Chapter XIV: Book I: Hymns for Worship and Praise (8)

255. O Lord, how happy should we be _Joseph Anstice_, 1808-36

Based on I Peter 5:7: “Casting all your care upon Him; for He careth for you,” and on the Scripture lesson in Matthew 6:24-34. The original poem was in five stanzas. The hymn was written out of experiences of sickness, pain, and trial.

Joseph Anstice, a friend of Gladstone during student days at Oxford, was appointed Professor of Classical Literature at King’s College, London, at the age of 22. Within three years his health failed, and he died at the age of 28, whereupon Gladstone, who had been deeply influenced by him at Oxford, wrote in his _Diary_, “Read to my deep sorrow of Anstice’s death on Monday. His friends, his young widow, the world can spare him ill.” This and 53 other hymns were dictated to his wife in the afternoons during his last illness.

_MUSIC._ MERIBAH. For comments on the composer, Lowell Mason, see Hymn 12.

256. Peace, perfect peace _Edward H. Bickersteth_, 1825-1906

This hymn on perfect peace is based on Isaiah 26:3: “Thou wilt keep him in perfect peace whose mind is stayed on Thee: because he trusteth in Thee.”

The origin of the hymn was furnished Dr. Julian by Rev. S. Bickersteth, a son of the author:

This hymn was written by Bishop Edward Henry Bickersteth while he was
spending his summer holiday in Harrogate in the year 1875. On a Sunday
morning in August the Vicar of Harrogate, Canon Gibbon, happened to
preach from the text, “Thou wilt keep him in perfect peace, whose mind
is stayed on thee,” and alluded to the fact that in the Hebrew the
words are “peace, peace,” twice repeated and happily rendered in the
1611 translations by the phrase “perfect peace.” This sermon set my
father’s mind working on the subject. He always found it easiest to
express in verse whatever subject was uppermost in his mind, so that
when on the afternoon of that Sunday he visited an aged and dying
relative, Archdeacon Hill, of Liverpool, and found him somewhat
troubled in mind, it was natural to him to express in verse the
spiritual comfort which he desired to convey. Taking up a sheet of
paper, he then and there wrote down the hymn just exactly as it now
stands and read it to this dying Christian.

It is not always noticed that the first line in each verse is in the
form of a question referring to some one or other of the disturbing
experiences of life, and the second line in each verse endeavors to
give the answer.... The hymn has been translated into many tongues,
and for years I doubt if my father went many days without receiving
from different people assurances of the comfort which the words had
been allowed to bring to them. The most touching occasion on which,
personally, I ever heard it sung was round the grave of my eldest
brother, Bishop Edward Bickersteth, of South Tokyo, at Chiselden in
1897, when my father himself was chief mourner.

_MUSIC._ PAX TECUM was written for this hymn by George Thomas Caldbeck, 1852-?, concerning whose life one reads contradictory statements. Some writers say he was a missionary in China when he wrote this tune; others, including James Moffatt, give the account essentially as follows: that Caldbeck, while a student in London, was compelled through ill health to give up his purpose of becoming a missionary, went to Ireland to teach school and engage in independent missionary work. Later he returned to London where he did much open-air preaching, making a meagre living by selling Scripture text-cards from door to door. For selling without a license, he was arrested one day but dismissed by the judge on being informed that the defendant was the composer of this well-known hymn tune.

The tune was arranged by Charles John Vincent, born 1852, English organist, composer and editor of much church music.

257. God is the refuge of His saints _Isaac Watts_, 1674-1748

Based on Psalm 46:1-5: “God is our refuge and our strength; a very present help in time of trouble,” etc., and was entitled by Watts, “The Church’s Safety and Triumph.” It is interesting to compare this free rendering of the Psalm with that of the _Scotch Psalter_, 1650, (588), where the thought of the psalm and the stately King James version combine to make up the greatest metrical form of the psalm. Martin Luther’s version of the same Psalm is found in his great hymn “_Ein feste Burg ist unser Gott_” (549).

For comments on Isaac Watts see Hymn 11.

_MUSIC._ WARRINGTON was composed by Ralph Harrison, 1748-1810, an Englishman and son of a Presbyterian minister. Educated at Warrington Academy, he became a noted teacher of ancient languages, but maintained a keen interest in sacred music. He compiled _Sacred Harmony_, 2 vols., 1784-1791, a collection of psalm tunes, ancient and modern, in which were found some of his own compositions, including this tune.

258. Awake, our souls! away, our fears _Isaac Watts_, 1674-1748

A free rendering of Isaiah 40:28-31.

The hymn is from Watts’ _Hymns and Spiritual Songs_, 1707, where it is headed, “The Christian Race.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ SAMSON. This tune is an adaptation, a very considerable one, from Chorus 31: “Then round about the starry throne,” in Handel’s oratorio, _Samson_. The tune is taken from various parts of the chorus.

For comments on Handel see Hymn 70.

259. There is no sorrow, Lord, too light _Jane Crewdson_, 1809-63

Another of the “songs in the night,” written by one who, like Charlotte Elliott (See 245), was an invalid the greater part of her life and suffered much pain.

Jane Fox was born in Cornwall, England. In 1836 she married Thomas D. Crewdson, a Manchester manufacturer. Always delicate, she became a confirmed invalid, but her sufferings served to deepen her spiritual life. She was a woman of fine intellectual power and poetic gifts and through her writings testified gloriously to the all-sufficiency of her Savior’s love. Her attitude toward her suffering is well expressed in the beautiful third verse of the hymn:

There is no secret sigh we breathe
But meets Thine ear divine:
And every cross grows light beneath
The shadow, Lord, of thine.

This was the favorite hymn of Dr. John Henry Jowett, at one time minister of the Fifth Avenue Presbyterian Church, New York City.

_MUSIC._ COOLING first appeared in _The American Choir_, 1858. No information has been obtained concerning the composer, Alonzo Judson Abbey, 1825-87.

