Chapter XV: Book I: Hymns for Worship and Praise (9)

THE LORD’S SUPPER

303. Here, O my Lord, I see Thee face to face _Horatius Bonar_,
1808-89

Entitled by the author, “This Do in Remembrance of Me.”

It is a famous communion hymn, emphasizing, in keeping with the Reformed tradition, the thought that Christ Himself presides at His Table. All His followers are therefore welcome.

Three members of the Bonar family became eminent ministers in the Free Church of Scotland (Presbyterian)—Andrew in Glasgow; John in Greenock; and Horatius in Edinburgh. Horatius was accustomed to visit his brother John once a year at the communion service. Hymns were still not permitted to be sung in the church, but an original poem was invariably read after the communion. This hymn was written by Horatius Bonar at the request of his brother John for the occasion of such a visit in October, 1855. It has become a widely used communion hymn in all churches.

For further comments on Horatius Bonar see Hymn 129.

_MUSIC._ LANGRAN, known in England as “St. Agnes,” is named after the composer, James Langran, 1835-1909, London organist and composer, who wrote this music for “Abide with me” (40). It was published separately in 1861 and two years later appeared in _Psalms and Hymns adapted to the services of the Church of England, with accompanying tunes selected and revised by John Foster_.

The hymn is also sung to “Ellers” (See 43 or 286).

304. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826

“A quiet communion hymn full of loveliness and warm reality of faith.”—Reeves.

This popular communion hymn by Bishop Heber was published posthumously with the title, “Before the Sacrifice.”

For comments on Reginald Heber see Hymn 1.

_MUSIC._ EUCHARISTIC HYMN, a tune “beautiful in its simplicity,” has always been associated with this hymn by Heber. The composer, John Sebastian Bach Hodges, 1830-1915, son of the illustrious organist, Edward Hodges, was born in Bristol, England, but came to America when eight years old. He received his education at Columbia University and General Theological Seminary, New York City, and became a noted minister in the Protestant Episcopal Church. He had excellent musical knowledge and founded in Baltimore the earliest choir school in the United States. He also did much work on the various revisions of the Episcopal hymnal.

305. According to Thy gracious word _James Montgomery_, 1771-1854

One of the best-loved and most useful of communion hymns, profound, yet simple. It appeared first in Montgomery’s _Christian Psalmist_, 1825, and has since passed into the hymn books of all denominations of evangelical Christians. The words of Luke 22:19 furnish the scriptural basis of the hymn: “This do in remembrance of me.”

For comments on James Montgomery see Hymn 62.

_MUSIC._ ST. JOHN, more properly called “St. John’s, Westminster,” was composed by James Turle, 1802-82.

For comments on James Turle see Hymn 283.

306. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826

The _Church Hymnary_, London, 1927, has the following practical note at the bottom of the page where this hymn appears:

As this hymn consists of one verse only, it is suggested that it be
sung twice over: once by the choir alone, and again by choir and
people in unison. It may also be used as a short motet for
unaccompanied singing by the choir.

For further comments on this hymn see No. 304.

_MUSIC._ RENDEZ À DIEU was composed or adapted by L. Bourgeois for the _French Genevan Psalter_, where it was set to Psalm 118. In the _Scottish Psalter_ of 1564, the tune was again used to John Craig’s version of the same Psalm. It is described in _Songs of Praise Discussed_ as being “in some ways the finest of all the early psalm tunes ... perfectly proportioned ... a tune which gives the true ‘spinal thrill’; of its kind it is unsurpassed.”

For comments on L. Bourgeois see Hymn 34.

307. Come, risen Lord, and deign to be our guest _George W. Briggs_,
1875—

Based on the account of the supper at Emmaus, Luke 24:28-31:

And they drew nigh unto the village, whither they went: and he made as
though he would have gone further. But they constrained him saying,
Abide with us: for it is toward evening, and the day is far spent. And
he went in to tarry with them. And it came to pass, as he sat at meat
with them, he took bread, and blessed it, and brake, and gave to them.
And their eyes were opened, and they knew him; and he vanished out of
their sight.

It stresses the doctrine that Christ Himself is the celebrant at the Lord’s Supper.

George Wallace Briggs is a Cambridge scholar, an outstanding preacher, educator, writer, and editor in the Anglican church. He has composed a number of hymns (See 570) and hymn tunes.

_MUSIC._ BIRMINGHAM is from F. Cunningham’s _A Selection of Psalm Tunes_, 2d ed., 1834, where it is set to the words, “Come, gracious Spirit, heavenly dove.” Cunningham published an earlier collection of psalm tunes in 1826.

308. I hunger and I thirst _John S. B. Monsell,_ 1811-75

A simple, tender, communion hymn which ought to have a wider use.

John Samuel Bewley Monsell was educated at Trinity College, Dublin; labored for a number of years in the church in Ireland; and then became vicar of Egham in the Diocese of Worcester, England, and finally rector of St. Nicholas, Guildford. His home life at Guildford is described as having been “full of the beauty of holiness, with genial brightness and gaity playing like sunshine over all the troubles of life.” His life came to a tragic end when he fell from the roof of the church while it was being rebuilt. He composed about 300 hymns and is the author of many other poetic works.

_MUSIC._ MAINZ (MARIA JUNG UND ZART) originally appeared in a Catholic book, _Ausserlesene Catholische, Geistliche Kirchengesänge von Pfingsten, biss zum Advent_, Cologne, 1632. It was slightly changed and printed in its present form in _Psalteriolum Harmonicum Sacrarum Cantilenarum_, 1642.

309. Author of life divine _Charles Wesley,_ 1707-88

This fine communion hymn is from _Hymns on the Lord’s Supper_, 1745, by John and Charles Wesley. It is attributed in many hymnals to Charles, but there is no conclusive evidence to show which of the two brothers wrote it. The thought of the hymn is said to be in full accord with John’s teaching concerning the Holy Communion.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ WESLEY. The original source of this tune has not been traced. In the _English Hymnal_ it is set to the words, “Behold a little child.” The tune should not be confused with Lowell Mason’s of the same name (See 332).

