darkly gather.”

For comments on Lowell Mason see Hymn 12.

189. Come, thou Fount of every blessing

Robert Robinson, 1735-90

An old hymn that has been a “fount of blessing” itself to multitudes, written only three years after the author’s conversion. It sounds a note of anxiety lest the paths of sin lure the soul away from God. The Scripture reference in the second stanza is to I Sam. 7:12: “Then Samuel took a stone and set it between Mizpeh and Shen, and called the name of it Ebenezer, saying, Hitherto hath the Lord helped me.”

For comments on the author, Robert Robinson, see Hymn 46.

MUSIC. NETTLETON appeared in John Wyeth’s Repository, 1813, arranged with the melody in the treble. The authorship of the tune is unknown. It has been attributed to Wyeth and to Asahel Nettleton, 1783-1844, a New England evangelist and compiler of Village Hymns. It has been suggested that a friend of Nettleton composed the tune and named it in his honor.

John Wyeth was born in Cambridge, Mass., 1770, and followed the printing and publishing business all his life. He was postmaster at Harrisburg, Pa., under President Washington but was removed by President Adams because of “incompatibility of the office of post master and editor of a newspaper.” He died in Philadelphia, June 23, 1858.

LOYALTY AND STEADFASTNESS

190. Who is on the Lord’s side

Frances R. Havergal, 1836-79

An impressive call to Christian service. The hymn is based on the incident in the life of David in I Chron. 12:18: “Then the spirit came upon Amasai who was the chief of the captains, and he said, ‘Thine are we, David, and on thy side’.... Then David received them and made them captains of the band.”

For comments on Frances Havergal see Hymn 126.

MUSIC. ARMAGEDDON. This stirring tune was first used to “Onward, Christian Soldiers,” and later with the above hymn. It is an arrangement by John Goss of a tune by Louise Reichardt which appeared in Kern des Deutschen Kirchengesangs, 1853.

Louise Reichardt, 1788-1826, was a teacher of vocal music in Berlin.

For comments on John Goss see Hymn 121.

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191. When courage fails, and faith burns low

Frederick L. Hosmer, 1840-1929

A triumphant song setting forth the ultimate victory of truth, and encouraging young people to stand loyally for the truth, even “though men deride.”

For comments on the author, Frederick L. Hosmer, see Hymn 72.

MUSIC. WINCHESTER OLD. For comments on this tune see Hymn 588.

192. Jesus, and shall it ever be

Joseph B. Grigg, 1720-68

Entitled by the author “Ashamed of Me.” The hymn is based on Mark 8:38: “Whosoever therefore shall be ashamed of me and of my words in this adulterous and sinful generation; of him also shall the Son of man be ashamed, when he cometh in the glory of his Father with the holy angels.”

The original poem, composed when the author was only ten years of age, has been altered somewhat by Benjamin Francis, an English Baptist preacher who was born in Wales in 1734. Francis was an earnest and popular minister and received flattering calls to London and elsewhere but chose to remain with his flock at the Baptist Church at Shortwood where he ministered from 1757 until his death in 1799.

For comments on Joseph B. Grigg see Hymn 141.

MUSIC. FEDERAL STREET is the name of a street in Salem, Mass., where the composer lived and where his wife was born, lived, and died. The tune was written in 1832 to a child’s funeral hymn by Anne Steele, which began, “So fades the lovely, blooming flower.”

Henry Kemble Oliver, 1800-85, was a great lover of music even though his father disapproved of music and forbade the son having anything to do with it. After graduating from Dartmouth, he had a varied career as teacher, manager of cotton mills, adjutant-general of his state, treasurer of the State of Massachusetts, and mayor of Salem. He had acquired some musical education and found time to compose and publish a considerable amount of sacred music.

193. Stand up, stand up for Jesus

George Duffield, Jr., 1818-88

A hymn of the Christian warfare, widely known, and found in nearly all English hymn books. The origin of it is best given in the author’s own words in a leaflet printed in Detroit, 1883, and quoted by his son, Samuel Duffield, in English Hymns, 1886:

“Stand up for Jesus” was the dying message of the Rev. Dudley A. Tyng, to the Young Men’s Christian Association, and the ministers associated with them in the Noon-Day Prayer Meeting, during the great revival of 1858, usually known as “The Work of God in Philadelphia.”

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A very dear personal friend, I knew young Tyng as one of the noblest, bravest, manliest men I ever met; not inferior in eloquence to his honored father, and the acknowledged leader of a campaign for Christ that has become historical. The Sabbath before his death he preached in the immense edifice known as Jaynes’ Hall, one of the most successful sermons of modern times. Of the five thousand men there assembled, at least one thousand, it was believed, were “the slain of the Lord.” His text was Exodus 10:11, and hence the allusion in the third verse of the hymn.