ETERNAL LIFE

260. Hark, hark, my soul! angelic songs are swelling _Frederick W.
Faber_, 1814-63

A lovely song of the journey of life—the Christian’s pilgrimage to heaven, the heart’s true home. “The Pilgrims of the Night” was the title given this hymn by its author, F. W. Faber, the warm-hearted Roman Catholic hymn writer. The phrases of the poem are wrapped in mystery and loveliness. Their meaning is not always clear but the rhythm and musical ring of the hymn are effective and its popularity is genuine and wide-spread.

For comments on F. W. Faber see Hymn 44.

_MUSIC._ PILGRIMS was written for this hymn for the appendix to the original edition of _Hymns Ancient and Modern_.

For comments on the composer, Henry Smart, see Hymn 46.

261. Forever, with the Lord! _James Montgomery_, 1771-1854

From Montgomery’s poem of twenty-two 4-line stanzas, in two parts, published in the _Amethyst_, 1835. It is based on I Thess. 4:17: “Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.” Canon Farrar once said, “I can scarcely ever join in singing ‘Forever with the Lord’ without tears.”

The hymn voices the aspirations of multitudes of Christians. In time of sorrow and death it points to the life beyond as the true goal of all our earthly striving.

For comments on James Montgomery see Hymn 62.

_MUSIC._ NEARER HOME, also called “Montgomery,” was composed for this hymn and was published in _The Choral Advocate_, 1852. The composer, Isaac Baker Woodbury, 1819-58, was an American singer, teacher of music, composer of hymn tunes and sacred songs, and editor of _Musical Review_. His career was cut short by his death at the early age of thirty-nine.

262. Jerusalem the golden _Bernard of Cluny_, 12th century
_Tr. John M. Neale_, 1818-66

“And the city was pure gold” Rev. 21:21.

This hymn is from a Latin manuscript of 3,000 lines entitled “_De Contemptu Mundi_” (On Contempt of the World), written by Bernard of Cluny while he was a monk at the famous monastery of Cluny, France, _c._ 1145. Practically nothing is known of him except his authorship of this poem. Two other hymns, “Brief life is here our portion,” and “For thee, O dear, dear country,” not in the _Hymnary_, are taken from the same poem. The original was not written as a hymn at all but as a “bitter satire on the fearful corruption of the age,” especially of the Church of Rome, in contrast to which the author paints the joys of the new Jerusalem. The author employed throughout the unusually difficult meter known as “dactylic hexameter with tailed rhymes,” of which Bernard himself says: “Unless the Spirit of wisdom and understanding had flowed in upon me, I could not have put together so long a work in so difficult a meter.” The reading of the Latin stanzas best reveal the rhythm and music of the original:

1.
Urbs Sion aurea, patria lactea,
Cive decora,
Omne cor obruis, omnibus obstruis
Et cor et ora.

2.
Nescio, nescio, quae iubilatio,
Lux tibi qualis,
Quam socialia gaudia, gloria
Quam specialis.

3.
Sunt Sion atria coniubilantia,
Martyre plena,
Cive micantia, principe stantia,
Luce serena.

4.
Sunt ibi pascua mentibus afflua
Praestita sanctis;
Regis ibi thronus, agminis et sonus
Est epulantis.

5.
Gens duce splendida, contio candida
Vestibus albis,
Sunt sine fletibus in Sion aedibus,
Aedibus almis. Amen.

For comments on the translator, John M. Neale, see Hymn 67.

_MUSIC._ EWING, composed for “For thee, O dear, dear country” (see above), was originally in triple time and named, “St. Bedes.” In _Hymns Ancient and Modern_, 1861, it was set to the present words and the tune changed to common time without the consent of the composer. Ewing disliked the change and expressed himself thus: “In my opinion the alteration of the rhythm has very much vulgarized my little tune. It now seems to be a good deal like a polka. I hate to hear it.” In spite of the composer’s opinion, the tune is generally accepted in its revised form and considered preferable to the original.

Alexander Ewing, 1830-95, of Aberdeen, Scotland, was a skilled musician. One evening after choir practice, he modestly introduced what he called his first effort at writing a hymn tune, offering copies of the voice parts, and asking the choir to sing it over. This was done, the choir liked it, and the tune EWING was launched on its long and popular career.

263. Jerusalem the golden _Bernard of Cluny_, 12th century
_Tr. John M. Neale_, 1818-66

For comments on this hymn see No. 262.

_MUSIC._ URBS BEATA (The City Beautiful) was composed in 1887 for these words. The composer found words for the refrain by repeating lines 1, 6, 7, and 8 of the first stanza. It makes a first-rate choir number. To keep up the proper tempo it should be sung with two beats to the measure. When the tune is used for congregational singing, the high notes in the refrain are intended to be sung by the sopranos in the choir.

The composer, George LeJeune, 1842-1904, was the son of a well-known musical family in London. He began his musical career in Canada; later he studied with Joseph Barnby. His great work was done as church organist and organ recitalist at St. John’s Chapel of Trinity Parish, New York City, where he served 28 years.

264. One sweetly solemn thought _Phoebe Cary_, 1824-71

A poem in contemplation of heaven, written in 1852, entitled, “Nearer Home,” with no thought of its being used as a hymn. In fact its original irregular rhythm hardly permitted it to be sung. The words have been changed to fit the short-meter tune, and have become popular as a hymn. Upon reading the story of how the hymn was instrumental in the conversion of two gamblers in China, who, after betting and drinking and card playing, decided upon a change of life and consecrated themselves to Christian work, Miss Cary wrote to a friend:

I enclose the hymn and story for you, not because I am vain of the
notice, but because I thought you would feel a peculiar interest in
them when you knew the hymn was written eighteen years ago (1852) in
your house. I composed it in the little, back, third-story bedroom on
Sunday morning after coming from church, and it makes me happy to
think that any word I could say has done a little good in the world.

Phoebe Cary was born on a farm near Cincinnati, Ohio. Her early days were a struggle with hardship and poverty. “I have cried in the street because I was poor,” she wrote in her later and more prosperous years, “and the poor always seem nearer to me than the rich.” With her sister Alice Carey, she published a small volume of verse in 1849, then the two moved to New York City where they became quiet but influential leaders in literary society. Their friendship with Whittier was a noted factor in the lives of the Carey sisters. Phoebe was a member of the Church of the Pilgrims in New York, and later attended the Church of the Stranger in the same city.