310. By Christ redeemed, in Christ restored _George Rawson_, 1807-89

Written in 1857 and published first in a Baptist book, _Psalms and Hymns_, 1858.

Julian comments: “It is a hymn of more than usual excellence and has attained to a greater position in modern hymnals than any other of the author’s numerous compositions.”

The refrain, “Until He come,” is reminiscent of I Cor. 11:26: “For as oft as ye eat this bread and drink this cup, ye do shew forth the Lord’s death, till he come.”

For comments on George Rawson see Hymn 297.

_MUSIC._ IN MEMORIAM. For comments on the composer of this tune, Frederick Charles Maker, 1844-1927, see Hymn 112.

311. Bread of heaven, on Thee we feed _Josiah Conder_, 1789-1855

The hymn appeared in the author’s _Star of the East_, 1821, as “Bread of heaven, on Thee I feed.” The first person singular was altered to the plural throughout, and other changes made, improving the original.

For comments on Josiah Conder see Hymn 247.

_MUSIC._ ALETTA is by the American composer of popular church and Sunday school music, William B. Bradbury, 1816-68. For further comments on Bradbury see Hymn 103.

Conder’s hymn may also be sung to “_Nicht so traurig_” (538).

MARRIAGE

312. O perfect Love, all human thought transcending _Dorothy
Blomfield Gurney_, 1858-1932
_Doxology added by John Ellerton_, 1826-93

A singularly appropriate hymn for a Christian wedding. The author, Dorothy Gurney, born near London in 1858, was the daughter of Rev. Frederick Blomfield, a minister of the Anglican Church. She married a minister’s son, Gerald Gurney, and with her husband, united with the Roman Catholic Church in 1919. Mrs. Gurney has given the following account of the writing of this popular hymn for holy matrimony:

We were all singing hymns one Sunday evening and had just finished “O
Strength and Stay,” the tune to which was an especial favorite of my
sister’s, when someone remarked what a pity it was that the words
should be unsuitable for a wedding. My sister, turning suddenly to me,
said: “What is the use of a sister who composes poetry if she cannot
write me new words to this tune?” I picked up a hymn-book and said:
“Well, if no one will disturb me, I will go into the library and see
what I can do.” After about fifteen minutes I came back with the hymn,
“O perfect Love,” and there and then we all sang it to the tune of
“Strength and Stay.” It went perfectly, and my sister was delighted,
saying that it must be sung at her wedding. For two or three years it
was sung privately at many London weddings, and then it found its way
into the hymnals. The writing of it was no effort whatever after the
initial idea had come to me of the twofold aspect of perfect union,
love and life; and I have always felt that God helped me to write it.

It is the most popular wedding hymn extant.

For comments on John Ellerton, who added the third stanza, see Hymn 42.

_MUSIC._ PERFECT LOVE is from an anthem composed by Joseph Barnby for the marriage of Princess Louise of Wales to the Duke of Fife, July 27, 1889. The anthem has been sung at many subsequent royal weddings.

For comments on Joseph Barnby see Hymn 21.

BURIAL OF THE DEAD

313. Safe in the arms of Jesus _Fanny J. Crosby_, 1820-1915

Written April 30, 1868, at the request of W. H. Doane, composer of the tune to which it was to be sung. The hymn and tune were published first in _Songs of Devotion for Christian Associations_, 1870. It is a tender lyric which has given peace and satisfaction to many who have faced death and especially to mothers who have lost children.

Fanny Crosby, born in Putnam County, N. Y., became blind when six weeks old as the result of an application of a warm poultice to her eyes. She was educated in the New York (City) Institute for the Blind and there served as a teacher for a time. In 1858, she was married to Alexander van Alstyne, a blind musician. Miss Crosby began writing verses when a child of eight years and throughout her long life showed a marvelous facility for expression in poetry, which resulted in the writing of nearly 6,000 hymns besides many secular poems. Many of her hymns were written for W. H. Doane, Robert Lowry, Philip Phillips, Ira Sankey, and others who were editors of evangelistic song books. She is best known by her maiden name but also wrote under her married name and 216 _noms de plume_. She was a member of the Methodist Episcopal Church. Ten of her hymns are in the _Hymnary_.

_MUSIC._ SAFE IN THE ARMS, also known as “Refuge,” was composed by William Howard Doane, 1832-1916, a manufacturer of wood-working machinery in Cincinnati, Ohio. He was a member of the Baptist Church and served many years as superintendent of the Sunday school in his church. A music enthusiast, he published 35 collections of song books and composed numerous hymn tunes, anthems, and cantatas. In 1875, Denison University, Granville, Ohio, conferred on him the degree of Doctor of Music.

314. Asleep in Jesus.... _Margaret Mackay_, 1802-87

Written by Margaret Mackay, wife of a distinguished officer in the English army. She composed numerous hymns and poems, but none is so widely known as this tender lyric so often used as a funeral hymn, which she entitled, “Burial of the Dead.” The hymn was suggested by an inscription she saw on a tombstone in the burying ground of Pennycross Chapel, a rural spot in Devonshire:

“Sleeping in Jesus.”

One stanza, the fifth, has been omitted. It reads:

Asleep in Jesus: time nor space
Debars this precious “hiding place.”
On Indian plains or Lapland snows
Believers find the same repose.

The hymn was first published in _The Amethyst_, 1832, in Edinburgh.

_MUSIC._ REST. For comments on the composer, William B. Bradbury, see Hymn 103.

315. Now the laborer’s task is o’er _John Ellerton_, 1826-93

Written for _Church Hymns_, 1871, by John Ellerton, distinguished hymnist of the Church of England. His biographer has written concerning this hymn:

We now come to the loveliest and most loved of Mr. Ellerton’s hymns.
It has been sung and will continue to be sung at the graveside of
princes, divines, statesmen, poets, artists, authors, as well as many
a Christian labourer of humble life.

For comments on John Ellerton see Hymn 42.

