Chapter XII: Book I: Hymns for Worship and Praise (6)

_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 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.

“In sensual transports, wild as vain,
We brew in many a Christian fane,
The heathen Soma still.”

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 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:

O Thou by whom we come to God,
The Life, the Truth, the Way,
The path of prayer Thyself hast trod,—
Lord, teach us how to pray.

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.”

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 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.

_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.

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.”

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.

The following Wednesday, leaving his study for a moment, he went to
the barn floor, where a mule was at work on a horse-power, shelling
corn. Patting him on the neck, the sleeve of his silk study gown
caught in the cogs of the wheel, and his arm was torn out by the
roots! His death occurred in a few hours. Never was there greater
lamentation over a young man than over him, and when Gen. 50:26 was
announced as the text for his funeral sermon, the place at once became
a Bochim, and continued so for many minutes.

The following Sunday the author of the hymn preached from Eph. 6:14,
and the above verses were written simply as the concluding
exhortation. The superintendent of the Sabbath-school had a fly-leaf
printed for the children—a stray copy found its way into a Baptist
newspaper—and from that paper it has gone in English, and in German
and Latin translations all over the world. The first time the author
heard it sung outside of his own denomination, was in 1864, as the
favorite song of the Christian soldiers in the Army of the James.

... George Duffield

Detroit, May 29, 1883.

George Duffield, Jr., 1818-88, son of Rev. George Duffield, was educated at Yale and Union Theological Seminary for the Presbyterian ministry and held pastorates in Brooklyn, Philadelphia, Galesburg, Ill., Adrian and Lansing, Michigan. His son, Samuel W. Duffield, was the author of _English Hymns_.

_MUSIC._ WEBB. For comments on this tune see Hymn 65.

194. God’s trumpet wakes the slumb’ring world _Samuel Longfellow_,
1819-92

A stirring call to a loyal stand for truth and witness against wrong. The hymn first appeared in _Hymns of the Spirit_, 1864.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ ALL SAINTS NEW was written for Bishop Heber’s hymn, “The Son of God goes forth to war.”

The composer, Henry Stephen Cutler, 1824-1902, received his education at Boston, his birthplace, and in Europe. He became a well-known organist and choir master, serving churches in Boston, New York, and other cities, and attracted attention by robing his choir members and seating them in the chancel, innovations in his day.

TRIALS AND TEMPTATIONS

195. In the hour of trial _James Montgomery_, 1771-1854
_Alt. Frances A. Hutton and Godfrey Thring_

The hymn is based on Luke 22:32: “I have prayed for thee, that thy faith fail not.” It was written October 13, 1834, with the title, “In trial and temptation,” and published in 1853 in Montgomery’s _Original Hymns_ under the title “Prayers on Pilgrimage.” The third and fourth stanzas have been altered considerably, not entirely for the better. Montgomery began the second stanza:

With its witching pleasures.

In the first stanza he had

Jesus _pray_ for me;

to which there was much objection on scriptural grounds, in spite of the words of Christ, “I pray for them” (John 17:9).

For comments on James Montgomery see Hymn 62.

_MUSIC._ PENITENCE was composed by Spencer Lane, 1843-1903, who received musical training in the Boston Conservatory of Music and became a teacher of vocal and instrumental music. He was in charge of music in various churches in Rhode Island, Massachusetts, Virginia, and Maryland. While choirmaster at St. James Church, Woonsocket, R. I., he wrote this tune one Sunday while his wife was preparing dinner. It was used at a parish choir festival on “Easter Tuesday, 1899, at 7:30 p.m.” and at the suggestion of the rector of the church, it was sent to Dr. Chas. L. Hutchins, who included it in the _Episcopal Hymnal_ of 1879. Of the various tunes composed by Lane, this is the only one in general use today.

196. Lord Jesus, think on me _Synesius_, _c._ 375-430
_Tr. Allen W. Chatfield_, 1808-96

A subjective and meditative hymn of trust, coming to us from the ancient Eastern Church.

