Chapter XVI: Book I: Hymns for Worship and Praise (10)

I instantly felt the impulse to write a patriotic hymn of my own,
adapted to the tune. Picking up a scrap of waste paper which lay near
me, I wrote at once, probably within half an hour, the hymn,
“America,” as it is now known everywhere. The whole hymn stands today
as it stood on the bit of waste paper.

The hymn was first sung at a children’s festival in Park Street Church, Boston, July 4, 1832.

For comments on the author, Samuel F. Smith, see Hymn 324.

_MUSIC._ AMERICA is also the tune used with the national anthem of Britain, “God save the king.” The melody is of obscure origin. It has been known in England for several centuries. In Denmark it was used toward the end of the 18th century for a national hymn, “_Heil dir dem liebenden_,” and in Germany it was widely used in Prussian and other northern states to patriotic words. In earlier days in the United States, the words, “Come Thou Almighty King,” were sung to this tune. The tune has thus nearly come to be an International Anthem.

Henry Carey, 1692-1743, an English musician of considerable ability, known as the composer of the song, “Sally in Our Alley,” is sometimes credited with this tune but the evidence is disputed. He wrote songs and poems for light and burlesque operas but always with regard for decency and good manners. His life was ended by suicide.

345. Judge Eternal, throned in splendor _Henry Scott Holland_,
1874-1918

A prayer for the nation.

The hymn was written with the English Empire in mind, but its message and concern for the removal of national evils are such as to make it appropriate for use nearly everywhere.

Henry Scott Holland had a distinguished career at Oxford and attained to numerous positions of responsibility in the Church of England. He was Professor of Divinity at Oxford and later Canon of St. Paul’s Cathedral. The two chief interests of his fruitful life were social reform and missionary work, both of which are embodied in this, his only hymn. The poem was published in July, 1902, in _The Commonwealth_, a Christian social magazine which Dr. Holland edited, and was included in the _English Hymnal_ in 1906.

_MUSIC._ SICILIAN MARINERS. For comments on this tune see Hymn 45.

346. Once to every man and nation _James Russell Lowell_, 1819-91

A powerful hymn of national righteousness, taken from Lowell’s poem called “The Present Crisis,” 1845, the crisis being the war with Mexico which the author held to be unjust and would only result in enlarging the area of slavery. To make the meter of the poem regular enough to be sung, some alteration was inevitable.

James Russell Lowell graduated from Harvard in 1838 and was admitted to the bar two years later. He succeeded Longfellow as Professor of Modern Languages and Literature in Harvard, in 1855. From 1857 to 1862 he edited the _Atlantic Monthly_ and the nine years following that he was editor of the _North American Review_. In 1877 he was appointed minister to Spain, and in 1881, to England, remaining at the latter post four years. He wrote various volumes of poetry and was a prominent anti-slavery writer both in verse and prose.

_MUSIC._ TON-Y-BOTEL, also known as “Ebenezer,” is a “solemn tune, of very simple structure, being formed, throughout, of imitations of the first bar.” A letter from the copyright owners, W. Gwenlyn Evans and Son, Caernarvon, Wales, written by A. Vaughan Evans, throws interesting light on this tune and the origin of the fictitious story which gave rise to the name TON-Y-BOTEL. It reads, in part:

... We have pleasure in granting permission to use the tune Ebenezer
(Ton-Y-Botel) free of charge in the Mennonite Hymn Book.... It is an
original Welsh composition by T. J. Williams ... and was part of a
Memorial Anthem ‘_Goleu yn y Glyn_’ (Light in the Vale) in memory of a
friend of the composer....

You will have noticed above that the correct name of the tune is
Ebenezer and it may be of interest to learn how it acquired the
‘nickname’ Ton-Y-Botel (the bottle tune). Not long after the Welsh
Revival of 1904 the tune spread all over Wales and then England and
Scotland ‘by ear.’ There were no written or printed copies of it. A
crowd of young men were singing it on a hilltop just outside this town
of Caernarvon and the usual questions were asked: Who was the
composer, etc., when a lad for a joke said the tune had been found in
a bottle washed up by the tide on the beach at Dinas Dinlle (a small
bathing place in the Irish Sea near here). Ever since the tune has
been called by the Welsh equivalent of “Bottle Tune.” One of the young
men made a written copy of the music as it was sung all over the
country, and brought it to us to print. The demand was enormous and we
published hundred of thousands of copies.... We purchased the
copyright and now the tune appears in hymnals all over the
world—except in Wales, the country of its origin. I do not think it is
a case of the prophet being without honour in his own country, but
rather that the popularity was so great that it was sung everywhere—in
taverns and public houses, non-religious words were sung to it,
etc.—with the result that the tune was regarded as not quite
‘respectable’ by the generation which produced it. No doubt it will be
valued by later generations of Welsh people. This has happened with
several of the best-known Welsh hymns as many of them 200 years ago
were of secular origin.

I am giving the above details so that something of its history may be
on record in the United States, and hope they may be of interest.

347. God of our fathers, whose Almighty hand _Daniel C. Roberts_,
1841-1907

A hymn of broadminded patriotism, called forth by the “Centennial” Fourth of July celebration in 1876, held at Brandon, Vt. It was published in various papers at the time and included in the _Hymnal_ of the Protestant Episcopal Church in 1894. Since then it has appeared in a number of other church hymnals.

The hymn was written by Daniel C. Roberts, a graduate of Kenyon College, and a clergyman in the Episcopal Church.

_MUSIC._ NATIONAL HYMN was used at the Columbian celebration service at St. Thomas’ Church, New York City, Sunday morning, October 9, 1892. It is one of the finest processional tunes in the hymn book. The trumpet introduction and the interludes, making it unique among hymn tunes, gives it a quickening martial rhythm yet without losing its spirit of sanctity and reverence.

The composer, George William Warren, 1828-1902, was an American organist, born at Albany, N. Y. Though self-taught, he held responsible positions as organist in Albany and then at Holy Trinity and St. Thomas’ churches in New York.

348. God bless our native land _Siegfried A. Mahlmann_, 1771-1826
_Stanza 3, William E. Hickson_, 1803-70

The first two stanzas are a free translation of Stanzas 1 and 3 of the following patriotic song for Saxony:

1.
Gott segne Sachsenland,
Wo fest die Treue stand
In Sturm und Nacht!
Ew’ge Gerechtigkeit,
Hoch überm Meer der Zeit,
Die jedem Sturm gebeut,
Schütz uns mit Macht!