_MUSIC._ REQUIESCAT was written for this hymn. It appeared first in _Hymns Ancient and Modern_, 1875. For comments on the composer, John B. Dykes, see Hymn 1.

316. O Lord of life, where’er they be _Frederick L. Hosmer_, 1840-1929

This hymn, a source of comfort and courage to many mourners, was composed by Hosmer in 1888 for the Easter service in his own church in Cleveland, Ohio.

The note of triumph runs throughout the hymn, each stanza ending with a jubilant “Allelujah.” It was written to be sung with Palestrina’s tune, “Victory.”

For comments on Frederick Hosmer see Hymn 72.

_MUSIC._ VICTORY. For comments on this tune see Hymn 116.

BURIAL OF THE DEAD

317. For all the saints _William W. How_, 1823-97

The original, in eleven stanzas, was published in 1864 in _Hymns for Saints’ Days_, by a layman, Lord Nelson. One of the omitted stanzas reads:

For the Apostles’ glorious company
Who, bearing forth the Cross o’er land and sea,
Shook all the mighty world, we sing to Thee.

For comments on William How see Hymn 144.

_MUSIC._ SARUM. The tune was composed for the _Sarum Hymnal_, 1869, for these words by Bishop How. It is also known as “St. Philip” and “For All the Saints.”

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

318. We cannot think of them as dead _Frederick L. Hosmer_, 1840-1929

Written in 1876 after the death by drowning of a young member of the church of which the author was minister.

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

_MUSIC._ ST. FLAVIAN is from the _English Psalter_ of 1562 which was printed by John Day in London. The present is the first half, with some alterations, of the tune set to Psalm 132.

319. Come, let us join our friends above _Charles Wesley_, 1707-88

The first of a group of _Funeral Hymns_, published in 1759. It sets forth the assurance that friends gone before are not lost to those who mourn,

For all the servants of the King
In earth and heaven are one.

This hymn, one of Wesley’s greatest, has had wide use throughout the English speaking world in times of sorrow and loss of loved ones. It is an exposition of the words of the ancient Creed, “I believe in the communion of saints.”

The third and fourth verses, containing the idea of One Church, are among the finest in the whole range of hymnody.

The hymn was a great favorite of John Wesley. It so happened that he gave it out to be sung at a service he was conducting, at the very hour of the death of his brother Charles, giving the hymn a peculiarly pathetic interest.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ DUNDEE. For comments on this tune see Hymn 297.

CHURCH UNITY

320. In Christ there is no East or West _John Oxenham_, 1852-1941

A poem of human brotherhood, carrying a fine missionary message much needed in our day. It is written in the spirit of St. Paul—“where there is neither Greek nor Jew, circumcision nor uncircumcision, Barbarian, Scythian, bond nor free: but Christ is all and in all,” Col. 3:11. It stands in striking contrast to Kipling’s more narrow nationalism in his “East is East, and West is West, and never the twain shall meet.”

This hymn which has now found its way into most modern hymn books was written for a missionary pageant, _The Pageant of Darkness and Light_, which the London Missionary Society asked the author to write, for use in connection with a great missionary exhibition in London, an affair which ran for a month and did much to stimulate interest in missions in all the churches. Oxenham wrote the _libretto_ and planned the scenes for the pageant. The composer of the music, Hamish MacCunn, sent to him in a hurry one day for a few verses to fill in a gap. To this request Oxenham responded with the beautiful, simple lines, “No East or West.”

John Oxenham, English publisher, poet, and novelist, was born in Manchester. He wrote this poem in 1908; and in 1939 sent the hymn, “Peace in our time” (357) with a personal letter to the editors of the _Hymnary_. The name John Oxenham is a _nom de plume_ for William Arthur Dunkerley. For some years Dunkerley was engaged in business, in the interest of which he travelled extensively in Europe and Canada, and lived in France and the United States. He once investigated the possibilities of cotton growing and sheep raising in the Southern States but decided against the venture. He began writing as a relief from business, and then, later, dropped business in favor of writing.

_MUSIC._ ST. PETER, also known as “St. Peter’s, Oxford,” was composed for Psalm 118, by Alexander R. Reinagle, 1799-1877, distinguished organist for thirty-one years in St. Peter’s-in-the-East Church, Oxford. The tune derives its name from the church which the composer served so long. It appeared in _Psalm Tunes for the Voice and the Pianoforte_, published by Reinagle in 1830. It is a majestic tune and should be sung in moderate time with strong rhythmic accent.

321. Jesus, Lord, we look to Thee _Charles Wesley_, 1707-88

Four simple, lovely stanzas setting forth the unity of believers in Christ.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ MÜDE BIN ICH, GEH ZUR RUH. For comments on this tune see Hymn 254.

322. All praise to our redeeming Lord _Charles Wesley_, 1707-88

A favorite and appropriate hymn for use at religious reunions and conference gatherings. Wesley entitled it, “At meeting of Friends.”

For comments on Charles Wesley see Hymn 6.

_MUSIC._ ARMENIA was composed by Sylvanus Billings Pond, 1792-1871, Albany, N. Y., a piano manufacturer. Billings wrote many fine tunes and in 1841 issued the _United States Psalmody_, in which this tune appeared.

323. How sweet, how heavenly is the sight _Joseph Swain_, 1761-96

A beautiful hymn of Christian love, suggesting lines by Alice Carey:

He who loves best his fellowman
Is loving God the holiest way he can.

It appeared in the author’s _Walworth Hymns_, 1792, entitled, “The Grace of Christian Love.”

Joseph Swain, English Baptist minister and hymn writer, lost his parents early in life and was apprenticed to an engraver. He led a careless, frivolous life until his conversion at the age of twenty-two, when he became a fervent Christian. He qualified for the Baptist ministry and began serving as minister of a congregation in East Street, Walworth, in 1791. His poetic gifts, formerly given worldly and superficial expression, were now turned with great effect to his evangelistic appeals. His short ministry of five years, cut off by a lamented early death, was very successful.

_MUSIC._ REMEMBER ME. For comments on Asa Hull, composer of the tune, see Hymn 232.