_MUSIC._ DULCE DOMUM is an arrangement from the composer’s popular song, “One sweetly solemn song,” later published as an anthem.

Robert Steele Ambrose, 1824-1908, born in England, came with his parents to Canada in his first year. He prepared himself for the musical profession and became organist successively in churches in Guelph, Kingston, and Hamilton, Ontario. He is known best by the above-mentioned song.

265. Sunset and evening star _Alfred Tennyson_, 1809-92

A song of immortality, written in ten minutes in the author’s eighty-first year. It is always printed at the end of Tennyson’s poems. Tennyson once said: “I can hardly understand how any great, imaginative man, who has lived, suffered, thought and wrought, can doubt of the soul’s continuous progress in the after life.”

The poem was written on an October day in 1889, as the poet was crossing from Aldworth to Farringford. Tennyson’s son wrote in his _Memoir_ of his father, concerning its origin:

Before he reached Farringford he had the moaning of the bar in his
mind, and after dinner he showed me this poem written out. I said:
“That is the crown of your life’s work.” He answered: “It came in a
moment.” He explained the “Pilot” as “that Divine and Unseen who is
always guiding us.” A few days before my father’s death, in 1892, he
said to me: “Mind you put ‘Crossing the Bar,’ at the end of all
editions of my poems.” My father considered Edmund Lushington’s
translation into Greek of “Crossing the Bar” one of the finest
translations he had ever read.

_MUSIC._ CROSSING THE BAR was composed for these words. The tune, in the nature of an unaccompanied quartet anthem, may be sung with freedom in regard to time and shading.

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

266. Blest be the everlasting God _Isaac Watts_, 1674-1748

A paraphrase of I Peter 1:3-5.

The original by Watts was published in his _Hymns and Spiritual Songs_, 1707, from which it was taken over unchanged into the _Scottish Paraphrases_ of 1745 and of 1751. In the final 1781 edition, the third stanza was omitted and the fourth altered from

There’s an inheritance divine
Reserved against that day;
’Tis incorrupted, undefiled,
And cannot waste away.

The improvements are attributed to William Cameron, 1751-1811, who, as a young licentiate, was entrusted with the final revision of the _Scottish Paraphrases_.

For comments on Isaac Watts see Hymn 11.

_MUSIC._ ST. STEPHEN (ABRIDGE) is described by Archibald Jacob as a “beautifully fluent and graceful melody ... in the best 18th-century style of this class of tune.” It appeared originally in _A Collection of Psalm Tunes in Three Parts_ ... by Isaac Smith, _c._ 1770, under the name ABRIDGE, by which it continues to be known in England. In _Sacred Harmony for Use in St. George’s_, Edinburgh, 1820, it appeared under the name ST. STEPHEN, with slight modification of the last line.

Isaac Smith, _c._ 1725-_c._ 1800, was a London linen-draper with a taste for music. He composed and published a number of Psalm-tunes which long remained popular, though ABRIDGE is almost the only one now left of his compositions. Smith named his tunes after localities in and about London. ABRIDGE was the name of a small village near Epping Forest, in Essex.

THE KINGDOM OF GOD

267. Forward through the ages _Frederick L. Hosmer_, 1840-1929

A hymn expressing the unity of God’s people in their labor for the Kingdom through the ages. “The goodly fellowship of the prophets” is set forth here with power and poetic beauty.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ ONWARD, with its strong rhythm and moving power, lends itself well for processional use, resembling in this respect the tune “St. Gertrude” (225), for which the present hymn was written.

No information is at hand concerning the composer, J. W. Barrington.

268. Thy Kingdom come, on bended knee _Frederick L. Hosmer_, 1840-1929

One of the few hymns written on the petition, “Thy Kingdom come,” in the Lord’s Prayer. Canon Percy Dearmer speaks of this as “one of the noblest hymns in the language.” It is a fervent prayer for the day when there shall be more justice, knowledge, peace, and righteousness on the earth.

The hymn was written June 21, 1891, for the commencement of the Meadville Theological School, Pennsylvania.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ IRISH, also called “Dublin,” appeared first in _Hymns and Sacred Poems_, published in Dublin in 1749. The composer is not known. It is a smooth, triple-time tune which young people love to sing. Its name is misleading, for there is no indication of an Irish origin other than, as stated, its appearance in a book published in Dublin.

269. Come, Kingdom of our God _John Johns_, 1801-47

A prayer for the coming of the Kingdom of God on earth, based on the petition in the Lord’s Prayer, “Thy Kingdom come, thy will be done.”

Rev. John Johns, English Presbyterian minister, was known for many years in Liverpool as the “minister to the poor.” He was a man of fine poetic gifts and published several volumes of poetry but is remembered for his life of service among the poor.

_MUSIC._ ST. THOMAS is one of the oldest and best tunes of the church. It has good rhythm, graceful form, and a strong forward movement to give it unusual singing merit.

The composer, Aaron Williams, of Welsh descent, was born in London in 1731, and died there in 1776. He was composer, engineer, publisher, music teacher, and clerk of the Scotch Church, London Wall. He published a number of important collections of tunes: _The Universal Psalmodist_, 1763, and _New Universal Psalmodist_, 1770, in which the above tune appeared.

270. Thy Kingdom come, O Lord _Frederick L. Hosmer_, 1840-1929

Another hymn on the petition, “Thy Kingdom come,” in the Lord’s Prayer, setting forth its coming in relation to the unity of nations. Compare Hosmer’s other hymn on the Kingdom (268) where the emphasis is on righteousness and justice. This is an appropriate hymn for use in gatherings concerned with Christian unity and world friendship.

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC._ INVITATION. For comments on the composer of this tune see Hymn 112.

271. Thy Kingdom come, O God _Lewis Hensley_, 1824-1905

Another of the few hymns that have been written on the petition in the Lord’s Prayer, “Thy Kingdom come.” See Hymns 268, 269, 270.