2.
Blühe, du Rautenkranz
In schöner Tage Glanz
Freudig empor!
Heil, Friedrich August, dir!
Heil, guter König, dir!
Dich, Vater, preisen wir
Liebend im Chor!

3.
Was treue Herzen flehn
Steigt zu des Himmels Höh’n
Aus Nacht zum Licht.
Der unsre Liebe sah,
Der unsre Tränen sah,
Er ist uns huldreich nah,
Verlässt uns nicht.

A fourth stanza, identical with the first, follows.

It was written by the German song writer, Siegfried Augustus Mahlmann, and published in G. W. Fink’s _Musikalischer Hausschatz_, 1842. The hymn was first sung Nov. 13, 1815, in the presence of the King of Saxony. The hymn was also the inspiration for Samuel F. Smith’s, “My country ’tis of thee.”

The translation was made in 1834 by Charles T. Brooks, while a student at the Divinity School at Cambridge, Mass. It was revised by John Sullivan Dwight, 1813-93, to form our version. Dwight was a graduate of Harvard Divinity School and became a Unitarian minister in Northampton, Mass., but gave up the ministry to devote himself to literature and music. For thirty years he owned and edited Dwight’s _Journal of Music_.

The third stanza, raising the hymn above any narrow patriotism, was added by William E. Hickson, an English shoe manufacturer who retired from that business to pursue literary and philanthropic interests. Much interested in the musical culture of his people, he published various books on music and composed numerous musical works of merit. For a time he was editor of the _Westminster Review_.

_MUSIC._ DORT. For comments on the composer of this tune, Lowell Mason, see Hymn 12.

349. Great God of nations, now to Thee _Alfred A. Woodhull_, 1810-36

Entitled “Thanksgiving Hymn,” this poem was written in 1828 when the author was only eighteen years old. It was published in the Presbyterian _Psalms and Hymns_, 1829, Princeton, N. J. There have been many alterations of the lines.

Alfred Alexander Woodhull, son of a Presbyterian minister, graduated from Princeton at 18 years of age, and then took a medical course at the University of Pennsylvania. He began the practice of medicine at Marietta, Pennsylvania, then moved to Princeton where within a year he contracted a fever which occasioned his death. Known as a fine Christian man as well as a skilled physician, his early death was greatly lamented. He was a member of the Presbyterian Church.

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

WORLD FRIENDSHIP AND PEACE

350. O God, we pray for all mankind _Howard J. Conover_, 1850-1925

A prayer for all the nations.

The author, Howard J. Conover, was born in New Jersey, the son of devout Christian parents. He was educated at Pennington Seminary, Pennington, N. J., and Dickinson College. He took up the ministry and was known to be a studious, devout, and thoroughly faithful pastor, serving a number of churches in his native state. A nephew, Elbert M. Conover, is the director of The Interdenominational Bureau of Architecture, with offices in New York City, serving twenty-five denominations.

_MUSIC._ ORTONVILLE. For comments on this tune see Hymn 120.

351. God the All-Merciful _Henry F. Chorley_, 1808-72

A touching cry for peace, based on the Russian national hymn by Chorley. This paraphrase was written by John Ellerton, in 1870, during the Franco-Prussian War. It was published in _Church Hymns_ in 1871.

Henry F. Chorley, an English man of letters, received his education at the Royal Institution, Liverpool. He was a literary and music critic and a friend and great admirer of Charles Dickens. For 34 years he was on the editorial staff of the _Athenaeum_, published in London.

_MUSIC._ RUSSIAN HYMN was composed for the words, “God save the Czar,” the national Russian anthem written in 1833. It is a stately, powerful tune which most congregations love to sing, especially after it has been used often enough to overcome certain of its difficulties. It was written at the command of the Czar who ordered it adopted for the army. But there is nothing about the tune itself to render it inappropriate for the churches. In his _Memoirs_, Lwoff says that in composing this tune he “felt and fully appreciated the necessity of accomplishing something which would be robust, stately, stirring, national in character, something worthy to reverberate either in a church, through the soldiers’ ranks, or amongst a crowd of people, something which would appeal alike to the lettered and the ignorant.”

The composer, Alexis T. Lwoff, 1799-1871, was an eminent Russian musician, succeeding his father in St. Petersburg as head of the imperial choir where he not only maintained the traditions of that great organization, but raised it to still greater heights of eminence. He composed violin concertos, operas, and church music. Lwoff had a thorough understanding of the canonical services of the Russian Church, and his collection of ritual chants is still considered authoritative.

352. O God of love, O King of peace _Henry W. Baker_, 1821-77

An ardent prayer for universal peace. This noble hymn was contributed by the author to _Hymns Ancient and Modern_, London, 1861, a notable book of which Baker was chief editor.

For comments on the author, Henry W. Baker, see Hymn 143.

_MUSIC._ QUEBEC. For comments on this tune and its composer see Hymn 171.

353. Let there be light, Lord God of hosts _William Merrill Vories_,
1880—

A good peace hymn.

The author, William Merrill Vories, was born in Leavenworth, Kansas. He is the founder of an independent mission in the province of Omi, Japan. Vories published the present poem February, 1909, in the _Advocate of Peace_. Since that time, it has found a place in a number of hymn books. The copyright, appropriately enough, is held by the American Peace Society.

_MUSIC._ PENTECOST, a dignified tune, simple in structure, was first used with the hymn, “Veni Creator,” and appeared in _Thirty-two Hymn Tunes, Composed by Members of the University of Oxford_, 1868. It was revised by Arthur Sullivan who set it to Monsell’s hymn, “Fight the good fight with all thy might,” for the tune lends itself to spirited rendition as well as the more devotional and contemplative as required by the present hymn.

The composer, Rev. William Boyd, 1847-1928, was born in Jamaica and educated at Oxford where Baring-Gould was his tutor. The latter asked him to compose a tune to “Come, Holy Ghost, our souls inspire,” for a meeting of Yorkshire coal miners on the Day of Pentecost. The result was this tune to which he gave the name PENTECOST. Boyd was ordained priest in 1882 and from 1893 until his retirement in 1918, he was vicar of All Saints, Norfolk Square, London.

354. Father eternal, Ruler of creation _Laurence Housman_, 1865—

One of the hymns of our time in which, characteristically, the international note is struck. It was written at the request of the Rev. H. R. L. (Dick) Sheppard, minister of St. Martin’s-in-the-Fields, London, for the Life and Liberty movement after World War I. The bitter experiences of that war, with the subsequent fear and distrust among the nations, had intensified the longing for the realization of the petition in the Lord’s Prayer, “Thy will be done in earth, as it is in heaven.” This hymn gives utterance to that longing.

Laurence Housman is an English artist known chiefly for his book illustrations, but he is also known as a writer of poetry and prose of merit. A contemporary wrote of him: “He has the heart of compassion for the little ones of the earth, the dumb and the helpless, that ought to be, but is not always, an essential part of poetry. His is the true Franciscan spirit.”

_MUSIC._ OLD 124TH is from the _Genevan Psalter_, 1551, where it is set to Psalm 124. It is commonly attributed to L. Bourgeois (See 34). The tune has always been popular in England with the non-conformist churches and is one of the few surviving tunes from the _Old Version Psalter._

355. Not alone for mighty empire _William Pierson Merrill_, 1867—

A hymn of thanksgiving and of the higher patriotism, glorying not in empire nor in battleship and fortress but in the things of the spirit which have made America great. It was first printed in _The Continent_, a Presbyterian paper, now defunct, published in Chicago.

Concerning the origin of the hymn, Dr. Merrill wrote in a letter dated April 18, 1947:

The occasion for the writing of this hymn was a Union Thanksgiving
Service in Chicago, where Jenkin Lloyd Jones made a prayer, in which
he thanked God more for spiritual values in our national life than for
any temporal ones. That prayer inspired my hymn.

Howard Chandler Robbins, Professor of Pastoral Theology in the General Theological Seminary, New York City, says: “On Thanksgiving Day we all ought to be singing Dr. Merrill’s great Thanksgiving hymn, one of the greatest national hymns in the English language.”

For comments on William Pierson Merrill see Hymn 183.

_MUSIC._ IN BABILONE. For comments on this tune see Hymn 122.

356. Thy Kingdom come! O Lord, we daily cry _Henry W. Hawkes_,
1843-1917

One of our few hymns on the petition, “Thy Kingdom come.” It is an earnest prayer for social righteousness and peace. The hymn was written by Henry Warburton Hawkes, an English Unitarian.

No further information is at hand concerning the author.

_MUSIC._ FFIGYSBREN. For comments on this tune see Hymn 183.

357. Peace in our time, O Lord _John Oxenham_, 1852-1941

A beautiful prayer for the peace which is “based upon Thy will and built in righteousness.” The author, having learned that a new hymnary was to be published, and aware of the Mennonite position on war and peace, sent this hymn from England for inclusion in this book with the request that it be used with the tune “Diademata.”

For comments on the author, John Oxenham, see Hymn 320.

_MUSIC._ DIADEMATA. For comments on this tune and its composer, George J. Elvey, see Hymn 118.

THE CHRISTIAN HOME AND FAMILY

358. O happy home, where Thou art loved the dearest _Carl J. P.
Spitta_, 1801-59
_Tr. Sarah L. Findlater_, 1823-1907

O selig Haus, wo man dich aufgenommen,
Du wahrer Seelenfreund, Herr Jesu Christ;
Wo unter allen Gästen, die da kommen,
Du der gefeiertste und liebste bist;
Wo aller Herzen dir entgegenschlagen
Und aller Augen freudig auf dich sehn;
Wo aller Lippen dein Gebot erfragen
Und alle deines Winks gewärtig stehn!

O selig Haus, wo Mann und Weib in _einer_,
In deiner Liebe _eines_ Geistes sind,
Als beide _eines_ Heils gewürdigt, keiner
Im Glaubensgrunde anders ist gesinnt;
Wo beide unzertrennbar an dir hangen
In Lieb’ und Leid, Gemach und Ungemach,
Und nur bei dir zu bleiben stets verlangen
An jedem guten wie am bösen Tag!

O selig Haus, wo man die lieben Kleinen
Mit Händen des Gebets ans Herz dir legt,
Du Freund der Kinder, der sie als die Seinen
Mit mehr als Mutterliebe hegt und pflegt;
Wo sie zu deinen Füssen gern sich sammeln
Und horchen deiner süssen Rede zu
Und lernen früh dein Lob mit Freuden stammeln,
Sich deiner freun du lieber Heiland, du!

O selig Haus, wo du die Freude teilest,
Wo man bei keiner Freude dein vergisst!
O selig Haus, wo du die Wunden heilest
Und aller Arzt und aller Tröster bist,
Bis jeder einst sein Tagewerk vollendet,
Und bis sie endlich alle ziehen aus
Dahin, woher der Vater dich gesendet,
Ins grosse, freie, schöne Vaterhaus!

Based on Luke 19:9: “This day is salvation come to this house,” the poem originally bore the title, “Salvation is come to this house.” It is probably the best hymn ever written on the Christian home.

The author of the hymn enjoyed a singularly happy and peaceful home life, not only under the parental roof, but also after he was married and had established his own home. Carl Spitta, Lutheran minister and greatest German hymn writer of the nineteenth century, was born in Hannover. His father came from a Huguenot family that fled France during the Catholic persecutions and died when Carl was only four years old. His mother was a Christian Jewess whose loving care no doubt inspired the son to write this hymn on the home. After completing his theological studies in 1824, Spitta taught school for four years and then was ordained in 1828 to the Lutheran ministry. He passed through a deep spiritual experience about this time which resulted in the composition of his finest hymns. “In the manner in which I formerly sang,” he wrote a friend in 1826, “I sing no more. To the Lord I dedicate my life, my love, and likewise my song. He gave to me song and melody. I give it back to Him.”

His hymns were received with enthusiasm and held in the same esteem in Germany as Keble’s _Christian Year_ in England. His collection of hymns, _Psalter und Harfe_, first published in 1833, passed through more than 50 editions and a second collection printed in 1843 had by 1887 passed through 42 editions.

Spitta had a family of seven children, one of whom became Professor of New Testament Exegesis and Practical Theology in the University of Strassburg, and another, John August Spitta, wrote the monumental four-volume work on the life of J. S. Bach.

The translator of the hymn, Sarah Findlater, also knew the blessings of a happy home. Her daughter wrote concerning her mother:

Her home life with my father was almost idyllically happy, in the
small manse at Lochearnhead, where there never was enough of money,
yet where my parents exercised unceasing hospitality—almost foolish
hospitality. They were both great readers, and used to read aloud to
each other for hours. My mother was an excellent linguist, and her
German translations were a great pleasure to her. That simple little
hymn of hers which begins “O happy home,” is really an epitome of her
home life with my father—they were so single-eyed in their longing to
serve God: it came first with them always.

For further comments on Sarah Findlater, see comments on her sister, Jane Borthwick, Hymn 54.

_MUSIC._ O SELIG HAUS is a popular German melody written in 1854 by Edward Niemeyer. Information concerning the composer has not been traced.

359. Thou gracious God, whose mercy lends _Oliver Wendell Holmes_,
1809-94

Written by Oliver Wendell Holmes in 1869 to be read or sung at the annual meeting of the 1829 college class of Harvard University, of which he was a member. The famous class included in its membership J. Freeman Clarke, founder of the Disciples, and Samuel F. Smith, author of “America.” The forty years of retrospect, mingled with sunshine and shadow, are touched here with tenderness and grace.

For comments on Oliver W. Holmes see Hymn 172.

_MUSIC._ ES KAM DIE GNADENVOLLE appears in the _Gesangbuch mit Noten_ to the words, “Früh Morgens da die Sonn’ Aufgeht.”

The composer, Johann Heinrich Egli, 1741-1810, was born in Seegräben, Switzerland. He was a pupil of Pastor Schmiedli at Wetzikon, and became a music teacher in Zurich, where he died. His compositions for voice, both sacred and secular, won great popularity in Switzerland.

360. There is beauty all around _John H. McNaughton_, 1863

A tender lyric in praise of the home where love dwells. Especially fine are the lines,

All the earth is filled with love
When there’s love at home,

for it recognizes the wide influence of the home, the primary social institution where the first lessons of the Christian life are learned. A nation’s peace and prosperity is rooted in the quality of life found in its homes.

The words and music are by John Hugh McNaughton, who was born 1829, in Caledonia, N. Y., of Scottish parentage. His lyrics have some literary qualities and Henry W. Longfellow once wrote to McNaughton: “Your poems have touched me very much.” He composed many popular songs, including “The Blue and the Gray,” and “Faded Coat of Blue,” which sold by the hundreds of thousands of copies. He is the author of a _Treatise on Music and Onnalinda_, a metrical romance.

361. Happy the home when God is there _Henry Ware_, Jr., 1794-1843

One of the strongest hymns on the Christian home. It first appeared in _Selections of Hymns and Poetry_, Boston, 1846, compiled by Mrs. Herbert Mayo, where it was entitled, “The Happy Home.”

For comments on the author, Henry Ware, Jr., see Hymn 13.

_MUSIC._ ST. AGNES. For comments on this tune see Hymn 155.

362. Bless the four corners of this house _Arthur Guiterman_,
1871-1943

A poem for use in the dedication of a Christian home, first printed in _House and Garden_ magazine about thirty years ago. Since then it has become widely known both here and abroad. Its first use as a hymn was in the _Methodist Hymnal_ of 1935, edited by Dr. Robert McCutchan.

The author, Arthur Guiterman, was a writer, poet, and speaker. He was born in Vienna, Austria, November 20, 1871, of American parents, his mother being a native of Ohio. Most of his education was received in New York City, his college course having been completed in the City College. Guiterman was a frequent contributor to _Harper’s Magazine_, _The Saturday Evening Post_, _The Youth’s Companion_, _Ladies Home Journal_, and other leading magazines. His poetry is written on a large variety of subjects. Joyce Kilmer characterized him as “the most American of poets.”

_MUSIC._ ICH SINGE DIR is a familiar melody in the _Gesangbuch mit Noten_ where it appears anonymously, set to the words, “_Ich singe Dir mit Herz und Mund_,” by Paul Gerhardt.

363. Lord of life and King of glory _Christian Burke_, 1859—

A mother’s prayer, written by Miss Burke in December, 1903, and published the following February in _The Treasury_, where it was headed, “Prize Hymn for Mothers’ Union Service.” It was included in _The English Hymnal_, 1906.

Miss Christian Burke was born in London. She contributed poems to various periodicals and in 1896 published a collection of her poetic writings, with the title, _The Flowering of the Almond Tree_.

_MUSIC._ The tune was found in _St. Basil’s Hymnal_, published by the Basilian Fathers, Chicago, 1918. It bears no name and the composer is not identified. The hymn is also sung to the tune “Silician Mariners” (45).

MOTHER’S DAY

364. Motherhood, sublime, eternal _J. S. Cutler_, 1856-1930

Suitable for Mother’s Day.

The hymn and tune are found in _Hymns of the Spirit_, published in Boston, 1937.

Julian Stearns Cutler, born at Thomaston, Maine, graduated from Tufts Theological School, Tufts College, Mass., in 1885, and served Universalist churches in Marblehead, Melrose, and Orange, Mass., 1896-1904; in Little Falls, N. Y., 1904-10; and in Pawtucket, R. I., 1910-26. He wrote a good deal of occasional verse published in newspapers, especially in the _Boston Transcript_, and his collected poems were privately printed under the title, _Songs of Cheer_, about a year after his death. His hymn, “Motherhood, sublime, eternal,” written about 1910, was adapted for use in Universalist hymn books and in slightly altered form in _Hymns of the Spirit_, 1937. It was taken from the latter for use in the _Hymnary_.

_MUSIC._ MOTHERHOOD. No information has been traced concerning the origin of this tune or its composer, Willis A. Moore, except that Moore was a member of the Universalists but left their fellowship some years ago. The Universalist Publishing House, Boston, from whom inquiry was made, has no further information at hand.

FAREWELL SERVICE

365. God be with you till we meet again _Jeremiah E. Rankin,_
1828-1904

Written for the purpose of a Christian good-by.

The author, Jeremiah E. Rankin, was pastor of the First Congregational Church in Washington, D. C., when he wrote this hymn. Later, in 1889, he became president of Howard University, a Negro institution in the same city. He was always a friend of the colored people and did what he could for their advancement.

He has given us the origin of the hymn as follows:

Written in 1882 as a Christian good-by, it was called forth by no
person or occasion, but was deliberately composed as a Christian hymn
on the basis of the etymology of “good-by,” which is “God be with
you.” The first stanza was written and sent to two composers—one of
unusual note, the other wholly unknown and not thoroughly educated in
music. I selected the composition of the latter, submitted it to J. W.
Bishoff (the musical director of a little book we were preparing), who
approved of it but made some criticisms which were adopted. It was
sung for the first time one evening in the First Congregational Church
in Washington, of which I was then the pastor and Mr. Bishoff the
organist. I attributed its popularity in no little part to the music
to which it was set. It was a wedding of words and music, at which it
was my function to preside; but Mr. Tomer should have his full share
of the family honor.

_MUSIC._ FAREWELL was composed by William G. Tomer, 1832-96, an American journalist who made music his avocation. In early life he taught school, later becoming the editor of the _Hunterdon Gazette_ at High Ridge, New Jersey. The hymn he helped make famous was sung at his funeral by a large assembly of friends and neighbors.

OUR FOREFATHERS

366. Uplift the song of praise _Frederick L. Hosmer,_ 1840-1929

A hymn of praise for God’s leading of our forefathers. The author traced his own descent from the Pilgrim Fathers, one of his ancestors, James Hosmer, having come to Concord in 1635. In writing the hymn, he had the Pilgrims in mind, but his words are fully as applicable to other immigrant groups such as the Mennonites who came at different times from Europe to settle here in “lands untrod.”

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC,_ LEONI (Yigdal). For comments on this tune see Hymn 14.

367. O God, beneath Thy guiding hand _Leonard Bacon_, 1802-81

Written for the 200th anniversary of the founding of New Haven, Conn., celebrated April 25, 1833, in Center Church where the author was pastor. Dr. Bacon delivered the main historical address on this occasion and used the theme of the sermon for the basis of this hymn.

Leonard Bacon, son of missionaries to the Indians at the then frontier trading post of Detroit, graduated from Yale and Andover Theological Seminary. He was minister of the Center Congregational Church, New Haven, for the forty-one years from 1825 to 1866 and professor and lecturer at Yale Divinity School from 1866 till his death in 1881. Always interested in sacred music, he rendered a great service to the church by the hymns he wrote as well as his compilations of hymns.

_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.

368. In pleasant lands have fall’n the lines _James Flint_, 1779-1855

A fine memorial hymn.

The author, James Flint, was born in Reading, Mass. After graduating from Harvard, he served as pastor of the Unitarian Church at East Bridgewater, Mass., 1806-1821, and at the East Church, Salem, Mass., from 1821 until his death in 1855. His hymns were published in his _Collection of Hymns for the Christian Church and Home_, 1840, the present being the single one which survives today.

_MUSIC._ WAREHAM. For comments on this tune see Hymn 208.

369. Eternal One, Thou living God _Samuel Longfellow_, 1819-92

A hymn of the Church Universal, the great company of faithful souls of every age and land. The God who led our fathers, still leads His people into new truth and sets before them new goals.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ WINCHESTER NEW. This tune is also used extensively with Milman’s hymn, “Ride on! Ride on in majesty” (101). It was set to the hymn, “_Wer nur den lieben Gott lässt walten_,” in the _Musikalisches Handbuch_, printed in Hamburg, 1690. The earlier history of the tune is obscure, and its composer is unknown. It appeared in various collections under the name “Frankfurt” and “Crasselius.” In a volume published in Glasgow, 1762, entitled, _The Psalm-Singer’s Delightful Pocket Companion_, it was used in long meter and named “Winchester.” It should not be confused with “Winchester Old” (191).

HOSPITAL SUNDAY

370. Thou to whom the sick and dying _Godfrey Thring_, 1823-1903

A hospital hymn written in 1870 under the text, “And they brought unto Him all sick people ... and He healed them” (Matt. 4:24).

It was first published in _Hymns for the Church Service_, 1871, by W. H. Hutton. Later it was revised for the author’s _Hymns and Sacred Lyrics_, 1874.

For comments on Godfrey Thring, see Hymn 89.

_MUSIC._ WALTHAM. The tune appears with its original name, “Gott des Himmels und der Erden,” at Hymn 573, which see for comments on the tune and the composer. The original form of the melody is in triple time. Bach thought enough of the tune to use it in his _Christmas Oratorio_.

TEMPERANCE SUNDAY

371. Now to heav’n our pray’r ascending _William E. Hickson_, 1803-70

A crusading hymn full of assurance that the cause of right, though delayed by its foes, will surely succeed in God’s own time.

For comments on the author, William E. Hickson, see Hymn 348.

_MUSIC._ GOD SPEED THE RIGHT is attributed to Ernst Moritz Arndt, 1769-1860, a German preacher, editor, professor of history, and writer of sacred and secular songs. Julian speaks of him as a “man of learning, a true patriot, a distinguished poet ... a man of deep religious feeling, and a true-hearted and earnest witness of the Evangelical Faith.” The _Dictionary_ notes a number of his hymns but makes no mention of musical compositions.

LABOR DAY

372. Jesus, Thou divine Companion _Henry van Dyke_, 1852-1933

A fine hymn on the dignity of labor, holding up the ideal of Christian service.

For comments on the author, Henry van Dyke, see Hymn 10.

_MUSIC._ HYFRYDOL. For comments on this Welsh tune see Hymn 69.

373. O Son of Man, Thou madest known _Milton S. Littlefield_,
1864-1934

A hymn on the sacredness of work, connecting Jesus with the labor of mankind. The emphasis on the social aspect of religion in terms of our common life is a dominant note in twentieth-century hymnody.

The author, Milton S. Littlefield, was born in New York City; educated at Johns Hopkins and Union Theological Seminary; and became an honored and prominent Presbyterian minister. Recognized as an authority in the field of hymnology, he edited two hymn books and was elected president of the American Hymn Society, 1927-28. Besides the present hymn, he wrote another beginning with the line, “Come, O Lord, like morning sunlight.” Both are serviceable hymns, and it is singular that neither found its way into the Presbyterian _Hymnal_, 1933.

_MUSIC._ BROOKFIELD. This tune first appeared in the _Congregational Church Hymnal_, London, 1887, edited by Dr. E. J. Hopkins (See 43). The book contained the best hymn tunes for congregational singing then available.

The composer, Thomas Bishop Southgate, 1814-68, received his musical education under Sir John Goss and Samuel S. Wesley. For many years he was organist at St. Anne’s Church, London.

374. Though lowly here our lot may be _William Gaskell_, 1805-84

A hymn on the dignity of all work which is done through faith and trust in Christ.

The author, William Gaskell, studied at Glasgow University and Manchester College, York, and became a Unitarian minister. His one and only charge was Cross Street Chapel, Manchester. He became Professor of English History and Literature in Manchester New College and was an influential leader in the community in the promotion of education and culture. His denomination bestowed upon him its highest honors. Mrs. Gaskell, a woman of brilliance and unusual literary gifts was encouraged by her husband to engage in literary work to distract her mind from the grief caused by the death of their little son. She turned out to be a popular writer, publishing works of fiction and the life of Charlotte Brontë. A memorial to her bears testimony to her genius, and to the “tenderness and fidelity” with which she adorned the minister’s home. Gaskell, a pioneer in social reform, wrote this hymn sometime before 1860.

_MUSIC._ ABRIDGE is also known as “ST. STEPHEN” (See 266 and 590).

For comments on the tune see Hymn 266.

HARVEST AND THANKSGIVING

375. We plow the fields, and scatter _Matthias Claudius_, 1740-1815

This is one of the finest harvest hymns.

In 1783 Claudius wrote a sketch called, “Paul Erdman’s Feast,” in which there is an interesting picture of a harvest thanksgiving celebration in the home of a North German farmer. The farm folk gather at the house of Erdman and as they do so they sing:

Wir pflügen und wir streuen
Den Samen auf das Land,
Doch Wachstum und Gedeihen
Steht nicht in unserer Hand.
Alle gute Gabe
Kommt oben her, von Gott
Vom schönen blauen Himmel herab.

Matthias Claudius, son of a Lutheran pastor in Germany, became distinguished in journalism and literature. He studied theology with a view of entering the ministry; but through the influence of the rationalistic teachings in Germany at the time, he lost interest in religion and decided to take up journalism. Later, stricken with a critical illness, he realized the spiritual emptiness of the life he had been living, and again turned to his childhood faith. In the lyrics he wrote, though not composed as church hymns, there may be observed a transition from the spiritual impoverishment of the rationalistic period to a new type of religious poetry giving expression to a turning once more to the rugged faith of evangelicalism.

The hymn was translated by Jane Campbell, 1817-78, a successful teacher of music to children. She published a _Handbook for Singers_ in which are found the musical exercises the author used in her work with London children. The original hymn is in 17 four-line verses.

_MUSIC._ WIR PFLÜGEN appeared in _Lieder für Volksschulen_, a collection of melodies for public schools, published, 1800, in Hannover. It was set to an arrangement of verses 3-10 of Claudius’ song, with the chorus sung by peasants, altered to suit the melody. The hymn has ever since been extraordinarily popular throughout Germany. “The tune, in spite of its wide compass, has become one of the best known and favored of all hymn tunes, and fully deserves its popularity.”

376. Thank the Lord _G. N. Fischer_, 1748-1800
_Tr. C. E. Krehbiel_, 1869-1948

Based on Jeremiah 33:11,

Give thanks to the Lord of hosts,
For the Lord is good,
For his kindness endures forever.
(Am. Trans.)

Dankt dem Herrn! mit frohen Gaben
Füllet er das ganze Land!
Alles, Alles, was wir haben,
Kommt aus seiner Vaterhand.

Dankt dem Herrn! er giebt uns Leben
Giebt uns Nahrung und Gedeihn.
O wer wollt ihn nicht erheben
Und sich seiner Güte freun!

Dankt dem Herrn! vergisz, O Seele,
Deines guten Vaters nie!
Werd ihm ähnlich und erzähle
Seine Wunder spät und früh.

The author, Gottlob Nath. Fischer, was born at Graba, near Saalfeld. At the time of his death he was head master of the cathedral school and counselor of the consistory at Halberstadt.

The translation was made by C. E. Krehbiel, Mennonite minister and editor who was born at Summerfield, Ill., the son of Rev. Christian and Susanna Ruth Krehbiel. After completing his education at the Presbyterian Theological Seminary, Bloomfield, N. J., 1898-99, and in Berlin University, Germany, 1899-1901, Krehbiel became a member of the business firm, The Herald Publishing Co., Newton, Kansas, serving in the editorial and business offices for a period of 20 years. He served as editor of _Der Christlicher Bundesbote_, 1930-46, and as president of the General Conference of Mennonites for the two trienniums, 1935-41. Krehbiel was also a member of the committee that compiled the _Hymnary_.

_MUSIC._ RINGE RECHT. For comments on this tune see Hymn 563.

377. Come, ye thankful people, come _Henry Alford_, 1810-71

A popular and widely used hymn at harvest festivals, especially in England. It was first published under the title “After Harvest,” in 1844. In 1867, it was revised by the author, the form here being this revised version.

For comments on Henry Alford see Hymn 152.

_MUSIC._ ST. GEORGE’S WINDSOR has long been associated with these words, to which it is well suited in every way. Originally, however, the tune was set to the hymn “Hark! the song of jubilee.”

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

378. To Thee, O Lord, our hearts we raise _William Chatterdon Dix_,
1837-98

A popular thanksgiving hymn, written in the author’s most facile and musical style. The hymn was published in St. Raphael’s _Hymns for the Service of the Church_, Bristol, 1864.

For comments on the author, William Chatterdon Dix, see Hymn 78.

_MUSIC._ ST. GALL is from _Katolisches Gesangbuch zum Gebrauch bei dem öffentlichen Gottesdienste_, 1863, the revised edition of the old hymn book used in the Benedictine Monastery founded in 614 A.D. by the Irish monk, St. Gall. It is a fine tune with a good swinging rhythm when sung at a fairly lively tempo.

NEW YEAR

379. Ring out, wild bells _Alfred Tennyson_, 1809-92

From Sec. 106 of the poem “In Memoriam” (See 149).

After tracing his grief through successive Christmas celebrations, the poet bursts into this song of confident faith in God at the opening of the new year. The poet turns from the past and rises above his private grief to sing of the future and its hopes for mankind.

For comments on Alfred Tennyson see Hymn 149.

_MUSIC._ WILD BELLS was written for this poem by Henry Lahee, 1826-1912, organist at the Holy Trinity Church, Brompton, England, for about 30 years. Lahee, a versatile composer, won many prizes for his glees, madrigals, and part songs.

The tune is very effective but too difficult for ordinary congregational singing. It was included in the _Hymnary_ for use by singing groups preparing for special celebrations of New Year.

380. Another year is dawning _Frances Ridley Havergal_, 1836-79

A prayer for the New Year, hailing its advent as another opportunity for progress, service, and training in close fellowship with God.

The poem was written in five stanzas of four lines each as the text of a New Year’s card and distributed by Miss Havergal among friends under the title, “A Happy New Year! Ever Such May It Be!”

The omitted fifth stanza reads:

Another year is dawning
Dear Father, let it be
On earth, or else in heaven
Another year for Thee.

For comments on Frances R. Havergal see Hymn 126.

_MUSIC._ CRUCIFIX, of anonymous composition, was taken from the _Hymns of the Spirit_, Boston: Beacon Press, 1938, where it is used as a second tune to Miss Havergal’s hymn.

381. Another year of setting suns _John W. Chadwick_, 1840-1904

This poem came from the Unitarian stream of hymnody which was so strong during the middle of the nineteenth century. Chadwick, born at Marblehead, Mass., graduated from Harvard in 1864 and the following 40 years served as minister of the Second Unitarian Church in Brooklyn. He wrote biographies of Channing and Parker and is the author of considerable poetry. It has been noted that many of his hymns possess the simplicity and spirit of the writings of Whittier, the Quaker poet, and might easily pass for his.

_MUSIC._ HOLY CROSS. The source of this tune is not clear. It is ascribed in various hymnals to Thomas Hastings, to Mendelssohn, to John Stainer, and to Mozart. James Love, who was well informed on English hymn tunes, says that it was adapted from an anonymous organ “Andante” which was said to be based on a theme by Mozart. The tune, in 3-4 time, appears in the _Methodist Hymnal_, 1935, the arrangement credited to James C. Wade, an organist and conductor of choral groups, born in Staffordshire, England, 1847.

382. The year is gone beyond recall _Latin_
_Tr. F. Pott_, 1832-1909

From a Latin hymn, _Lapsus est annus_, found in a Breviary of Meaux, 1713 and 1734. It was used for compline after the first vespers of the Festival of the Circumcision, which is the last office sung on December 31. The original reads as follows:

Lapsus est annus: redit annus alter:
Vita sic mutis fugit acta pennis:
Tu, Deus, cursum moderaris, unus
Arbiter, aevi.

Gens tuis plaudit cumulata donis:
Te simul votis Dominum precatur,
Servet intactum fidei verendae
Patriae munus.

Supplices poscunt alimenta cives:
Finibus morbos patriis repellas:
Larga securae referas, benignus
Commoda pacis.

Postulant culpas venia relaxes:
Limites arctos vitiis reponas;
Past graves pugnas tua dat salubrem
Dextera palmam.

Noxiae vitae maculas perosi
Cor, Deus, nostrum tibi devovemus:
Da bonos annos, facilemque Patris
Indue vultum.

Dum dies currunt, redeunt et anni,
Et gradu certo sibi saecla cedunt,
Debitas laudes Triadi supremae
Concinat orbis.

Text from Daniel, H. A., _Thesaurus hymnologicus_, 5 vols.; Lipsiae: 1855-1856, IV, 319.

The translation was made by Francis Pott, M. A., Curate of Ticehurst, Sussex, and one of the editors of _Hymns Ancient and Modern_, London, 1861. The original form of Pott’s translation appeared first in a hymnal compiled by him, _Hymns Fitted to the Order of Common Prayer, etc._, London, 1864. It reads as follows:

The year is gone beyond recall;
’Tis gone—with all its hopes and fears,
With all its joys for those new born,
With all its troubled mourners’ tears.

We thank Thee, Lord, for countless gifts,
For dangers we have passed unscathed;
We thank Thee for Thy Church preserved;
Oh! seal to us her ancient Faith.

Again we ask Thy goodness, Lord;
The coming year in mercy bless;
Guard Thou our land from pestilence;
And give us grace and plenteousness.

Forgive this nation’s many sins;
Destroy the strength that sin has gained;
And give us grace with sin to strive;
And give us crowns through strife attained.

We hate the sins that stain the past;
We would henceforth from them be free;
O grant us peaceful years, good Lord;
And we will spend them all to Thee.

We would that our good Father’s eye
Should look on us—but not in wrath;
And we, Thy children, year by year,
A purer song of praise pour forth. Amen.

When the hymn was selected for _Hymns Ancient and Modern_, the translation was altered into its present form. The last stanza is omitted in the _Hymnary_. The English and Latin are published in _Hymns, Ancient and Modern_, Historical Edition, London, Clowes, 1909.

_MUSIC._ TALLIS, also called “Tallis’ Ordinal,” is from _The Whole Psalter translated into English Metre, which contayneth an hundreth and fifty Psalmes_, a work by Matthew Parker, Archbishop of Canterbury, printed about 1561. At the end of the book are nine tunes in four parts by Thomas Tallis. This is the last of the nine and is set to the version of _Veni Creator Spiritus_, which appears in the _English Prayer Book Ordinal_. The tune was evidently derived by Tallis from a 15th-century English carol tune, “This endris Nyght”—for it is an adaptation to common time of the first two lines of this carol melody.

For comments on Thomas Tallis, see Hymn 33.

383. Great God, we sing that mighty hand _Philip Doddridge_, 1702-51

A New Year’s hymn from the posthumous edition of Doddridge’s _Hymns founded on various texts in the Holy Scriptures_, 1745, where it is headed, “Help obtained from God. Acts 26:22. For the New Year.”

It is based on Acts 26:22: “Having therefore obtained help of God, I continue unto this day, witnessing both to small and great, saying none other things than those which the prophets and Moses did say should come.”

Most of Doddridge’s hymns were composed for use in his own congregation in connection with his sermons. None of them were published during his life time.

For further comments on Doddridge see Hymn 56.

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

WINTER

384. ’Tis winter now _Samuel Longfellow_, 1819-92

A “delicately etched winter hymn” which appeared in _Hymns of the Spirit_, 1864, by Samuel Longfellow and Samuel Johnson.

For comments on the author, Samuel Longfellow, see Hymn 28.

_MUSIC._ MELROSE. For comments on the composer, Frederick C. Maker, see Hymn 112. This combination of hymn and tune was made by the editors of the _Hymnary_.

SPRING

385. The glory of the spring, how sweet _Thomas Hornblower Gill_,
1819-1906

Based on Psalm 104:30: “... thou renewest the face of the earth,” and Ephesians 4:23: “... be renewed in the spirit of your mind.”

It is an exquisite lyric, expressing not only the glory of the springtime with its newborn life, but depicting also, with rare beauty and power, the renewal of life which God works in the soul—a new birth of faith and love, prayer and song. The author himself wrote that, as a result of the study of the New Testament, “truth upon truth brake upon my gaze and God put a new song into my mouth.”

Thomas Hornblower Gill, born in Birmingham, England, was brought up a Unitarian, but, unsatisfied with the Unitarian view of the person of Christ, he withdrew from that church and joined the Evangelical party in the Church of England. One of the major influences leading him to this decision was his study of the hymns of Isaac Watts. He saw “the contrast between their native force and fulness and their shrunken and dwindled presentation in the mutilated version in Unitarian hymnbooks.” Gill published a number of books of poems which R. W. Dale, in compiling a hymnbook for his congregation at Carr’s Lane, Birmingham, found “a very mine of wealth.”

_MUSIC._ KING’S LANGLEY, “a delightfully gay tune,” is an arrangement of a traditional English May-day carol. It appeared in the _English Hymnal_ of 1906. The arrangement is by Miss L. E. Broadwood, an English lady of considerable musical talent.

SUMMER

386. Summer suns are glowing _William W. How_, 1823-97

One of the most welcome of the hymns of the changing year. It was written for _Church Hymns_, 1871.

The author wrote a hymn for each of the four seasons, another appearing at No. 387.

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

_MUSIC._ RUTH, composed by Samuel Smith, privately printed in 1865, was set to the present hymn in 1874 by Arthur Sullivan when he was editing the music for _Church Hymns_.

Samuel Smith, 1821-1917 (not to be confused with the author of “My country, ’tis of thee”), was an English organist, serving Trinity Church, Windsor, for 34 years. He succeeded Sir George Elvey as conductor of the Windsor and Eton Choral Society.

AUTUMN

387. The year is swiftly waning _William W. How_, 1823-97

A hymn for the autumn season. Like No. 386, it was written for the author’s _Church Hymns_, 1871.

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

_MUSIC._ WAS KANN ES SCHÖN’RES GEBEN is from the _Gesangbuch mit Noten_ where it appears anonymously, set to a hymn by Philipp Spitta, “Was kann es schön’res geben.”

SCHOOLS AND COLLEGES

388. Father of men, in whom are one _Henry Cary Shuttleworth_,
1850-1900

A deeply sympathetic Christian hymn, written for the Friendly Societies of the Church of England, but may appropriately be used for many occasions of a more general character. It is especially useful in the life of a college campus.

The author, Henry Cary Shuttleworth, was educated at Oxford for the Anglican ministry. He was a minor canon in St. Paul’s Cathedral, 1876-84, and rector of St. Nicholas Cole Abbey, London, from 1883. Concerned for the poor and down-trodden of London, Shuttleworth became a prominent member of the Christian Social movement. For a time he was Professor of Pastoral and Liturgical Theology in King’s College, London. An able musician, he wrote many carols and hymns and published a book, _The Place of Music in Public Worship_. The present hymn appeared in the St. Nicholas Cole Abbey _Hymnal Appendix_, 1897, and in the _Church Monthly_, 1898, with music by the author.

_MUSIC._ ST. LO is a unique melody, constructed on three phrases of three measures each. It is a simple, diatonic tune, moving within the pitch range of a sixth, with the third phrase a repetition of the first. It should be sung in a quiet manner, and is well adapted for unison singing. The tune, an old Breton melody, appeared in _School Worship_, London, 1926, from whence it was introduced into the _Presbyterian Hymnal_ of 1935 and from thence to the _Hymnary_.

389. O grant us light that we may know _Lawrence Tuttiett_, 1825-97

A prayer for the light from God to illuminate the mind in its search for truth.

The author wrote many of his hymns on returning from visiting the sick and bereaved, expressing in them thoughts of consolation for families in sorrow and trouble. That this hymn may have had a similar origin is indicated by the omitted Stanzas 4 and 5, which are as follows:

O grant us light, in grief and pain,
To lift our burdened hearts above,
And count the very cross a gain,
And bless our Father’s hidden love.

O grant us light, when, soon or late,
All earthly scenes shall pass away,
In Thee to find the open gate
To deathless home and endless day.

Lawrence Tuttiett, son of a surgeon in the English Royal Navy, at first intended to follow his father into the medical profession, but, after studying at Christ’s Hospital and King’s College, London, he decided to become a minister. He was ordained in 1848 and devoted his life to the Episcopal Church, ministering in various parishes in England and Scotland. His publications include _Hymns for Churchmen_, 1854; _Hymns for Children of the Church_, 1862; and _Gems of Thought on the Sunday Services_, 1864. The present hymn appeared in the last-named publication.

_Music._ CANONBURY. For comments on this tune see Hymn 296.

390. Almighty Lord, with one accord _Melancthon Woolsey Stryker_,
1851-1929

“A College Hymn” was the title given this poem, first printed in _The New York Evangelist_, February 27, 1896. It was included in _The College Hymnal_, New York, the same year and in the _Methodist Hymnal_ of 1905.

The author, Melancthon Woolsey Stryker, a prominent Presbyterian minister, was educated at Hamilton College, New York, and Auburn Theological Seminary. After serving churches in Auburn and Ithaca, New York; Holyoke, Mass.; and Chicago, Ill., he became president of his Alma Mater, Hamilton College. A student of hymnology, he compiled several hymnals and books of sacred songs.

The hymn is appropriately used for commencement programs at Christian colleges. On such occasions it is often sung to the familiar tune “Azmon” (397).