MISSIONS

324. The morning light is breaking _Samuel F. Smith_, 1808-95

A great missionary hymn, though a little too optimistic. It was written in 1832 while the author was a student in Andover Theological Seminary. After reading an inspiring account by Adoniram Judson of his great missionary work in Burma, Smith put his enthusiasm for missions into these verses, now sung in all the churches.

Rev. Samuel F. Smith, Harvard graduate in the class with Oliver Wendell Holmes, became the foremost American Baptist hymn writer of the 19th century. He is the author of numerous hymns but is best known by “My country, ’tis of thee” and the present hymn. His desire to be a missionary himself was never fulfilled, but his son volunteered for the service and became the successor to Judson in the great work in Burma. “The morning light is breaking” has been translated into many tongues. In a letter dated March 17, 1883, the author said of this hymn: “I have heard versions of it sung in Karen, Burman, Italian, Spanish, Portuguese, Swedish, German, and Telegu.” Dr. Smith was a great linguist. He taught modern languages for a time in Colby College and had a familiarity with no less than fifteen languages. It is said that at the age of 86 he was seeking a suitable textbook to use in the study of the Russian language. He served as minister of Baptist churches at Waterville, Me., and Newton Center, Mass., and was secretary of the Baptist Missionary Union for 15 years.

_MUSIC._ WEBB. For comments on this tune and its composer, George J. Webb, see Hymn 65.

325. Far and near the fields are teeming _J. O. Thompson_

A popular missionary hymn based on Luke 10:2: “The harvest truly is great, but the laborers are few: pray ye therefore the Lord of the harvest, that he would send forth laborers into his harvest.”

No information has been found concerning the author, J. O. Thompson, or the composer of the tune, J. B. O. Clemm. The song appeared in _The Epworth Hymnal_, edited by John H. Vincent, afterward a Bishop, and published by Phillips and Hunt, Methodist Publishers, New York, in 1885. It was copyrighted by them as of that year.

326. Father, whose will is life and good _Hardwicke Drummond
Rawnsley_, 1851-1920

A prayer for the sick, and for physicians engaged in medical missionary work.

The hymn first appeared in _A Missionary Hymn Book_, 1922, published by the Society for the Promotion of Christian Knowledge, in London. The author, Rev. Hardwicke Drummond Rawnsley, was an influential minister and educator in the Church of England. He spent much of his life in the Lake District in northern England, and, being a man of public spirit and a lover of nature, he championed the rights of the people in securing for public use in perpetuity many beautiful tracts of the Lake District and other parts of the country. His friends remembered him as one “who, greatly loving the fair things of nature and of art, set all his love to the service of God and man.”

_MUSIC._ “TALLIS,” says William H. Havergal in _Notes on Certain Tunes_, is “simplicity itself. A child may sing the tune, while manly genius will admire it.”

For comments on the composer, Thomas Tallis, see Hymn 33.

327. Christ for the world we sing _Samuel Wolcott_, 1813-86

The author of this hymn, Samuel Wolcott, born at South Windsor, Conn., graduated from Yale at 20, spent two years in Syria as a missionary, and then, on account of failing health, returned to the United States where he served as pastor in various Congregational churches. The hymn was suggested to him by a motto, “Christ for the World and the World for Christ,” made from branches of evergreen, in a Cleveland church where a Y.M.C.A. convention was held. One night, walking home from the convention to which he was a delegate, the words of the hymn took form. Yankton College, South Dakota, has adopted it as the opening hymn for each term of school.

_MUSIC._ MALVERN. For comments on this tune and its composer, John Roberts, see Hymn 131.

328. O Zion, haste, thy mission high fulfilling _Mary A. Thomson_,
1834-1923

One of the strongest and most useful missionary hymns in the English language.

Mary Ann Faulkner was born in London but came to this country as a girl and became the wife of John Thomson, Librarian of the Free Library, in Philadelphia. A member of the Protestant Episcopal Church, her hymns, about forty in all, were published in _The Churchman_, New York, and in _The Living Age_, Chicago.

Of the origin of this missionary hymn, Mrs. Thomson has written:

I wrote the greater part of the hymn, “O Zion, haste,” in the year
1868. I had written many hymns before, and one night, while I was
sitting up with one of my children who was ill of typhoid fever, I
thought I should like to write a missionary hymn to the tune of the
hymn beginning, “Hark, hark, my soul, angelic songs are swelling,” as
I was fond of that tune; but as I could not then get a refrain I
liked, I left the hymn unfinished, and about three years later I
finished it by writing the refrain which now forms part of it. By some
mistake 1891 is given instead of 1871 as the date of the hymn in the
(Episcopal) _Hymnal_. I do not think it is ever sung to the tune for
which I wrote it. Rev. John Anketell told me, and I am sure he is
right, that it is better for a hymn to have a tune of its own, and I
feel much indebted to the composer of the tune TIDINGS for writing so
inspiring a tune to my words.

She was mistaken in the last sentence, for Walch’s tune, strangely enough, was composed for the words “Hark, hark my soul” (260).

_MUSIC._ TIDINGS was written, as stated above, for the hymn, “Hark, hark my soul! Angelic songs are swelling” (260), by James Walch, 1837-1901, an English composer and organist. The tune was never accepted for that hymn, because there already were several good tunes for it in use. In the providence of God, it found this hymn. The union was favored from the beginning and continues so today.

329. Word of Life, most pure, most strong _Jonathan F. Bahnmaier_,
1774-1841
_Tr. Catherine Winkworth_, 1829-78

One of the best and most useful hymns for foreign missions.

The original poem has six stanzas, our hymn comprising the last three, translated by Catherine Winkworth. The German text is found at No. 551, the hymn there being a free translation by Percy Dearmer.

For comments on Catherine Winkworth see Hymn 236.