Lewis Hensley had a distinguished career at Trinity College, Cambridge, England, as student and then six years as fellow and tutor. He became a minister in the Church of England and for a time was Rural Dean.

_MUSIC._ ST. CECILIA was composed for Dr. Bonar’s hymn, “Thy way, not mine, O Lord” (252), appearing with these words in _The Merton Tune Book_, Oxford, 1863.

The composer, Rev. Leighton George Hayne, 1836-83, was educated at Oxford, took holy orders in 1861, was appointed conductor of the chorus of the University and public examiner in the School of Music, and then served for a time as organist of Eton College. The last 12 years of his life were spent as minister in various churches. He wrote many hymn tunes and edited, with Rev. H. W. Sargeant, _The Merton Tune Book_.

272. Before Jehovah’s awful throne _Isaac Watts_, 1674-1748

A paraphrase of Psalm 100, revised by John Wesley.

The original text by Watts began:

Sing to the Lord with joyful voice;
Let every land his name adore;
The British Isles shall sound the noise
Across the ocean to the shore.

Wesley, considering this an unpromising initial stanza, omitted it, and changed the second stanza, lines 1 and 2, from

Nations attend before his throne
With solemn fear, with sacred joy

to

Before Jehovah’s awful throne
Ye nations bow with sacred joy.

Wesley severely condemned the practice of changing another’s hymns, but in this case his own “transgression” resulted in a greatly improved hymn.

The word “awful” in the first line is spelled “awe-full” in some hymnals in order to convey more nearly its original meaning.

For comments on Isaac Watts, see Hymn 11.

_MUSIC._ PARK STREET was composed by Frederick M. A. Venua, 1788-1872, an eminent French organist, a native of Paris. It is a favorite tune in America where it is invariably associated with this hymn by Watts.

THE CHURCH

273. The Church’s one foundation _Samuel J. Stone_, 1839-1900

A truly great hymn, honoring the church of Christ and longing for its prosperity. The author, then a young curate of 27 years in the Church of England, was so stirred by the attacks made on the church in his time that he determined to write a series of twelve hymns on the Apostles’ Creed. This one is based on the article, “I believe in the holy Catholic Church, the communion of saints.” The controversy which then raged in England concerning the nature of the inspiration of the Scriptures is reflected in the third stanza, the author leaning strongly on the conservative side.

Samuel J. Stone was a clergyman of the Church of England, born in Staffordshire, and educated at Oxford. He served various churches, finally succeeding his father at St. Paul’s, Haggerston, London. For twenty years he had a fruitful ministry in this East End parish among the poor and depraved, before moving to another part of the city to another church. He is the author of many hymns and translations and published several volumes of poetry.

_MUSIC._ AURELIA (signifying “golden”) one of our most stately tunes, combining ease of singing with churchly dignity, was written for the hymn, “Jerusalem the golden” (262). It was set to the present hymn in _Hymns Ancient and Modern_ and did much to carry the hymn into the churches. It has become one of the great processional hymns of the church.

Samuel Sebastian Wesley, 1810-76, grandson of Charles Wesley, was like his father, Samuel Wesley, a great English composer and organist. He had a consuming love of the outdoors, as well as of music, and was passionately fond of fishing. He was outspoken in his demands for reform in the music of the church and was, consequently, frequently at odds with his superiors. Wesley received inadequate recognition for the contributions he made to the music of his time.

274. Glorious things of thee are spoken _John Newton_, 1725-1807

Based on Psalm 87:3: “Glorious things are spoken of thee, O city of God,” and other passages, especially Isaiah 33:20, 21, and Exodus 13:22.

It is one of our best hymns on the Church and, says Julian, “It ranks with the first hymns in the language.” In ordinary use the omission of the third stanza is desirable. Augustine Smith suggests in _Lyric Religion_ that “the last score should always be repeated, the second time sung broader and fuller, building into a superb climax.”

John Newton is remembered among the hymn writers because of the radical change that took place in his life at conversion. Born in London, his only schooling was from his eighth to his tenth year. He went to sea at eleven, his godly mother following the profligate youth with her prayers. As a midshipman in the navy he deserted his post, was captured, and reduced to a common seaman, and later became a servant of a slave dealer in Africa. He was converted at 23 after an awful night steering a water-logged ship in the face of death. Though converted, he retained certain blind spots in his social outlook and he continued as a slave dealer. This hymn was written when he was on a voyage from Sierra Leone, Africa, with a load of slaves shackled closely together and being taken to London or America to be sold. “I have never had such sweet communion with Jesus as I had on that voyage,” he wrote. This may seem like hypocrisy, but it must be remembered that slavery was a common practice and that only a few people of the time understood clearly its complete denial of the spirit of Christ. It may be that future generations will see in our times evils that flourished unchallenged while we prayed and sang according to the light we had. In 1750, Newton married Mary Catlett, a noble and pious woman, and a godsend in his life. In 1755, he settled down as customs officer in Liverpool, becoming at the same time greatly interested in Wesley and Whitefield and other evangelical leaders. Three years later he became a minister in the Church of England, and in 1764, he began a distinguished career as curate at Olney, where he was associated with his friend, William Cowper, the poet. The two were joint authors of the _Olney Hymns_, 1779. After sixteen years in Olney, he moved to London where for 28 years he did faithful and successful work as rector of St. Mary Woolnoth. He wrote his own epitaph which is found on a plain marble tablet near the vestry door of his church in London:

John Newton, Clerk
Once an Infidel and Libertine,
A servant of slaves in Africa,
Was, by the rich mercy of our Lord and Saviour
Jesus Christ
Preserved, restored, and pardoned,
And appointed to preach the Faith
He had long labored to destroy,
Near 16 years at Olney in Bucks
And ... years in this church
On Feb. 1, 1750, he married
Mary,
Daughter of the late George Catlett
Of Catham, Kent.
He resigned her to the Lord who gave her
On 15th of December, 1790

_MUSIC._ AUSTRIAN HYMN is founded on a Croatian melody. It was used in Germany as the tune of “Deutschland über alles.” Joseph Haydn, 1732-1809, made a setting of it to be sung at the Emperor’s birthday, Feb. 12, 1797, to the words, “Gott erhalte Franz der Kaiser.” The tune was a great favorite of Haydn and he used it as a theme in one of the movements in his famous “_Emperor Quartet_,” No. 76.