Synesius, a native of Cyrene, came from an illustrious family. He studied at Alexandria and became a Christian in 401. Against his own wishes, but in response to the will of the people, he was elected bishop of Ptolemais. He is described in Chas. Kingsley’s _Hypatia_ as a distinguished churchman, philosopher, statesman, and patriot.

The translator, Rev. A. W. Chatfield, was an Anglican clergyman who had a distinguished career at Cambridge. He translated many of the hymns of the early Greek poets into English.

The original poem, of which this is a paraphrase rather than an exact translation, is as follows:

Μνώεο, Χριστέ,
υἱὲ Θεοῖο
ὑψιµέδοντος,
οἰκέτω Σοῦ,
Κῆρ’ ἀλιτροῖο
Τάδε γράψαντος;
Καί µοι ὄρασσον
λύσιν παθέων
κηριτρεφέων
τά µοι ἐµφυῆ
ψυχᾷ ῥυπαρᾷ;
δὸς δὲ ἰδέσθαι,
Σῶτερ Ἰησοῦ,
ζαθέαν αἴγλαν
Σάν, ἔνθα φανεὶς
µέλψω ἀοιδὰν
παίονι ψυχᾶν,
παίονι γυίων,
Πατρὶ σὺν µεγάλῳ
Πνεύµατί Θ’ Ἁγνῷ.

_MUSIC._ SOUTHWELL, a characteristic psalm tune, was set to Psalm 45 in _Damon’s Psalms of David_, 1579, and was named “Southwell” in Ravencroft’s _Psalm Book_ of 1621. It was originally written in the Dorian mode (the first “authentic” Gregorian mode, D as keynote). A fuller explanation may be found in the _History of Music in the Western Church_, by Dickinson, pp. 113 ff.

For comments on _Damon’s Psalter_ see Hymn 589.

197. O for a closer walk with God _William Cowper_, 1731-1800

A tender, beautiful hymn, in use wherever English is spoken.

It was published in the _Olney Hymns_ (See 60) under the title “Walking with God.” It is based on Genesis 5:24: “Enoch walked with God.” The hymn was written December 9, 1769, during the serious illness of the poet’s dear friend, the wife of Rev. Morley Unwin, in whose home he stayed and found the tenderest of care during his own illness. Concerning her, Cowper wrote in a letter the day following the composition of this hymn:

She is the chief of blessings I have met with in my journey since the
Lord was pleased to call me.... Her illness has been a sharp trial to
me. Oh, that it may have a sanctified effect, that I may rejoice to
surrender up to the Lord my dearest comforts, the moment He may
require them.... I began to compose the verses yesterday morning
before daybreak but fell asleep at the end of the first two lines:
when I awaked again, the third and fourth were whispered to my heart
in a way which I have so often experienced.

For comments on William Cowper see Hymn 60.

_MUSIC._ BELMONT is an adaptation from a melody in _Sacred Melodies ... adapted to the best English poets_, Vol. I; 1812, by William Gardiner. The _Sacred Melodies_ appeared in six volumes containing tunes by the best masters, adapted to English words.

The composer, William Gardiner, 1770-1853, was an English stocking manufacturer who travelled extensively at home and abroad, principally in the interests of his business, but also making acquaintance with musicians of all ranks and with their music. He published songs and duets of his own composition in his youth, over the _nom de plume_ of “W. G. Leicester.” His _Sacred Melodies_, referred to above, did valuable service in drawing attention to many fine compositions otherwise unknown.

198. Soldiers of Christ, arise _Charles Wesley_, 1707-88

For comments on Charles Wesley see Hymn 6.

“The Whole Armor of God” is the title of this hymn in Wesley’s _Hymns and Sacred Poems_, 1749. It is based on Ephesians 6:10-18: “Put on the whole armor of God, that ye may be able to stand against the wiles of the devil,” etc. The entire poem contains 16 double stanzas, of which our hymn is a selection of the first, second, and sixteenth.