Jonathan F. Bahnmaier was born at Oberstenfeld where his father, J. C. Bahnmaier, was town preacher. He received his education at Tübingen and became assistant, in 1798, to his father. Later he had an appointment as Professor of Education and Homiletics at Tübingen but resigned in 1819 to become dean and town preacher at Kirchheim-unter-Teck, a post he held until his death. Bahnmaier was greatly interested in education, missions, and Bible societies and was on the committee which compiled the _Württemberg Gesangbuch_, published after his death in 1842. One other of his hymns, “_Jesu als du wiederkehrtest_,” entitled, “Prayer after School,” has been translated into English.

_MUSIC._ MOZART is adapted from the “Kyrie” of the _Twelfth Mass_ by the famous composer, Wolfgang Amadeus Mozart, 1756-91.

For comments on Mozart see Hymn 179.

330. O Spirit of the living God _James Montgomery_, 1771-1854

One of the greatest missionary hymns in the English language. It was composed for a missionary service held in Leeds, England, June 4, 1823, and was entitled, “The Spirit Accompanying the Word of God.” Its lyric beauty, its burning passion for the spread of the gospel, combined with its dignity and healthy-mindedness make it an extraordinarily useful hymn. Setting forth and emphasizing the relation of the Holy Spirit to the work of missions, it fills an important place in the _Hymnary_.

For comments on James Montgomery see Hymn 62.

_MUSIC._ ALSTONE. For comments on this tune see Hymn 300.

331. Fling out the banner! let it float _George W. Doane_, 1799-1859

A stirring missionary hymn entitled, “Missions, Home and Foreign.”

It is based on Psalm 60:4: “Thou hast given a banner to them that fear thee, that it may be displayed because of the truth.”

The hymn was written in response to a request from the young women at St. Mary’s Hall, Burlington, N. J., a girls’ college founded by Bishop Doane, to be sung at a flag raising. The author, writing what has become a widely known hymn, gave the occasion a far wider significance than the girls had foreseen.

Bishop George Doane, a zealous advocate of missions, was known in his own church as “the missionary bishop of America.” The modern missionary movement arose and spread in his lifetime. The hymn reflects Doane’s enthusiasm and aggressive missionary leadership.

For further comments on the author see Hymn 36.

_MUSIC._ WALTHAM—also known as “Doane” and “Camden”—was written by John Baptiste Calkin, 1827-1905, English pianist and organist, professor of music, and composer of church music, both instrumental and vocal. The tune with its martial swing lends itself well for use as a processional.

332. Hail to the brightness of Zion’s glad morning _Thomas Hastings_,
1784-1872

A missionary hymn written in 1832, at the beginning of the modern missionary movement. It was first published in _Spiritual Songs for Social Worship_, 1833, a volume compiled jointly by Hastings and Mason, set to the present tune by Lowell Mason. _Spiritual Songs_ was a notable volume, publishing for the first time such well-known hymns as “The morning light is breaking,” “My faith looks up to Thee,” and introducing in America, Toplady’s famous “Rock of Ages.”

For comments on Thomas Hastings see Hymn 120.

_MUSIC._ WESLEY, also called “Hail to the Brightness,” was written by Lowell Mason for this hymn. It is a simple, straightforward melody, whose merit as a hymn tune is unquestionable.

For comments on Lowell Mason see Hymn 12.

333. From Greenland’s icy mountains _Reginald Heber_, 1783-1826

One of the most famous missionary hymns ever written. An interesting story is attached to its origin, a detailed account of which was written by Thomas Edgeworth on the fly-leaf of a facsimile of the original manuscript as follows:

On Whitsunday, 1819, the late Dr. Shipley, Dean of St. Asaph, and
Vicar of Wrexham, preached a sermon in Wrexham Church in aid of the
Society for the Propagation of the Gospel in Foreign Parts. That day
was also fixed upon for the commencement of the Sunday evening
lectures intended to be established in the church, and the late Bishop
of Calcutta (Heber), then rector of Hodnet, the Dean’s son-in-law
being together in the vicarage, the former requested Heber to write
“something for them to sing in the morning”; and he retired for that
purpose from the table where the Dean and a few friends were sitting
to a distant part of the room. In a short time the Dean enquired,
“What have you written?” Heber having then composed the three first
verses, read them over. “There, there, that will do very well,” said
the Dean. “No, no, the sense is not complete,” replied Heber.
Accordingly he added the fourth verse, and the Dean being inexorable
to his repeated request of “Let me add another; oh, let me add
another!” thus completed the hymn of which the annexed is a facsimile
and which has since become so celebrated. It was sung the next morning
in Wrexham Church the first time.

The tune to which it was sung was “’Twas when the seas were roaring,” from _The Beggar’s Opera_—a fine but somewhat incongruous selection.

The words of the hymn reflect the enthusiasm and zeal of consecrated youth, eager, like Livingstone, to go out to a distant people needing help and to sacrifice life for the cause. Greatly interested in missions, Heber was offered the Bishopric of Calcutta and accepted it against the advice of his friends. After three years of strenuous, devoted labor, he was stricken with apoplexy and found dead in his bath on the evening of a busy day in which he had baptized forty-two native converts.

The much-discussed second stanza, omitted in the _Hymnary_ because of its seeming low estimate of man, is as follows:

What though the spicy breezes
Blow soft o’er Ceylon’s isle;
Though every prospect pleases
And only man is vile;
In vain with lavish kindness
The gifts of God are strown;
The heathen in his blindness
Bows down to wood and stone.

The hymn is widely used among German speaking people in the following translation made by Dr. Ch. G. Barth, 1799-1862:

Von Grönlands eis’gen Zinken,
China’s Korallenstrand,—
Wo Ophirs Quellen blinken,
Fortströmend goldnen Sand,—
Von manchem alten Ufer,
Von manchem Palmenland
Erschallt das Fleh’n der Rufer:
“Löst unsrer Blindheit Band!”

Gewürzte Düfte weben
Sanft über Ceylons Flur;
Es glänzt Natur und Leben
Schlecht sind die Menschen nur.
Umsonst sind Gottes Gaben
So reichlich ausgestreut;
Die blinden Heiden haben
Sich Holz und Stein geweiht.

