Chapter XI: Book I: Hymns for Worship and Praise (5)

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”; 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.

Fels des Heils, geöffnet mir,
Birg’ mich, ew’ger Hort in dir!
Lass das Wasser und das Blut,
Deiner Seite heil’ge Flut,
Mir das Heil sein, das frei macht
Von der Sünden Schuld und Macht!

Dem, was dein Gesetze spricht,
Kann mein Werk genügen nicht.
Mag ich ringen wie ich will,
Fliessen auch der Tränen viel,
Tilgt das doch nicht meine Schuld,
Herr, mir hilft nur deine Huld.

Da ich denn nichts bringen kann,
Schmieg’ ich an dein Kreuz mich an
Nackt und bloss—o kleid’ mich doch.
Hülflos—ach erbarm’ dich noch.
Unrein, Herr, flieh’ ich zu dir.
Wasche mich, sonst sterb’ ich hier.

Jetzt, da ich noch leb’ im Licht,
Wenn mein Aug’ im Tode bricht,
Wenn durch’s finst’re Tal ich geh’,
Wenn ich vor dem Richter steh’,
Fels des Heils, geöffnet mir,
Birg’ mich, ew’ger Hort in dir!

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 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 Vienna’s fatal walls,
God’s finger touched him, and he slept.”

In 1850, seventeen years after Hallam’s death, Tennyson published “In Memoriam,” a memorial to Hallam, but also to himself as well. Among 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.

_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_, 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 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:

Faith of our fathers! Mary’s prayers
Shall win our country back to Thee!
And through the truth that comes from God
England indeed shall then be free.

The lines have been adapted for Protestant services to read:

Faith of our fathers! God’s great power
Shall soon all nations win for thee;
And through the truth that comes from God
Mankind shall then be truly free.

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:

Iesus dulcis memoria,
Dans vera cordis gaudia;
Sed super mel et omnia
Dulcis eius praesentia.

Nil canitur suavius,
Auditur nil iucundius,
Nil cogitatur dulcius,
Quam Iesus, Dei Filius.

Iesu, spes paenitentibus,
Quem pius es pententibus,
Quam bonus te quaerentibus!
Sed quid invenientibus.

Nec lingua potest dicere,
Nec littera exprimere;
Experto potes credere,
Quid sit Iesum diligere.

Tu esto nostrum gaudium,
Qui es futurus praemium;
Sit nostra in te gloria
Per cuncta semper saecula.

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 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.

Seliger Friede, köstliche Gab’
Meines geliebten Heilands, mich lab’;
Tief in mein Inn’res du dich ergiess’,
Dass ich dich, wie ich wünsche geniess.
O, wie schmeckst du dem Herzen so süss!

Seit mir mein Jesus Frieden geschenkt,
Hat sich mein Alles in Ihn versenkt;
Ach, wie war’s Ihm am Kreuze so bang!
O, wie Ihn dort die Liebe so drang!
Frieden zu spenden, Er für mich rang.

Jesu, verklär Dich in mir noch mehr,
Dass solchen Frieden ferner nichts stör’;
Wie ja ein Vater Gutes gern giebt,
Schenkst Du auch Deinem Kind, das Dich liebt;
Frieden, den keine Wolke mehr trübt.

Nimm Du allein das Herze uns ein,
Dass wir recht mild und sanftmüthig sein,
Dass uns’re Seelen, Dir nur geweiht,
Ruhen in Deinem Blut allezeit;
Friede versüsst uns dann Kreuz und Leid.

Gieb Deinen Frieden immer mir so,
Dass ich in Leid bleib’ ruhig und froh,
Und wenn auch höher steiget die Noth,
Ja, wenn zuletzt mir nahet der Tod,
Lass mich im Frieden eilen zu Gott.

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:

Wilt Thou not regard my call?
Wilt Thou not accept my prayer?
Lo, I sink, I faint, I fall,
Lo, on Thee I cast my care.
Reach me out Thy gracious hand,
While I of Thy strength receive,
Hoping against hope I stand,
Dying, and behold, I live.

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 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:

Cover my defenceless head
With the shadow of thy wing.

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.

_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:

Arglwydd, arwain trwy’r anialwch
Fi bererin gwael ei wedd,
Nad oes ynof nerth na bywyd,
Fel yn gorwedd yn y bedd:
Hollalluog
Ydyw’r un a’m cwyd i’r lan.

Agor y ffynnonau melus
Sydd yn tarddu o’r Graig i maes;
’Rhyd yr anial mawr canlyned
Afon iachawdwriaeth grâs:
Rho imi hyny;
Dim i mi ond dy fwynhau.

Ymddiriedaf yn dy allu,
Mawr yw’r gwaith a wnest erioed:
Ti gest angau, ti gest uffern,
Ti gest Satan dan dy droed:
Pen Calfaria,
Nac aed hwnw byth o’m cof.

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.

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 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.

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.

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:

O Jesu Christ, mein schönstes Licht,
Der du in deiner Seelen
So hoch mich liebst, dass ich es nicht
Aussprechen kann noch zählen:
Gib, dass mein Herz dich wiederum
Mit Lieben und Verlangen
Mög’ umfangen
Und als dein Eigentum
Nur einzig an dir hangen!

Gib, dass sonst nichts in meiner Seel’
Als deine Liebe wohne;
Gib, dass ich deine Lieb’ erwähl’
Als meinen Schatz und Krone!
Stoss alles aus, nimm alles hin,
Was dich und mich will trennen
Und nicht gönnen,
Dass all mein Mut und Sinn
In deiner Liebe brennen!

Wie freundlich, selig, süss und schön
Ist, Jesu, deine Liebe!
Wo diese steht, kann nichts bestehn,
Das meinen Geist betrübe;
Drum lass nichts andres denken mich,
Nichts sehen, fühlen, hören,
Lieben, ehren
Als deine Lieb’ und dich,
Der du sie kannst vermehren!

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

“O grant that nothing in my soul
May dwell but Thy pure love alone.”

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.)

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:

Jesu, dulcedo cordium;
Fons veri, lumen mentium,
Excedit omne gaudium,
Et omne desiderium.

Jesus, spes poenitentibus,
Quam pius es petentibus,
Quam bonus te quaerentibus!
Sed quid invenientibus?

Qui te gustant, esuriunt;
Qui bibunt, adhuc sitiunt:
Desiderare nesciunt
Nisi Jesum, quem diligunt.

Quoconque loco fuero,
Mecum Jesum desidero;
Quam laetus, cum invenero!
Quam felix, cum tenuero!

Mane nobiscum, Domine,
Et nos illustra lumine,
Pulsa mentis caligine,
Mundum replens dulcedine.

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.”

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 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

Fear not the skeptic’s puny hand
While near the school the church will stand;
Nor fear the blinded bigot’s rule
While near the church shall stand the school.

_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 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.

_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 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.