_MUSIC._ DIADEMATA. For comments on this tune see Hymn 118.

ASPIRATION AND HOPE

199. While Thee I seek, protecting Power _Helen M. Williams_,
1762-1827

A hymn of faith and trust in God.

Helen Maria Williams, an English Unitarian, lived for some years with her sister who had married a French Protestant. It was during the period of the Revolution and the reign of terror. Being an outspoken republican, she was imprisoned by Robespierre, and was released only after his death in 1794. She was a woman of extraordinary intellectual strength and published many volumes on politics, religion, and literary questions, and finally her collected poems, entitled, _Poems on Various Occasions_. She lived in England and in France, and the closing years of her life were spent in Holland in the home of a nephew who was pastor of a Reformed Church in Amsterdam.

_MUSIC._ BRATTLE STREET. For comments on the composer of this tune, Ignace Pleyel, see Hymn 238.

200. Rise, my soul, and stretch thy wings _Robert Seagrave_, 1693-c.
1759

This hymn, entitled “The Pilgrim’s Song,” first appeared in _Hymns for Christian Worship_, by Robert Seagrave, London, 1742.

Robert Seagrave, son of Rev. Robert Seagrave, was educated at Cambridge and was ordained a clergyman in the Church of England. He became interested in the Wesleys and Whitefield and published pamphlets and sermons designed to reform the clergy and Church of England. He wrote 50 original hymns, of which this one is still in use. The exact year of Seagrave’s death is not certain.

_MUSIC._ AMSTERDAM is attributed to James Nares, 1715-1783, but most authorities believe the tune to be much older. It appears in what is known as the _Foundery Collection_, the first Methodist hymnal, by John Wesley, 1742, and is said to be one of the German chorale tunes which John Wesley acquired from the Moravian Brethren.

201. We would see Jesus _Anna B. Warner_, 1820-1915

Based on John 12:20-23: “There were certain Greeks among them that came up to worship at the feast: the same came therefore to Philip, which was of Bethsaida of Galilee, and desired him, saying, Sir, we would see Jesus.... And Jesus answered them saying, The hour is come, that the Son of man should be glorified.”

The hymn first appeared in six stanzas in _Hymns of the Church Militant_, compiled by Anna Warner, New York, 1858, and published in 1861. It is another example of a fine hymn contributed by a woman.

The third and fourth stanzas, omitted here, are of the same excellent quality as the others:

We would see Jesus: other lights are paling,
Which for long years we have rejoiced to see;
The blessings of our pilgrimage are failing;
We would not mourn them for we go to Thee.

We would see Jesus: yet the spirit lingers
Round the dear objects it has loved so long,
And earth from earth can scarce unclose its fingers;
Our love to Thee makes not this love less strong.

Anna Bartlett Warner, lived on Constitution Island in the Hudson River, near West Point, where she and her more famous sister, Susan Warner, conducted a Bible class for nearly two generations for the cadets of the United States Military Academy. Because of this service, she was buried with military honors upon her death in 1915. Miss Warner wrote novels under the pseudonym of “Amy Lothrop,” but she is best known for this hymn and the song beloved of all little children, “Jesus loves me: this I know.”

_MUSIC._ HENLEY. For comments on this tune see Hymn 188.

202. Nearer, my God, to Thee _Sarah Flower Adams_, 1805-48

A hymn of high poetic quality which has preserved its popularity from generation to generation. It is based on the story of Jacob at Bethel in Gen. 28:10-22:

And Jacob went out from Beersheba, and went toward Haran. And he
lighted upon a certain place, and tarried there all night, because the
sun was set; and he took of the stones of that place, and put them for
his pillows, and lay down in that place to sleep. And he dreamed, and
behold a ladder set up on the earth, and the top of it reached to
heaven: and behold the angels of God ascending and descending on
it.... And Jacob rose up early in the morning, and took the stone that
he had put for his pillows, and set it up for a pillar, and poured oil
upon the top of it. And he called the name of that place Bethel.