Und wir, mit Licht im Herzen,
Mit Weisheit aus den Höh’n,
Wir könnten es verschmerzen,
Dass sie im Finstern geh’n?
Nein, nein! das Heil im Sohne
Sei laut und froh bezeugt,
Bis sich vor Christi Throne
Der fernste Volkstamm beugt!

Ihr Wasser sollt es tragen,
Ihr Winde, führt es hin,
Bis seine Strahlenwagen
Von Pol, zu Pole ziehn;
Bis der versöhnten Erde,
Das Lamm, der Sünderfreund,
Der Herr und Hirt’ der Heerde
In Herrlichkeit erscheint!

_MUSIC._ MISSIONARY HYMN, like the hymn to which it is sung, was written in a few minutes time. Miss Mary W. Howard of Savannah, Ga., read the words in the American edition of _The Christian Observer_, of February, 1823, and was so impressed with them that she requested a young bank clerk who had gone to Georgia from New England, to write a tune for them. He complied, and in a half hour handed her the tune which is now sung all over the world. The clerk was Lowell Mason. For further comments on Mason see Hymn 12.

334. We have heard the joyful sound _Priscilla Jane Owens_, 1829—c. 99

A missionary hymn written for the anniversary of a Sunday school in Baltimore in which the author had been a worker for many years.

Priscilla Jane Owens, of Scottish and Welsh descent, was born and died in Baltimore where she was a public school teacher and an untiring worker in the Sunday school. Most of her hymns were written for children’s services.

_MUSIC._ JESUS SAVES was composed by William J. Kirkpatrick, 1838-1921, a native of Duncannon, Pa. He was a regimental musician during the Civil War and was skilled as an organist, gospel singer, and composer, and was editor and publisher of gospel songs.

335. We’ve a story to tell to the nations _Colin Sterne_, 1862-1928

A popular missionary hymn, breathing the spirit of Christ’s great commission: “Go ye therefore, and make disciples of all nations, baptizing them into the name of the Father and of the Son and of the Holy Spirit: teaching them to observe all things whatsoever I commanded you: and lo, I am with you always, even unto the end of the world.”

The message of the hymn, in which lies the hope of the nations, is summarized in the chorus.

The words and music are by the same person, Henry Ernest Nichol, who was born at Hull, England, December 10, 1862. He always signed his correct name to a tune, and the anagram “Colin Sterne,” to a hymn. Oxford University gave him his degree in music. His compositions, many of them for the church, have the simplicity and directness of the folk song. The tune here forms a splendid musical setting for the words and may be sung variously, as a solo, duet, all the voices in unison, or in four parts.

336. On the mountain top appearing _Thomas Kelly_, 1769-1854

Based on Isa. 52:7: “How beautiful upon the mountains are the feet of him that bringeth good tidings.” The hymn was written after the good news came from the island of Tahiti that the first little band of mission workers sent there by the London Missionary Society, was kindly received by the natives, their message heard and welcomed, and that there was every prospect for the success of the mission. Hearing the news, Rev. Thomas Kelly wrote this hymn, entitling it, “On the Good News from Tahiti.” The London Missionary Society met soon afterward for an enthusiastic gathering where this hymn was first sung.

For comments on Thomas Kelly see Hymn 119.

_MUSIC._ ZION. This tune is also used with the hymn, “Guide me, O Thou great Jehovah,” but it is better suited to the present hymn.

For comments on the composer, Thomas Hastings, see Hymn 120.

337. Ye Christian heralds, go proclaim _Bourne H. Draper_, 1775-1843

A hymn, originally of four stanzas, written as a farewell to missionaries.

The author, Rev. Bourne H. Draper, was born of a Church of England family, near Oxford, England. He joined the Baptist Church while employed as a printer’s apprentice at the Clarendon Press, Oxford. He trained himself for the Baptist ministry and became pastor of the Baptist Church at Chipping-Norton. A man of great piety and poetic gift, he wrote numerous books for children as well as devotional works and volumes of sermons.

_MUSIC._ MISSIONARY CHANT appeared in the composer’s _American Harp_, 1835, where it was identified with this hymn. Concerning the composition of the tune, Zeuner said: “I was sitting on one of those seats on Boston Commons on a most beautiful moonlight evening, all alone, with all the world moving about me, and suddenly ‘Missionary Chant’ was given me. I ran home as fast as ever I could and put it on paper before I should forget.”

Charles Heinrich Christopher Zeuner, 1795-1857, a native of Germany, came to America at the age of 29 and settled in Boston. His musical ability was soon recognized, and he was made president of the Handel and Haydn Society, and later its conductor. He published a book, _American Harp_, of nearly 400 pages of tunes, in 1832, mostly his own compositions. He moved to Philadelphia where he served as organist of St. Anne’s Episcopal Church and later of the Arch Street Presbyterian Church. Due to harsh criticism of his playing, he became despondent and took his own life one November day at a lonely spot in the woods. Zeuner was never married and had no relatives in this country.

338. How are Thy servants blest _Joseph Addison_, 1672-1719

A hymn of the Christian traveller, particularly descriptive of the experience of many Christian missionaries. It is known as the “Traveller’s Hymn” and has been found useful as a part of the daily devotions by Christians journeying in foreign lands.

It appeared in ten stanzas in the _Spectator_ for September 20, 1712, at the end of an article on “Greatness,” with special reference to the greatness and awesomeness of the sea. The hymn was “made by a gentleman upon the conclusion of his travels.” Returning in 1700 from the terrors of a voyage on the Mediterranean Sea, Addison gives here, years afterwards, a picture of his own trying experiences. The second stanza describes some of the hardships through which he passed. The omitted stanzas (3, 4, 5, 7, 8) of the hymn picture the storm at sea, its subsidence, and the traveller’s trust in God. They are as follows:

3.
Thy mercy sweetened every soil,
Made every region please:
The hoary Alpine hills it warmed,
And smoothed the Tyrrhene seas.