For comments on Franz Joseph Haydn, see Hymn 27.

275. I love Thy Kingdom, Lord _Timothy Dwight_, 1752-1817

Based on Psalm 137:5, 6: “If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.” It is rated high among all the hymns on the church and is probably the earliest American hymn in use today.

Timothy Dwight, the great president of Yale, was the grandson of Jonathan Edwards and shared in a large measure the intellectual brilliance of the Edwards family. A precocious youth, he entered Yale College at 13 and graduated at 17. An outstanding personality of his time, he was honored for his sound scholarship, elected a member of the Massachusetts legislature, and served as minister of the Congregational Church at Greenfield, Conn. From 1795 until his death in 1817, he was President of Yale, simultaneously holding the Chair of Theology. His presence at Yale changed the whole moral and religious attitude of the campus, there having been only four or five professed Christians at the college, according to Prof. W. W. Sweet, when he became president. At the request of the General Association of Congregational Churches in Connecticut and with the concurrence of the Presbyterian General Assembly, he revised _The Psalms of David_, by I. Watts, a work which was used in the Presbyterian and Congregational Churches of Connecticut for over 30 years.

Dwight did a prodigious amount of work in spite of a serious physical handicap. His eyesight, for the greater part of forty years, was so poor that his reading was done only with the greatest of difficulty and with frequent and agonizing pain behind the eyeballs.

_MUSIC._ STATE STREET. For comments on this tune see Hymn 246.

276. O where are kings and empires now _Arthur C. Coxe_, 1818-96

From a larger poem by Coxe, entitled “Chelsea,” containing ten stanzas of eight lines each. It is a hymn of confidence that the church, built on a solid foundation, will survive all earthly kings and empires and will be able to withstand every earthly foe.

Arthur Cleveland Coxe was born at Clifton Springs, N. Y.; graduated from the University of New York and General Theological Seminary; and then became the rector successively of St. John’s Church, Hartford, Conn.; Grace Church, Baltimore; and Calvary Church, New York City. In 1865, he was elected Bishop of Western New York. He was a member of the Hymnal Commission for the Protestant Episcopal Church, which compiled the _Hymnal_ of 1872, but refused, out of modesty, permission to include in that work any of his own hymns.

_MUSIC._ ST. ANNE. For comments on this tune see Hymn 61.

277. Christ is made the sure foundation _Latin, 6th or 7th century_
_Tr. John M. Neale_, 1818-66

From Part II of an ancient Latin hymn of the 6th or 7th century beginning: “_Urbs beata Hierusalem_.” The author is not known. The first verse reflects Ephesians 2:20-21: “And are built upon the foundation of the apostles and prophets, Jesus Christ himself being the chief cornerstone; in whom all the building fitly framed together groweth unto an holy temple in the Lord.”

The hymn is often used at the dedication of churches, stanzas 3 and 4 being especially appropriate for that purpose.

Dr. Neale’s translation of the hymn, in nine stanzas, appeared in his _Medieval Hymns_, 1851. Our hymn is a selection of stanzas 5, 6, 7, and 8, of his translation, with some changes in the words. The Latin of our first three stanzas is as follows:

Angularis fundamentum
lapis Christus missus est
Qui compage parietis
in utroque nectitur,
Quem Sion sancta suscepit,
In quo credens permanet.

Hoc in templo, summe Deus,
exoratus adveni,
Et clementi bonitate
precum vota suscipe;
Largam benedictionem
his infunde iugiter.

Hic promereantur omnes
petita adquirere
Et adepta possidere
cum sanctis perenniter,
Paradisum introire,
translati in requiem.

For comments on John M. Neale see Hymn 67.

_MUSIC._ REGENT SQUARE. For comments on this tune see Hymn 81.

THE HOUSE OF GOD

278. Lord of our life, and God of our salvation _Philip Pusey_,
1799-1855
_Based on Matthäus von Löwenstern_, 1594-1648

One of the “songs of the night,” the original of which was written out of the bitter experiences of the Thirty Years’ War in Germany. It tells of the peril to which the Reformed Church was then exposed but expresses confidence that the church, founded upon the Rock, will prevail against evil.

Matthäus Apelles von Löwenstern, son of a saddler, had musical and business ability which won him recognition and employment by the Duke of Münsterberg and the Emperors Ferdinand II and his son Ferdinand III. He wrote about 30 hymns and set them to melodies of his own composition. His hymn, named “Sapphic Ode. For Spiritual and Temporal Peace,” in 1644, is as follows:

Christe, du Beistand deiner Kreuzgemeine,
Eile, mit Hilf’ und Rettung uns erscheine;
Steure den Feinden, ihre Blutgerichte
Mache zunichte!

Streite doch selber für uns arme Kinder,
Wehre dem Teufel, seine Macht verhinder’;
Alles, was kämpfet wider deine Glieder,
Stürze danieder!

Frieden bei Kirch’ und Schulen uns beschere,
Frieden zugleich der Obrigkeit gewähre,
Frieden dem Herzen, Frieden dem Gewissen
Gib zu geniessen!

Also wird zeitlich deine Güt’ erhoben,
Also wird ewig und ohn’ Ende loben
Dich, o du Wächter deiner armen Herde,
Himmel und Erde.

The English version by Pusey is not a translation of the German but rather a free paraphrase. Philip Pusey, brother of Edward Pusey, the famous leader in the Oxford Movement, was educated at Oxford. After graduating he settled on his estate and devoted himself largely to agriculture. He wrote extensively on agricultural subjects and was one of the founders of the Royal Agriculture Society. Later he became a member of Parliament. He wrote this hymn to portray the state of the Church of England at the time, which he described as being “assailed from without, enfeebled and detracted from within, but on the eve of a great awakening.”

_MUSIC._ INTEGER VITAE. For comments on this tune see Hymn 59.

279. Dear Shepherd of Thy people _John Newton_, 1725-1807

A hymn composed for a prayer meeting.