Sarah Flower Adams was the daughter of Benjamin Flower, an editor; she married William B. Adams, an engineer and inventor, in 1834. She was a member of a Unitarian congregation in London. A woman of fine intellect, she wrote much prose and verse, and was a friend of Robert Browning. She died of tuberculosis, contracting the disease while caring for her sister, Eliza, who had fallen victim to the same disease two years earlier.

_MUSIC._ BETHANY was written by Lowell Mason for this hymn. Its resemblance to the tune of the well-known “Oft in the stilly night” has been noted. The tune to this hymn was played by the ship’s band on board the “Titanic” as the vessel sank on its maiden voyage, Sunday, April 14, 1912, after colliding with an iceberg in the Atlantic. 1635 passengers were lost, ending life’s voyage with the strains of the familiar and appropriate prayer resounding across the waters—“Nearer, my God, to Thee.”

For comments on Lowell Mason see Hymn 12.

203. When the weary, seeking rest _Horatius Bonar_, 1808-89

Entitled, “Intercession for All Conditions of Men,” in Bonar’s _Hymns of Faith and Hope_, 3d series, 1867.

The history of this hymn is given by the author’s son, Rev. H. N. Bonar, as follows:

My father was asked to provide words to the music, and was especially
requested to furnish a fitting refrain to the two lovely lines of
Mendelssohn’s with which Callcott’s tune, “Intercession,” ends. In
searching for a Scripture theme containing some reiterated phrase
almost of the nature of a refrain, he was struck with Solomon’s prayer
at the dedication of the temple (2 Chron. 6) in which every separate
petition concludes with substantially the same words.

This idea was taken for his starting point, and Solomon’s words, “Hear
thou from heaven thy dwelling place and forgive,” became the familiar
couplet:

“Hear then in love, O Lord, the cry
In heaven, thy dwelling place on high.”

This foundation once provided, the rest of the hymn was built upon it.

For comments on Horatius Bonar see Hymn 129.

_MUSIC._ INTERCESSION was composed by William H. Callcott, 1807-82, an English musician. He was organist of Ely Chapel, Holborn, and afterwards of St. Barnabas’ Church, Kensington, and composed anthems and songs.

The refrain is from Mendelssohn’s oratorio, _Elijah_, part of the prayer for rain by the prophet and the people. Bonar’s hymn was written for this tune.

204. Lord, I hear of show’rs of blessing _Elizabeth Codner_, 1824-1919

Based on Gen. 27:34: “Bless me, even me also, O my Father,” and Ezek. 34:26: “There shall be showers of blessing.” It is an especially useful hymn at revival meetings.

Elizabeth Codner was the wife of Rev. David Codner, a clergyman of the Church of England. She engaged in some literary work and was much interested in the Mildmay Protestant Mission in North London.

The author has given the origin of the hymn as follows:

A party of young friends over whom I was watching with anxious hope
attended a meeting in which details were given of a revival work in
Ireland. They came back greatly impressed. My fear was lest they
should be satisfied to let their own fleece remain dry, and I pressed
upon them the privilege and responsibility of getting a share in the
out-poured blessing. On the Sunday following, not being well enough to
get out, I had a time of quiet communion. Those children were still on
my heart, and I longed to press upon them an earnest individual
appeal. Without effort words seemed to be given to me, and they took
the form of a hymn. I had no thought of sending it beyond the limits
of my own circle, but, passing it on to one and another, it became a
word of power, and I then published it as a leaflet. Of its future
history I can only say the Lord took it quite out of my own hands. It
was read from pulpits, circulated by tens of thousands, and blessed in
a remarkable degree. Every now and then some sweet token was sent to
cheer me in a somewhat isolated life, of its influence upon souls. Now
it would be tidings from afar of a young officer dying in India and
sending home his Bible with the hymn pasted on the flyleaf as the
precious memorial of that which brought him to the Lord. Then came the
story of a poor outcast gathered into the fold by the same means. Then
came to me a letter given me by Mr. E. P. Hammond, which he had
received, and in which were the words: “Thank you for singing that
hymn ‘Even Me,’ for it was the singing of that hymn that saved me. I
was a lost woman, a wicked mother. I have stolen and lied and been so
bad to my dear, innocent children. Friendless, I attended your inquiry
meeting; but no one came to me because of the crowd. But on Saturday
afternoon, at the First Presbyterian Church, when they all sang that
hymn together, those beautiful words, ‘Let some drops now fall on me,’
and also those, ‘Blessing others, O bless me,’ it seemed to reach my
very soul. I thought, ‘Jesus can accept me—“even me”’ and it brought
me to his feet, and I feel the burden of sin removed. Can you wonder
that I love those words and I love to hear them sung?”

The original rendering has in a variety of instances been departed
from. To some alterations I have consented, but always prefer that the
words remain unchanged from the form in which God so richly blessed
them. The point of the hymn, in its close and individual application,
is in the “Even me” at the end of the verse. I thankfully commit them
to whoever desires to use them in the services of our blessed Master.

_MUSIC._ EVEN ME. For comments on the composer, Wm. B. Bradbury, see Hymn 103.

PURITY AND UPRIGHTNESS

205. Blest are the pure in heart _J. Keble_, 1792-1866 _and others_

A hymn of the simple, pure life. Purity of heart has a wider meaning than the specific virtue of chastity. Stanzas 1 and 3 are from Keble’s, _The Christian Year_, 1827. Stanzas 2 and 4 are from the _New Mitre Hymn Book_, 1836, and their authorship is uncertain. Some think they are from the pen of the editor of the book, W. J. Hall, or of the co-editor, Edward Osler.

For comments on John Keble see Hymn 22.

_MUSIC._ FRANCONIA is from a book compiled by Johann Balthasar König, _Harmonischer Lieder-Schatz_, Frankfurt-am-Main, 1738, where it is set to the hymn, _Was ist, das mich betrübt?_ The original melody may have been by König himself.

The present tune, arranged by Rev. W. H. Havergal, has become one of the best known Short-Meter (6.6.8.8.) tunes.

For comments on W. H. Havergal see Hymn 153.

206. How blest are they whose hearts are pure _W. H. Bathurst_,
1796-1877

Based on the beatitude in Matt. 5:8: “Blessed are the pure in heart: for they shall see God.”

For comments on the author, W. H. Bathurst, see Hymn 153.

_MUSIC._ GLENLUCE is one of the Common Tunes (See 20) in the _Scottish Psalter_ of 1635.

For comments on the _Scottish Psalter_ see Hymn 575.

207. I would be true _Howard Arnold Walter_, 1884-1918

A popular hymn at young people’s summer conferences and other youth gatherings. The words have often been reprinted in trade journals and newspapers and used on many a motto card. The ideals of youth—truth, purity, strength, bravery, friendship, generosity, humility, laughter, love, and helpfulness, encompassed in these few lines—were all revealed in the author’s brief life.

Howard Arnold Walter was graduated _cum laude_ in 1905 from Princeton University while Woodrow Wilson was president of the institution. He then entered Hartford Theological Seminary to prepare himself for the ministry, but after the first year went to Japan to teach English in Waseda University in Tokyo. After one year, he returned to Hartford where, upon graduation, he won the Two-Year Fellowship. In 1909 and 1910 he studied in Edinburgh and in German Universities. He chose the foreign mission field for life service but, owing to a weak heart, was unable to pass the required physical examination. In spite of his handicap, he volunteered for Y.M.C.A. work and was assigned by John R. Mott to India, where he worked among the Mohammedan students in Foreman Christian College, Lahore. He died there November 1, 1918, during the influenza epidemic, leaving a devoted wife and three small children. The words, “I would be true,” were inscribed on a memorial tablet erected in his home church in New Britain, Conn.