4.
Think, O my soul, devoutly think
How with affrighted eyes
Thou sawest the wide-extended deep
In all its horrors rise!

5.
Confusion dwelt in every face,
And fear in every heart;
When waves on waves, and gulfs on gulfs,
O’ercame the pilot’s art.

7.
When by the dreadful tempest borne
High on the broken wave,
They know Thou art not slow to hear,
Nor impotent to save.

8.
The storm is laid, the winds retire,
Obedient to thy will;
The sea, that roars at thy command,
At thy command is still.

For comments on Joseph Addison see Hymn 50.

_MUSIC._ KILMARNOCK appeared in England as a Psalm tune in _Parochial Psalmody: a New Collection of the Most Approved Psalm Tunes.... By J. P. Clark, Second Edition_, 1831.

The composer, Neil Dougall, 1776-1862, son of a shipwright, went to school until he was 15, then took to the sea. Three years later he met with an accident which resulted in the loss of his eyesight and his right arm. He then took up the study of music and for 45 years was a successful teacher of singing classes. He wrote about 100 psalm and hymn tunes.

339. See how great a flame aspires _Charles Wesley_, 1707-88

A rousing missionary hymn which Wesley wrote after preaching to the coal miners at Newcastle. The imagery of the great flame was suggested by the night scene—the glow in the sky from the blazing fires connected with the mines. The climax of the hymn, stanza 4, was inspired by an incident in the life of Elijah. When his servant returned the seventh time from looking toward the sea from the housetop, he reported: “Behold there ariseth a little cloud out of the sea like a man’s hand!... And it came to pass in the meantime that the heaven was black with clouds and wind, and there was a great rain” (I Kings 18:41-45).

For comments on Charles Wesley see Hymn 6.

_MUSIC._ BENEVENTO is an adaptation from a motet on the words, “_Tibi omnes angeli_” by Samuel Webbe, 1740-1816, a London organist and composer.

340. The whole wide world for Jesus _J. Dempster Hammond_, 1719-83

The watchword, “the whole wide world for Jesus,” brings to mind the motto, “The evangelization of the world in this generation,” which served to inspire the Student Volunteer Movement in the days of John R. Mott, Robert E. Speer, and Sherwood Eddy. Two world wars have shaken the foundations of the missionary enterprise, but those closest to the movement still declare the motto to be both a possibility and an obligation. The missionary forces are making resolute plans for giving the Gospel to the entire world.

No information is at hand concerning the author, J. Dempster Hammond.

_MUSIC._ THE WHOLE WIDE WORLD. The composer, John H. Maunder, was born in Chelsea, England, in 1858, and died in 1920. He received his musical education at the Royal Academy of Music in London; held various musical appointments and became a well-known and popular accompanist for vocalists. As a composer, he was widely known for his anthems, cantatas, and services which have met with wide approval. His _A Song of Thanksgiving_, a cantata, has been quite popular in this country, as have several of his anthems. In the secular field he has written much excellent choral music, one of the best being his “The Song of Thor.”

341. Jesus shall reign where’er the sun _Isaac Watts_, 1674-1748

Founded on the last part of Psalm 72, this is the earliest of the great English hymns on missions. It is sung by all Christian congregations in the homelands and has probably been translated into a greater number of languages and dialects than any other English hymn.

Watts did not hesitate to use the name of Jesus in interpreting the Psalm. On this point, he wrote in the preface to his Psalms:

Where the original runs in the form of prophecy concerning Christ and
his salvation, I have given an historical turn to the sense; there is
no necessity that we should always sing in the obscure and doubtful
style of prediction, when the things foretold are brought into the
open light by a full accomplishment.

“Peculiar honors” in stanza 5 means honors appropriate to the various peoples who bring them.

For comments on Isaac Watts see Hymn 11.

_MUSIC._ DUKE STREET. This is a psalm tune by John Hatton (d. 1793), a native of Warrington, England, of whom little is known. The tune appeared first in _A Select Collection of Psalm and Hymn Tunes_, Glasgow, 1793. It has long been associated with this hymn, although other tunes—“Old Hundredth,” “Warrington,” and “Truro”—have also been used with it.

342. Lord of light, whose name outshineth _Howell Elvet Lewis_, 1860—

Based on the petition, “Thy will be done on earth as it is in heaven.”

The hymn was written for the _Congregational Hymnary_ (England), 1916. A note by the author explains his purpose in the hymn:

The hymn was written to declare that in doing God’s will, active
co-operation is as much needed as humble resignation. Charlotte
Elliott, in her hymn, “My God and Father, while I stray,” had
expressed the latter thought beautifully. My hope was to supplement
her hymn as best I could.

(Miss Elliott’s hymn is found at No. 245).

Howell Elvet Lewis, of Welsh birth, became an influential leader in English Congregationalism. He served as minister of the Welsh Tabernacle, King’s Cross, London, and was at one time chairman of the Congregational Union of England and Wales. He is the author of a number of volumes of poems and biography.

_MUSIC._ HAST DU JESU RUF VERNOMMEN appears anonymously in the _Gesangbuch mit Noten_, set to a missionary hymn beginning with these words. By repeating the first four lines of the first stanza of the present hymn the refrain was made possible.

The tune was written by John R. Sweney, 1837-99, a native of West Chester, Penna., who received his degrees of Mus. Bac. and Mus. Doc. at the Pennsylvania Military Academy, Chester, Penna. Sweney was a skilled choir leader, violinist, and pianist. He collaborated with Wm. J. Kirkpatrick in the production and publishing of numerous gospel hymn tunes and hymnals. After the Civil War, he taught music in the school from which he received his degrees and became well known as a song-leader at summer religious assemblies, especially at Ocean Grove, N. J.

NATIONAL AND INTERNATIONAL LIFE—THE NATION

343. O beautiful for spacious skies _Katharine Lee Bates_, 1859-1929

A beautiful poem expressing genuine love for America and faith in human brotherhood. The historical accuracy of the second and third stanzas may be questioned. To one familiar with New England theocracy, it is clear that the Pilgrims were not, as the poet suggests, the champions of freedom of thought and religion. On the contrary, they were intolerant of any form of opposition, whether religious or political.