John Newton and William Cowper, the English poet, instituted prayer meetings at Olney where the two labored together in a famous ministry, Newton as minister of the church, and Cowper as his voluntary assistant. The prayer meetings were attended in such large numbers that it became necessary to move the services into a large room. For the first meeting in this new room, each of the men prepared a special hymn, the one by Newton being our hymn, with his first, third, and seventh stanzas omitted.

For further comments on John Newton see Hymn 274.

_MUSIC._ DURHAM appeared in _Ravenscroft’s Psalter_, 1621, set to Psalms 28 and 76, and marked as a “Northern Tune.” The _Scottish Psalter_ of 1635 includes it among the Common Tunes.

280. Again, as evening’s shadow falls _Samuel Longfellow_, 1819-92

“Vesper Hymn” is the title which this hymn bears in the author’s volume, _Vespers_, 1859, a small book of songs prepared for use in evening services. In a letter dated Feb. 11, 1890, Longfellow wrote, “My two favorites among my hymns are the vesper hymn, ‘Again, as evening’s shadow falls,’ and the one beginning, ‘I look to Thee in every need’” (244).

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ GERMANY. For comments on this tune see Hymn 222.

281. We love the place, O God _William Bullock_, 1798-1874
_Henry W. Baker_, 1821-77

Based on Psalm 26:8: “Lord, I have loved the habitation of thy house, and the place where thine honor dwelleth.” The hymn was written by William Bullock, then a young sailor-missionary, for the dedication of a mission chapel at Trinity Bay, Newfoundland, in 1827. Seventy years later, when a new church located on the same site was dedicated, this hymn as revised by H. W. Baker, was once more sung. The sermon preached by Bullock at the opening of the chapel was read to the people.

Wm. Bullock was educated at Christ’s Hospital and then entered the Royal Navy. While on a survey of the coast of Newfoundland, he decided to devote himself to missionary work in that colony. He did this and served 32 years under the Society for Propagating the Gospel. He became Dean of Nova Scotia at Halifax. In 1854, he published _Songs of the Church_ which, he said, were “written amid the various scenes of missionary life, and are intended for the private and domestic use of Christians in new countries deprived of all public worship.”

For comments on Henry W. Baker, reviser of the hymn see Hymn 143.

_MUSIC._ QUAM DILECTA was composed for this hymn in _Hymns Ancient and Modern_, 1861.

The composer, Henry L. Jenner, 1820-98, was a curate in the Anglican Church. After serving various churches in England, he was consecrated first Bishop of Dunedin, New Zealand, 1866. He was one of the Cambridge group which revived interest in ecclesiology, ancient hymnology, plainsong, etc.

282. Unto Thy temple, Lord, we come _Robert Collyer_, 1823-1912

A hymn describing the church as the home of “rich and poor, bond and free, great and small.” It is suitable for the general worship service and especially for the dedication of a church.

Information concerning the author, Robert Collyer, has not been traced. _Julian’s Dictionary_ notes a William Collyer, 1782-1854, eminent English evangelical preacher who was ordained for a small church of ten communicant members. He is described as a man of “amiable disposition, polished manners, Christian courtesy, and popular with rich and poor alike; who labored in the church with great success and honor until his death.” He wrote numerous hymns. Was our hymn written by a son brought up with his father’s noble conception of the church?

_MUSIC._ MENDON. For comments on this tune see Hymn 211.

THE LORD’S DAY

283. The dawn of God’s dear Sabbath _Ada Cross_, 1844-?

A hymn on the Sabbath, picturing the day as a time when weary souls may turn from daily toil to refresh themselves with the water of life drawn from the wells of salvation.

Ada Cross was born in England, November 21, 1844, the daughter of Henry Cambridge. She married an Australian, the Rev. George F. Cross, and spent most of her life in Australia where her husband was minister of the Anglican Church in Coleraine, Victoria. She was interested in the liturgy of the Church and issued several collections of hymns.

_MUSIC._ ENDSLEIGH is credited to Salvatore Ferretti, 1817-74, concerning whom no information has been traced. The arrangement was made by James Turle, 1802-82, an English teacher of music, a distinguished organist, and composer of hymn tunes, chants, and anthems. For sixty-three years he was connected with Westminster Abbey in London. He was endowed, it is said, with unusually large hands so that he could easily span an octave and a half with one hand. His sole musical interest was in serving the church.

284. Safely through another week _John Newton_, 1725-1807

This hymn was composed by Newton for use on Saturday evening. To give it wider usefulness, the verses were slightly changed to make them suitable for the Sunday morning service.

For comments on John Newton see Hymn 274.

_MUSIC._ SABBATH was written for this hymn in 1824.

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

285. O day of rest and gladness _Christopher Wordsworth_, 1807-85

A hymn which serves to keep vividly before us the meaning and value of the Lord’s Day. It appears as the opening hymn in the author’s _The Holy Year_, 1862, where it is entitled “Sunday.” It is based on Psalm 118:24: “This is the day which the Lord hath made; we will rejoice and be glad in it.”

For comments on Christopher Wordsworth see Hymn 174.

_MUSIC._ MENDEBRAS was written for this hymn in 1839. It is an arrangement by Lowell Mason of a German folk song.

For comments on Lowell Mason see Hymn 12.

286. Again returns the day of holy rest _William Mason_, 1725-97

The author of this Lord’s Day hymn was the Rev. William Mason, an English Episcopalian, born at Kingston-on-Hull. He graduated with honors from St. John’s College, Cambridge; received ordination, served as one of the chaplains of King George III, and at the time of death he had been for 32 years the Precentor and Canon of York. A man of high literary attainments, and a friend of Thomas Gray, he edited that poet’s works in 1775 and later wrote the memoirs of Gray. The latter was done in the gossiping style, imitated later by Boswell when he wrote the _Life of Samuel Johnson_. Mason wrote four volumes of poetry and won recognition from Johnson as one of the British poets.

The present hymn, by which the author is best remembered, is found at the end of Volume I of the _Works of William Mason, M. A., Precentor of York and Rector of Aston_, 1811.

Our author is not to be confused with his contemporary of the same name, 1719-91, who succeeded Toplady in the editorship of _The Gospel Magazine_ and who was also a minister and hymn writer.

_MUSIC._ ELLERS. For comments on this tune and its composer, Edward J. Hopkins, see Hymn 43.

287. This is the day of light _John Ellerton_, 1826-93

A worshipful Sabbath day hymn, breathing the spirit of rest, light, and peace, written in 1867.

For comments on the author, John Ellerton, see Hymn 43.

_MUSIC._ FRANCONIA. For comments on this tune see Hymn 205.

288. Break Thou the bread of life _Mary A. Lathbury_, 1841-1913

This gem, entitled, “Study Song,” was written for the Chautauqua Literary and Scientific Circle and for Bible Study groups, but it also has a wider use. Dr. G. Campbell Morgan used this hymn every Sunday for many years immediately before the sermon. It is not a communion hymn although it is often used for that purpose. The breaking of bread refers to the feeding of the multitude beside the Sea of Galilee and not to the Last Supper; and the “bread of life” is the teaching of Jesus.

For comments on Mary Lathbury see Hymn 31.

_MUSIC._ BREAD OF LIFE is a popular American tune, sincere and simple in style, written for this hymn and indissolubly associated with it.

For comments on the composer, William F. Sherwin, see Hymn 31.

THE HOLY SCRIPTURES

289. O Word of God Incarnate _W. W. How_, 1823-97

A hymn addressed to Christ, the Word of God Incarnate, setting forth in a succession of beautiful figures—a lantern, the golden casket, a banner, a beam, chart and compass—the value of the written word, and the duty of the Church to carry the light of God’s word, both as incarnate and written, to the nations. It was written in 1867, headed by the text Prov. 6:23: “For the commandment is a lamp; and the law is light; and reproofs of instruction are the way of life.” The author himself was a living witness to the power of the Word. His definition of a minister shows the high ideal he had of the preacher of the Word, and, incidentally, is an accurate description of his own life:

A man pure, holy, and spotless in his life; a man of much prayer; in
character meek, lowly, and infinitely compassionate; of tenderest love
to all; full of sympathy for every pain and sorrow, and devoting his
days and nights to lightening the burdens of humanity; utterly patient
of insult and enmity; utterly fearless in speaking the truth and
rebuking sin; ever ready to answer every call, to go wherever bidden
in order to do good; wholly without thought of self; making himself
the servant of all; patient, gentle, and untiring in dealing with the
souls he would save; bearing with ignorance, wilfulness, slowness,
cowardice in those of whom he expects most; sacrificing all, even life
itself, if need be, to save some.

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

_MUSIC._ MUNICH, “one of the most beautiful and perfectly constructed of tunes,” is of German origin and is known in Germany as “Königsberg Choral.” It appeared first in _Lobsingende Harffe_, 1682. The composer is unknown. Mendelssohn used the tune as the basis for his fine chorale, “Cast thy burden on the Lord,” in his oratorio, _Elijah_.

290. Thy Word is like a garden, Lord _Edwin Hodder_, 1837-1904

The metaphors used in this hymn to describe the Word of God are very suggestive: “a garden,” “a deep, deep mine,” “a starry host.”

Edwin Hodder was born in England but migrated at 19 years of age to New Zealand where he was one of a pioneer group of idealists who introduced progressive sociological ideas for which that country is noted. He returned to England where he was engaged in the civil service from 1861 until his retirement in 1897. Hodder wrote biographies and devotional works, and in 1863 issued _The New Sunday School Hymn Book_ which contained twenty-seven of his own hymns, including this one.

_MUSIC._ FOREST GREEN is an arrangement of an English folk song called, “The Ploughboy’s Dream.” R. Vaughan Williams, 1872-, who arranged the tune is England’s leading living composer. He has collected and edited for publication many folksongs and carols, written several symphonies for the orchestra, and has composed numerous choral works.

Some good hymnals use this tune as the setting for Phillips Brooks’ popular Christmas carol, “O little town of Bethlehem.”

291. The heavens declare Thy glory, Lord _Isaac Watts_, 1674-1748

Here is an unusual rendering of Psalm 19, which Watts entitled, “The Books of Nature and of Scripture.” In the Psalm itself we find the Book of Nature in the first half and the Book of Scripture in the second half of the psalm. Instead of following this order, Watts sets the one over in couplets against the other, so that the first two lines of each stanza have to do with nature, the last two with Scripture.

For comments on Isaac Watts, see Hymn 11.

_MUSIC._ UXBRIDGE. This tune is by the American composer and teacher of music, Lowell Mason. The psalm tune “Burford” (228) is also named “Uxbridge” in some books.

For comments on Mason see Hymn 12.

292. Lord, Thy word abideth _Henry W. Baker_, 1821-77

A hymn on the Scriptures, written for _Hymns Ancient and Modern_, 1861.

For comments on Henry W. Baker see Hymn 143.

_MUSIC._ RAVENSHAW is from _Ein Neu Gesangbüchlein_, 1531, the earliest German hymn book of the Bohemian Brethren, edited by Michael Weisse. The melody is older and was associated with a Latin hymn, _Ave Hierarchia, coelestis et pia_. The present arrangement is by William H. Monk. For comments on Monk see Hymn 40.

For a note on the Bohemian Brethren and Michael Weisse see Hymn 544.

THE MINISTRY

293. Shine Thou upon us, Lord _John Ellerton_, 1826-93

A hymn for teachers.

For comments on John Ellerton, see Hymn 42.

_MUSIC._ BROUGHTON. For comments on the composer of this melody, Thomas Hastings, see Hymn 120.

294. O still in accents sweet and strong _Samuel Longfellow_, 1819-92

The author’s title of this hymn is, “Behold the Fields are White.”

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ BELMONT. For comments on this tune see Hymn 197.

295. Pour out Thy Spirit from on high _James Montgomery_, 1771-1854

Written in 1833 for the Rev. J. Birchell, clergyman in the Church of England, who published it in his _Selection of Hymns_. It was printed in the same year in Edward Bickersteth’s _Christian Psalmody_. For comments on Bickersteth see Hymn 256. The hymn’s original title was, “For a Meeting of Clergy.” It is not intended to be sung by a body of people as a prayer for ministers but as a prayer hymn to be sung by ministers themselves.

For comments on James Montgomery see Hymn 62.

_MUSIC._ MELCOMBE. For comments on this tune see Hymn 22.

296. Lord, speak to me, that I may speak _Frances R. Havergal_,
1836-79

“A Worker’s Prayer” is Miss Havergal’s title of this hymn and the text associated with it is Rom. 14:7: “None of us liveth to himself and no one dieth to himself.” It was composed April 28, 1872, at Winterdyne.

For comments on Frances Havergal see Hymn 126.

_MUSIC._ CANONBURY, a favorite tune found in nearly all hymn books, is from Robert Schumann’s _Nachtstücke_, Op. 23.

Robert Schumann, 1810-56, greatest of the early German Romantics, was born in Zwickau, Saxony. He wrote symphonies and chamber music but is known best for his amazingly fine piano works and songs. His wife, Clara Wieck Schumann, one of the greatest piano players the world has produced, was devoted to him, as were also his children. Schumann became mentally ill, attempted unsuccessfully to drown himself in the Rhine, and was cared for in a hospital for two years before his death. He had a gift for journalism and wrote books and magazine articles on music.

297. Thou who Thyself didst sanctify _George Rawson_, 1807-89

An appropriate hymn for use in ordination to the Christian ministry or dedication to other forms of Christian service.

George Rawson, an English Congregational layman, was born at Leeds where he practiced law many years. He had a considerable knowledge of music and was a gifted hymn writer. He rendered valuable assistance to his own denomination as well as to the Baptists in the preparation of hymn books for use in the church. A shy, retiring man, of sincere piety, he at first published his hymns, a considerable collection, anonymously, but later had to acknowledge his identity. About 50 of his hymns are still in use.

(The name is misspelled “Dawson” in the Hymnary.)

_MUSIC._ DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing in the _Scottish Psalter_, _The CL Psalms of David, &_, Edinburgh, 1615, where it is named “French Tune.” Its first appearance in an English Psalter is in Ravencroft’s _Whole Book of Psalms_, 1621, where it is called “Dundy.” It is one of the best known of the psalm tunes and its smooth, flowing melody has enjoyed great popularity.

For comments on the _Scottish Psalter_ see Hymn 575.

CONSECRATION OF CHILDREN

298. Gracious Savior, gentle Shepherd _Jane Eliza Leeson_, 1807-1882
_John Keble_, 1792-1866

A hymn for the children’s consecration service, evolved by John Keble from three hymns—“Shepherd in thy bosom, folded,” “Loving Shepherd of Thy sheep” (429), and “Infant sorrow, infant weakness,” written by Jane Eliza Leeson. Keble took the main ideas of these hymns and rewrote them into a hymn of five stanzas, two of which are omitted here.

Jane Eliza Leeson was born in London and died there. She had rare gifts in writing for children, and published several books of hymns—_Infant Hymnings_, and _Hymns and Scenes of Childhood_—specially for children. Very little is known of her life, except that she was a prominent figure in the Catholic Apostolic Church and that some of her hymns were supposedly “prophetical utterances,” prompted by the Holy Spirit, at public services, which she “delivered slowly with short pauses between the verses.” Late in life she united with the Roman Catholic Church.

For comments on John Keble, see Hymn 22.

_MUSIC._ MANNHEIM is from the source mentioned in the note on Hymn 174. The present form of the melody is much altered from the original.

299. All hidden lie the future ways _Frederick L. Hosmer_, 1840-1929

A lyrical phrasing of the emotions that arise in the hearts of parents as they contemplate the faring forth of little children into the hidden future.

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

_MUSIC._ NUN SICH DER TAG GEENDET HAT is a tune set to various hymns in the _Gesangbuch mit Noten_.

For comments on the composer, Aaron Williams, see Hymn 269.

300. A little child the Savior came _William Robertson_, 1820-64

A Scotch Presbyterian minister, William Robertson, contributed this hymn to the Church of Scotland’s _Hymns for Public Worship_ in 1861. The author, keenly interested in hymnody and Scotch psalmody, was a member of the Hymnal Committee of the Church of Scotland in 1851, 1853, and 1857.

_MUSIC._ ALSTONE was composed by C. E. Willing, 1830-1904, for the children’s hymn, “We are but little children weak,” in _Hymns Ancient and Modern_, Appendix, 1868. Willing was chorister of Westminster Abbey and held various responsible positions as organist and choral conductor in England.

BAPTISM

301. Come, Father, Son, and Holy Ghost _Charles Wesley_, 1707-88

The original poem of six stanzas is from _Hymns and Sacred Poems_, 1749, where it was entitled, “At the Baptism of Adults.”

Wesley’s second line of the first stanza read

“Honor the means injoin’d by Thee,”

which was changed to “ordained by Thee” for the _Collection_ of 1780. The awkward expression, “Effectuate now the sacred sign,” Wesley’s second line of stanza 3, was changed to “Effectual make the sacred sign,” by the editors of the hymn book in 1849.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ SO LANGE JESUS BLEIBT DER HERR is a familiar melody, of unknown origin, from the _Gesangbuch mit Noten_.

302. I’m not ashamed to own my Lord _Isaac Watts_, 1674-1748

This hymn is based on II Timothy 1:8-12.

James Moffatt writes that when Henry Drummond was on his death bed, Nov. 7, 1897, his friend, Dr. Hugh Barbour, played several hymn tunes to him without gaining any response. Then he tried the Old Scots melody of “Martyrdom” to which Drummond beat time with his hand and joined in the words, “I’m not ashamed to own my Lord.” When the hymn was done, he said, “There’s nothing to beat that, Hugh.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ DEDHAM. The tune is attributed to William Gardiner, 1770-1853, an Englishman of whom nothing much of importance is known except that he published _Sacred Melodies_ in 1812, a collection of excellent tunes, which was expanded to six volumes published in 1815.