The hymn was written in 1907 in Japan when Walter was just 23 years old. Recalling the joys and friendships of his home, the words came to him on New Year’s morning as he was on his knees. He mailed the poem entitled, “My Creed,” to his mother who sent it to _Harper’s Magazine_ in order to share with others the beauty of its message. It appeared in the May, 1907, issue of that magazine and later found its way into a number of hymn books.

The third stanza, making the hymn more complete, was later written by the author and sent to Rev. Theodore A. Green, minister of the First Church of Christ, New Haven, Connecticut:

I would be prayerful through each busy moment;
I would be constantly in touch with God;
I would be tuned to hear the slightest whisper;
I would have faith to keep the path Christ trod.

_MUSIC._ PEEK. No one seemed to know anything of the composer of this tune until very recently when Dr. Reginald L. McAll, secretary of the Hymn Society of America, assigned to the Hon. Edgar M. Doughty, Brooklyn, an official referee of the New York State Supreme Court, an accomplished musician and active member of the Baptist Church, the task of searching out in behalf of the Society the facts concerning Mr. Peek. The Hon. Mr. Doughty completed his research just before his death in 1947, at the age of 80 and the information presented here is based on a document compiled from his papers by his secretary. Miss Mildred Taylor Denisch:

Joseph Yates Peek, 1843-1911, born in Schenectady, N. Y., had very little formal musical training, but was endowed with a love for music and considerable native musical ability and became a proficient amateur performer on the violin and piano. In early life he was a carpenter and farmer but later established a business as florist and horticulturist. A deeply religious man, always interested in the church, he retired from business in 1904, and in spite of his advanced years, became a prominent lay preacher in the Methodist Church. In 1911 he was ordained, but his career as a regular minister was cut short when a heart attack, which occurred while preaching, resulted in his death. Peek was a humble Christian gentleman who sought no honors for himself, which may account for the fact that his identity as the composer of this tune remained hidden so long. Then, too, he may have felt that the credit for the tune did not belong entirely to himself, for he received considerable help from a friend, Dr. Tuller, an organist and composer, who jotted down the notes as Peek whistled the melody, and later added the harmonization.

Peek had received a copy of Walter’s poem which was printed on a New Year’s card and entitled, “My Creed.” He was greatly impressed with the words, and in a moment of inspiration gave them wings of song to carry them over the wide world.

The tune has become immensely popular in spite of its weak down-curve of melody. The hymn may also be sung to Barnby’s more sturdy tune, “Perfect Love” (312), which fits the words perfectly.

208. How happy is he born and taught _Henry Wotton_, 1568-1639

The original of this hymn was published in _Reliquiae Wottonianae_ with a memoir by Isaac Walton, 1651. The poem was altered somewhat to make it suitable for a congregational hymn.

Henry Wotton graduated from Oxford in 1588. He had a varied career, travelling on the continent, acting as agent to the Earl of Essex for collection of foreign intelligence, and then settling in Venice where he was ambassador at the court from 1604-24, with two intervals during which he was engaged in diplomatic missions to other countries and in parliamentary work in England. From 1624 until his death he was provost of Eton. Besides the above-named book, he published _The Elements of Architecture_, 1624, and _Ad Regem e Scotia reducem_ in 1633.

_MUSIC._ WAREHAM, by William Knapp, is from _A Sett of New Psalm Tunes and Anthems, in Four Parts by Wm. Knapp_, 1738, where it is set to Psalm 36:5-10 with the heading, “For the Holy Sacrament.” It is a deservedly popular melody, remarkably smooth, moving throughout by step except the perfect fourth interval between the fifth and sixth notes.

209. Walk in the light! so shalt thou know _Bernard Barton_, 1784-1849

A useful hymn, by a Quaker poet, setting forth the characteristic Quaker doctrine of the “Inner Light,” based on I John 1:7: “But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin.”

The hymn appeared in the author’s _Devotional Verses_, London, 1826.

Bernard Barton, known in England as the “Quaker Poet” (as was Whittier in America), was born in London and educated at a Quaker school at Ipswich. When 26 years old he became a Clerk in Alexander’s Bank at Woodbridge, Suffolk, and stayed there the remainder of his life. On Nov. 16, 1843, he wrote in a letter:

I took my seat on the identical stool I now occupy at the desk to the
wood of which I have now well-nigh grown, in the third month of the
year 1810, and there I have sat for three and thirty years beside the
odd eight months without one month’s respite in all that time. I often
wonder that my health has stood this sedentary probation as it has and
that my mental facilities have survived three and thirty years of
putting down figures in three rows, casting them up and carrying them
forward, _ad infinitum_.

He might have given some of these years to literary pursuits had he not followed the good advice of Charles Lamb who wrote him:

Throw yourself on the world, without any rational plan of support
beyond what the chance employ of booksellers would afford you! Throw
yourself rather, my dear sir, from the steep Tarpeian rock, slap-dash
headlong upon iron spikes. If you have but five consolatory minutes
between the desk and the bed, make much of them, and live a century in
them, rather than turn slave to the booksellers. They are Turks and
Tartars when they have poor authors at their beck. Hitherto you have
been at arm’s length from them—come not within their grasp. I have
known many authors’ want for bread—some repining, others enjoying the
blessed security of a counting-house—all agreeing they had rather have
been tailors, weavers, what not? rather than the things they were. I
have known some starved, some go mad, one dear friend literally dying
in a workhouse. Oh, you know not—may you never know—the miseries of
subsisting by authorship!

He published eight or ten volumes of verse. His writings show an extensive acquaintance with the Scriptures.

_MUSIC._ DEDHAM. For comments on the composer, William Gardiner, see Hymn 197.

210. Believe not those who say _Anne Brontë_, 1820-49

A hymn of courage. The original is in 10 stanzas, of which this hymn is a selection of stanzas 1, 2, 8, 9, 10.

Anne Brontë, one of three illustrious sisters, the other two being Charlotte and Emily, was born near Bradford, England, the daughter of the Rev. Patrick Brontë, Vicar of Haworth, Yorkshire. She was joint author with her sisters of a book of _Poems_, 1846, and wrote other volumes under the pseudonym, “Acton Bell.”

_MUSIC._ The tune, VIGIL, is by the Italian composer, Giovanni Paisiello, 1741-1816, whose works include 100 operas, a Passion oratorio, 30 masses, a requiem, 40 motets, and 8 symphonies. From 1776 to 1784, he was in the service of Empress Catherine of Russia, who a few years later was receiving Mennonites from Danzig and West Prussia to settle her crown lands at Chortitz. Paisiello was called to Paris to organize the music of the First Consul, meanwhile composing some church music. His last years were spent in Naples, where he was choirmaster to Joseph Bonaparte and Murat.

211. Go forth to life _Samuel Longfellow_, 1819-92

A challenge to live life bravely and true. The hymn is from _Hymns of the Spirit_, 1864, prepared by Samuel Longfellow and Samuel Johnson. It is one of the lyrics which helped establish Longfellow’s reputation as a hymn writer.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ MENDON is a variation of a “German Air” introduced into American hymn books by Samuel Dyer. The original had an additional note in each line and a different last line. The change to the present form and its name is attributed to Lowell Mason.

Samuel Dyer, 1785-1835, born in England, came to America when 26 years old and became a choir leader and teacher of sacred music in New York, Philadelphia, and Baltimore. He published several collections of sacred music, one of which, _Philadelphia Collection of Sacred Music_, 1828, gives valuable sketches of composers, and information about Dyer himself.

CONSECRATION AND STEWARDSHIP

212. O Jesus, I have promised _John Ernest Bode_, 1816-74

A hymn of consecration which the author wrote on the occasion of the confirmation of his daughter and two sons as “O Jesus, _we_ have promised.” It is frequently, and appropriately, used at baptismal services.

John Ernest Bode graduated with high honors from Oxford, where he was a fellow and tutor for six years; then became rector of Westwall, Oxfordshire, and later of Castle Campus, Cambridgeshire. He was a man of considerable attainments and was Bampton Lecturer in 1855. He wrote a number of hymns and is the author of several volumes of poetry.

_MUSIC._ ANGEL’S STORY, also known as “Supplication” and “Watermouth,” was written for Emily H. Miller’s hymn, “I love to hear the story which angel voices tell,” from which it derives its name. It first appeared in the _Methodist Sunday School Hymn Book_, 1881, but has since come into wide usage set to “O Jesus, I have promised.”

The composer, Arthur H. Mann, 1850-1930, was a distinguished English organist, and musical editor of _The Church of England Hymnal_. He was an authority on the music of Handel, and composed much church music. Oxford University gave him the degrees of Bachelor of Music and Doctor of Music.

213. We give Thee but thine own _W. W. How_, 1823-97

Based on Prov. 19:17: “He that hath pity on the poor lendeth to the Lord.” It is a hymn on Christian giving and liberality, sounding the real humanitarian note, a side of religion which an effective and virile hymnology cannot ignore. It may appropriately be sung by choir or congregation in the dedication of the offering. (See comments at 611.)

For comments on W. W. How see Hymn 144.

_MUSIC._ SCHUMANN, a fine short-meter tune, is ascribed to Robert Schumann but it seems as if no one has ever found anything among his musical writings from which the tune could have been derived. It appeared in Lowell Mason’s _Cantica Laudis_ in 1850.

For comments on Schumann see Hymn 296.

214. A charge to keep I have _Charles Wesley_, 1707-88

One of the greatest of Wesley’s short hymns taken from _Short Hymns on Select Passages of the Holy Scriptures_, 1762, where it is headed, “Keep the charge of the Lord, that ye die not” (Lev. 8:35).

The hymn strikes a much-needed note regarding the serious significance of this life. Thomas Carlyle expressed the same thought in his old age when he said: “The older I grow, and now I stand upon the brink of eternity, the more comes back to me the sentence in the catechism which I learned when a child, and the fuller and deeper its meaning becomes: ‘What is the chief end of man? To glorify God and enjoy Him forever.’”

For comments on Charles Wesley see Hymn 6.

_MUSIC._ BOYLSTON was composed by Lowell Mason and named after one of the towns in his native state. It appeared in _The Choir_, 1832, set to “Our days are as the grass.” The tune is widely used with “Blest be the tie that binds.”

For comments on Lowell Mason, see Hymn 12.

215. Take my life and let it be _Frances R. Havergal_, 1836-79

One of the finest hymns of consecration and service. It has been translated into many languages, including Russian, and many of Africa and Asia.

The author’s own story of how this hymn was written after her visit in a certain home throws a vivid light on her evangelical zeal:

There were ten persons in the house, some unconverted and long prayed
for, some converted but not rejoicing Christians. He gave me the
prayer, “Lord give me ALL in this house.” And He just did. Before I
left the house everyone had got a blessing. The night of my visit,
after I had retired, the governess asked me to go to the two
daughters. They were crying. Then and there both of them trusted and
rejoiced. I was too happy to sleep, and passed most of the night in
praise and renewal of my own consecration; and these little couplets
formed themselves and chimed in my heart one after the other, till
they finished with “Ever, ONLY, ALL for Thee!”

The hymn appears here unaltered from the original.

For further comments on Frances Havergal see Hymn 126.