The hymn is less limited to the New England landscape than “My country, ’tis of thee,” and probably for that reason has overshadowed the latter as a popular national hymn.

Katharine Lee Bates, born in Falmouth, Mass., was educated at Wellesley College where she later became Professor of English. She is the author of many books.

A folder published by the author, giving the exact title and words of the hymn, also contains interesting data concerning its origin and history:

_America the Beautiful_ was written in its original form, more
literary and ornate than the present version, in the summer of 1893. I
was making my first trip west. After visiting at Chicago the World’s
Fair, where I was naturally impressed by the symbolic beauty of the
White City, I went on to Colorado Springs. Here I spent three weeks or
so under the purple range of the Rockies, which looked down with
surprise on a summer school. This had called to its faculty several
instructors from the east, Dr. Rolfe coming from Cambridge to teach
Shakespeare, Professor Todd from Amherst for lectures on Astronomy,
Professor Katharine Coman from Wellesley for a course in Economics. My
own subject, which seemed incongruous enough under that new and
glowing sky, was English Religious Drama.

We strangers celebrated the close of the session by a merry expedition
to the top of Pike’s Peak, making the ascent by the only method then
available for people not vigorous enough to achieve the climb on foot
nor adventurous enough for burro-riding. Prairie wagons, their
tail-boards emblazoned with the traditional slogan, “Pike’s Peak or
Bust,” were pulled by horses up to the half-way house, where the
horses were relieved by mules. We were hoping for half an hour on the
summit, but two of our party became so faint in the rarified air that
we were bundled into the wagons again and started on our downward
plunge so speedily that our sojourn on the peak remains in memory
hardly more than one ecstatic gaze. It was then and there, as I was
looking out over the sea-like expanse of fertile country spreading
away so far under those ample skies, that the opening lines of the
hymn floated into my mind. When we left Colorado Springs the four
stanzas were pencilled in my note-book, together with other memoranda,
in verse and prose, of the trip. The Wellesley work soon absorbed time
and attention again, the note-book was laid aside, and I do not
remember paying heed to these verses until the second summer
following, when I copied them out and sent them to _The
Congregationalist_, where they first appeared in print July 4, 1895.
The hymn attracted an unexpected amount of attention. It was almost at
once set to music by that eminent composer, Silas G. Pratt, and
re-published with his setting, in _Famous Songs_, issued in 1895 by
the Baker and Taylor Company. Other tunes were written for the words
and so many requests came to me, with still increasing frequency, to
permit its use in various publications and for special services that,
in 1904, I re-wrote it, trying to make the phraseology more simple and
direct.

The new form first appeared in the _Evening Transcript_ of Boston,
November 19, 1904. After the lapse of a few years, during which the
hymn had run the gauntlet of criticism, I changed the wording of the
opening quatrain of the third stanza. The hymn as printed above is the
final version, of which I retain the copyright, not as a matter of
money-making, for I have given hundreds, perhaps thousands, of free
permissions for its use, but in order to protect it from misprints and
conscious alterations.

But here comes a difficulty. Over sixty original settings, some of
them by distinguished musicians, have been written for the hymn, which
thus suffers from an embarrassment of riches. It is associated with no
one tune. The original setting which has, thus far, won widest
acceptance is that of the former Municipal Organist of Portland, Will
C. MacFarlane (sold by Cressey and Allen, 534 Congress Street,
Portland, Maine). His tune, which is played on the city chimes of
Springfield, Mass., he has made the theme of a spirited march,
_America the Beautiful_, arranged for band music. In an octavo
published by Oliver Ditson Company are included four settings, one by
Clarence G. Hamilton, professor of music at Wellesley College, and
another by W. W. Sleeper, formerly pastor of the Wellesley
Congregational Church. Both these settings have found favor with
choruses and made their way into various hymnals. This octavo carries,
also, settings by William Arms Fisher, musical editor of the Boston
house of Ditson. Other tunes that have a strong following are those of
the celebrated composer, Horatio W. Parker (in the _Methodist Sunday
School Hymnal_), Charles S. Brown (in _Junior Carols_, Society of
Christian Endeavor), John Stainer (in the _Pilgrim Hymnal_), J. A.
Demuth, professor of music at Oberlin (in _Oberlin’s Favorite Hymns_,
published by Arthur P. Schmidt), and Herbert G. Peabody of Fitchburg,
Mass., (published by H. W. Gray Company of New York). Other attractive
settings, published, privately printed or yet in manuscript, have
their special circles, and the words have been fitted to various old
tunes, as those of _Auld Lang Syne_, _The Harp that Once through
Tara’s Halls_, _The Son of God goes forth to War_ and _O Mother Dear
Jerusalem_. To this last, Materna, by S. A. Ward, in many hymnals and
well known throughout the country, _America the Beautiful_ is at
present most often sung.

That the hymn has gained, in these twenty odd years, such a hold as it
has upon our people, is clearly due to the fact that Americans are at
heart idealists, with a fundamental faith in human brotherhood.

Katharine Lee Bates

(Quoted by permission.)

_MUSIC._ MATERNA (Mother) was composed for “O mother dear, Jerusalem.” The composer, Samuel Ward, 1847-1903, resided at Newark, N. J., where he operated a successful music business and was for 14 years the director of the Orpheus Club. The tune has by popular preference become inseparably associated with the words.

344. My country, ’tis of thee _Samuel F. Smith_, 1808-95

The best loved of our patriotic hymns, widely used, and deeply imbedded in the American soul.

His Harvard classmate, Oliver Wendell Holmes, saluted Smith in a poem written for their class reunion on the 30th anniversary of their graduation as follows:

And there’s a nice youngster of excellent pith—
Fate tried to conceal him by naming him Smith:
But he shouted a song for the brave and the free—
Just read on his medal, “My country,” “of thee.”

The inspiration for this hymn came from the reading of a German patriotic poem sent him by Lowell Mason (See 348). The author, then a young student at Andover Theological Seminary, says: