Chapter XIX: Book III: Gospel Songs (1)

437. We praise Thee, O God _Wm. Paton Mackay_, 1839-85

A popular song in the Moody and Sankey revivals. It has few equals as a “rouser” in a revival or prayer meeting. To create interest and add variety in a special song service, Rodeheaver suggests that the leader try having the choir sing the chorus all the way through, the congregation joining only in the “Hallelujah,” and the last phrase, “Revive us again.”

The author, Wm. Paton Mackay, received his education in the University of Edinburgh. For some time he was interested in medicine but gave that up to become the minister of the Prospect Street Presbyterian Church, Hull, England. He came to an untimely death through an accident. Seventeen of his hymns appeared in W. Reid’s _Praise Book_, 1872. Among these was the present hymn, the author’s most widely known work.

_MUSIC._ REVIVE US AGAIN is well suited to the text, though it is also used with Horatio Bonar’s hymn:

Rejoice and be glad! for our King is on high;
He pleadeth for us on his throne in the sky.

Rejoice and be glad! for He cometh again;
He cometh in glory, the Lamb that was slain.

Refrain: Sound His praises! tell the story of Him who was slain!
Sound His praises! tell with gladness, “He liveth again.”

The composer, John Jenkins Husband, 1760-1825, born in Plymouth, England, was clerk at Surrey Chapel. In 1809, he came to the United States and settled in Philadelphia, where he taught music and served as clerk of St. Paul’s Protestant Episcopal Church. Husband is the composer, also, of several anthems.

438. Praise Him! Praise Him! _Fanny J. Crosby_, 1820-1915

One of the many fine lyrics by the blind poet, Fanny Crosby, first published in Bigelow and Main’s _Bright Jewels_, 1869. A useful and popular praise song.

For comments on Fanny Crosby, see Hymn 313.

_MUSIC._ ALLEN, a favorite tune wherever gospel songs are in use, was composed by Chester Allen, 1812-77, who belongs to an American group of popular hymn-tune writers composed of Lowry, Bliss, Webb, H. P. Main, and others. No biographical information concerning him is at hand.

439. Come, let us all unite to sing _Anonymous_

A hymn built around the theme “God is love,” I John 4:8, 16.

The author is unknown.

_MUSIC._ GOD IS LOVE. This tune was composed by Rev. Edmund S. Lorenz, a prolific writer of gospel hymn-tunes, and founder and president of the Lorenz Publishing Company, Dayton, Ohio. Lorenz was born in Stark County, Ohio, July 13, 1854, and received his education at Otterbein University, Union Theological Seminary, Yale Divinity School, and the University of Leipzig. He was a pastor in the United Brethren Church for a time and then became president of Lebanon Valley College, a post he was compelled to resign on account of illness. Regaining his health, he went into the publishing business. He prepared _The Church Hymnal_ for the United Brethren in Christ in 1935. His publications include _Practical Church Music_, _The Singing Church_, 1937, and other volumes on sacred music.

440. There is no name so sweet on earth _George W. Bethune_, 1805-62

A hymn honoring the name of Jesus. John Wesley always objected to words like “dear” and “sweet” applied to Jesus, as being too sentimental, and the terms are never so used in the New Testament. But the gospel song writers have employed them frequently and many good Christians have no hesitancy in singing them.

George W. Bethune was the son of a prominent merchant, philanthropist, and churchman in New York City. On the day of his birth he was dedicated to God by his godly parents, their prayer being that the child may “be made a faithful, honored and zealous minister of the everlasting gospel.” The son was given many educational advantages and made good use of them. He was admitted to college at 14 and graduated from Princeton Theological Seminary when only 20 years of age. After serving for a year as chaplain to the seamen in the port of Savannah, he returned north to accept the pastorate of a Dutch Reformed Church and later served churches in Philadelphia, Brooklyn, and elsewhere. A man of fine literary taste and good scholarship, he was offered, but declined, the Provostship of the University of Pennsylvania and the Chancellorship of New York University. He preferred to be a preacher of the Gospel. To his son and sons-in-law, he gave this dying charge: “My sons, preach the Gospel. Tell dying sinners of a Saviour. All the rest is but folly.” He went to Florence, Italy, for his health and died there on a Sunday night after having preached in the Scottish Church in the morning on the text, “Be of good cheer: thy sins be forgiven thee.” The following poem, found in his portfolio, was written on the Saturday before his death:

When time seems short and death is near,
And I am pressed by doubt and fear,
And sins, an overflowing tide,
Assail my peace on every side,
This thought my refuge still shall be,
I know the Saviour died for me.

His name is Jesus, and he died,
For guilty sinners crucified;
Content to die that he might win
Their ransom from the death of sin:
No sinner worse than I can be,
Therefore I know he died for me.

If grace were bought, I could not buy;
If grace were coined, no wealth have I;
By grace alone I draw my breath,
Held up from everlasting death;
Yet, since I know his grace is free,
I know the Saviour died for me.

I read God’s holy Word, and find
Great truths which far transcend my mind;
And little do I know beside
Of thoughts so high, so deep, so wide:
This is my best theology,
I know the Saviour died for me.

My faith is weak, but ’tis Thy gift;
Thou canst my helpless soul uplift,
And say, “Thy bonds of death are riven,
Thy sins by Me are all forgiven;
And thou shalt live from guilt set free,
For I, thy Saviour, died for thee.”

His body was brought to New York for burial. Among the directions he had left for his funeral was this: “Sing my own hymn, ‘It is not death to die,’ to a cheerful tune.” The request was carried out. The hymn referred to is a translation he had made of a poem by the distinguished Swiss preacher, César Malan.

_MUSIC._ SWEETEST NAME. The name of the tune is obviously derived from the words for which it was composed. For comments on the composer, Wm. B. Bradbury, see Hymn 103.

441. Take my heart, O Father, take it _Anonymous_

A simple hymn of consecration and devotion whose author evidently preferred to remain anonymous.

_MUSIC._ DORRNANCE. The tune is simplicity itself. Concerning his tunes, Woodbury wrote in the preface to his _New Lute of Zion_, 1856:

The music is not designed for the fastidious and scientific musician
whose highest delight, and perhaps sole worship, is music as an art,
but for those who love to worship God in the simple song of praise.

For comments on the composer, Isaac B. Woodbury, 1819-58, see Hymn 261.

442. ’Tis the promise of God, full salvation to give _Philip P.
Bliss_, 1838-76

A hymn with a curious origin which became popular in revival meetings. It voices the spontaneous thanksgivings that break out at the announcement of a conversion. Bliss wanted to include “Hallelujah! Thine the glory” (No. 437) in his _Gospel Songs_, 1874. The owner of the copyright refused permission whereupon Bliss wrote “Hallelujah! ’tis done”—both words and music—as a substitute.

Philip P. Bliss, a Congregationalist, born in Rome, Pa., was reared in the country. He had only the meagerest early advantages for the development of his musical talents but he made the most of them and became one of the greatest leaders and writers of evangelistic songs. Combining the gift of poet and musician, he succeeded in putting gospel truths in poetic and singable form, usually writing both words and music. In his early career he conducted musical conventions throughout the Middle West, served as director of music for the First Congregational Church in Chicago, and was connected with the music publishing house of Root and Cady in Chicago. Through the influence of D. L. Moody, he gave up his business and professional pursuits and entered the evangelistic field. He assisted Sankey in the editing of the series called _Gospel Hymns_, in which some of his own celebrated hymns and songs first appeared. His rare gifts as a singer and leader, combined with an impressive personality, made him one of the outstanding leaders in the evangelistic movement. His life came to an early and tragic end December 29, 1876, in a railroad disaster near Ashtabula, Ohio, while he and Mrs. Bliss were returning to Chicago from Rome, Pa., where the two had spent Christmas. A railroad bridge gave way, resulting in a wreck which took the lives of one hundred passengers. Bliss had escaped unhurt, but going back to rescue his wife, he was evidently overcome by the flames which had spread and was not seen again. His premature death at the age of 38 was widely lamented.

443. Come, we that love the Lord _Isaac Watts_, 1674-1748

This hymn, entitled by Watts, “Heavenly Joy on Earth,” appeared in his _Hymns and Sacred Songs_, 1707.

For comments on Isaac Watts, see Hymn 11.

_MUSIC._ The tune is by Robert Lowry, 1826-99, a Baptist minister who held a pastorate in Brooklyn, N. Y., and did much to promote the gospel song movement. He edited a series of eight books for Bigelow and Main, with such titles as _Bright Jewels_ and _Pure Gold_, to which he added a large number of tunes of his own composition. The public bought these books by the hundreds of thousands. Lowry had no serious training in music and did not take up composition until middle life. He was concerned mostly with the production of music which was popularly effective.

Watts’ hymn appears in many hymn books with the more dignified tune, “St. Thomas,” by Williams (No. 269).

444. I lay my sins on Jesus _Horatius Bonar_, 1808-89

The hymn, entitled “The Fulness of Jesus,” was written for children in a desire to provide something which children could sing and appreciate in divine worship. It is generally supposed to be the first hymn Bonar wrote. He used to say of this hymn that it might be good gospel but that it was not good poetry. Bonar loved children and for them his first hymns were written.

For further comments on Horatius Bonar see Hymn 129.

_MUSIC._ PRYSGOL, composed by W. Owen, 1814-93, was taken from the _Hymnary_ of the United Church of Canada. No information regarding the composer or the origin of the hymn has been traced.

445. I’ve found a Friend, O such a Friend _James G. Small_, 1817-88

This hymn was written by a minister of the Free Church of Scotland and appeared in _The Revival Hymn Book_, 2d series, 1863, and later in the author’s _Psalms and Sacred Songs_, 1866.

James Grindlay Small was educated at Edinburgh University where Dr. Thomas Chalmers was one of his professors. He became minister of a church in 1847, but owing to peculiarities of voice and manner, he never succeeded well as a preacher. However, he was a man of fine Christian character and had the confidence of his brethren. Small was interested in hymnology and is the author of a number of hymns and poems.

_MUSIC._ FRIEND. The tune was written by Stebbins while he and Dr. Pentecost were conducting an evangelistic campaign in Providence, R. I. It was first published in _Gospel Hymns No. 3_, one of a series of popular books with which the composer’s name was associated as co-editor.

For comments on George Stebbins see Hymn 38.

446. I have found a Friend in Jesus _C. W. Fry_

A song of the friendship of Jesus and its meaning to one who experiences it. The words are based on Song of Songs 2:1-2:

“I am the rose of Sharon, and the lily of the valleys. As the lily
among the thorns, so is my love among the daughters.” Also on
Revelation 22:16: “I am the root and offspring of David, and the
bright and morning star.”

The author, C. W. Fry, was prominent in Salvation Army circles in London.

_MUSIC._ LILY OF THE VALLEY is an English melody of anonymous composition.

447. One is kind above all others _Marianne Nunn_, 1778-1847

A hymn on the love of Jesus, which has been used extensively as a song for children, especially in England. It was originally written to adapt John Newton’s hymn:

“One there is above all others,
Well deserves the name of friend,”

to the Welsh air, “Ar hyd y nos” (No. 35), and the hymn may well be sung to this tune.

Marianne Nunn was an English woman of refinement and culture. She is the author of _The Benevolent Merchant_, and of several hymns. The latter were published in _Psalms and Hymns_, 1817, a collection compiled by her brother, Rev. John Nunn, who also contributed some of his own hymns to the same volume.

_MUSIC._ CARITAS. No information has been traced concerning Richard W. Beaty, 1799-1883, composer of the tune. The editors of the _Hymnary_ found the tune and words in the _Hymnary_ of the United Church of Canada.

448. Brightly beams our Father’s mercy _Philip P. Bliss_, 1838-76

A song which is best understood by people living on the sea-coast or lakeshore, or whose lives are spent in work which keeps them upon the water.

The words were suggested by an illustration given by D. L. Moody in one of his sermons:

On a dark, stormy night, when the waves rolled like mountains and not
a star was to be seen, a boat, rocking and plunging, neared the
Cleveland harbor. “Are you sure this is Cleveland?” asked the captain,
seeing only one light from the lighthouse. “Quite sure, sir,” replied
the pilot. “Where are the lower lights?” “Gone out, sir.” “Can you
make the harbor?” “We must, or perish, sir!” With a strong hand and a
brave heart the old pilot turned the wheel. But, alas, in the darkness
he missed the channel, and with a crash upon the rocks the boat was
shivered, and many a life lost in a watery grave. Brethren, the Master
will take care of the great lighthouse; let us keep the lower lights
burning.

_MUSIC._ LOWER LIGHTS. There is awakening power in the tune and congregations love to sing it. It is especially effective when sung by a large number of voices. The chorus lends itself to interesting antiphonal effects in a special song service. Let the whole congregation sing the first phrase, a smaller group the second; the whole congregation again the third phrase, and the smaller group the last.

For comments on the author and composer, Philip P. Bliss, see Hymn 442.

449. Lead me gently home, Father _Will L. Thompson_, 1847-1909

Written by the author of “Softly and tenderly, Jesus is calling.”

For comments on Will L. Thompson, who wrote both words and music, see Hymn 456.

450. I know whom I have believed _Daniel W. Whittle_, 1840-1901

The hymn is built around the verse: “I know whom I have believed, and am persuaded that he is able to keep that which I have committed to him against that day” (II Tim. 1:12), which serves as a refrain. The general structure of the hymn is similar to Farrington’s “I know not how that Bethlehem’s Babe” (No. 99).

Daniel W. Whittle was born in Chicopee Falls, Mass. At the age of 15, he went to Chicago to work in a bank, but at the outbreak of the Civil War he became attached to the Illinois Infantry and served for the duration, going with Sherman, as a lieutenant, on his “March to the Sea.” At the close of the war he was promoted to the rank of major. He was the treasurer of a business firm, when, in 1873, he heeded the call of God to enter the evangelistic field where he became associated with D. L. Moody. He was a powerful speaker and lecturer; and frequently, with the assistance of singers like P. P. Bliss, James McGranahan, and George Stebbins, continued evangelistic campaigns begun by Moody, under the latter’s direction. Whittle was a great friend of children and knew how to put evangelical truth in words they understood, supplementing his talks with wall maps, illustrations, and chemical experiments. His daughter, Mary, became the wife of Will L. Moody, son of the evangelist. He was a member of the Congregational Church. His hymns, written after 1877, mostly for McGranahan, reveal true poetic talent, though he made no claim to be a poet. Among his best known hymns are: “I know whom I have believed,” “Dying with Jesus,” “Moment by moment,” “Fierce and wild.” The latter was translated into German by Ernst Gebhardt, translator of “_Ich weiss einen Strom_.”

_MUSIC._ The tune is by James W. McGranahan, 1840-1907, who succeeded the lamented P. P. Bliss as song leader in the evangelistic campaigns conducted by Major Whittle. Between 1881 and 1885, Whittle and McGranahan made two successful tours of England, Scotland, and Ireland, and the chief cities of America. McGranahan, born at Adamsville, Pa., received only an elementary-school education. His native musical talent and some assistance from men like Bassini, Webb, Root, and Zerrahn enabled him to make rapid progress in music; and he soon taught music classes of his own. He was gifted with a beautiful tenor voice and an impressive personality to add to his power as a song leader.

451. O Christ, in Thee my soul hath found _Anonymous_

The authorship of this hymn remains unknown. That “gospel songs” are often appreciated by highly educated and cultured people is illustrated by the fact that this hymn was a favorite of Professor Henry Drummond, who used it frequently at meetings for university students in Edinburgh, 1885-89.

_Music._ NONE BUT CHRIST was composed for this hymn and published in McGranahan’s _Sacred Songs and Solos_, 1883.

For comments on James McGranahan see Hymn 450.

452. Low in the grave He lay _Robert Lowry_, 1826-99

The words and music of this Easter song are by Rev. Robert Lowry, written while he was pastor of a Baptist church in Brooklyn, N. Y.

Lowry was a faithful and successful minister of the Gospel, but is more widely known as a composer of sacred music. “I felt a sort of meanness when I began to be known as a composer,” he said. His first love was preaching. Music was to him a “side issue,” and the making and delivery of a sermon ranked far above the writing of a hymn. He is the author of the popular song, “Where is my wandering boy tonight,” and wrote the tune to “I need Thee every hour,” and edited many successful Sunday school and evangelistic hymn books.

For further comments on Lowry see Hymn 187.

453. I know that my Redeemer liveth _Jessie H. Brown_, 1861-1921

A popular Easter song based on Job 19:25: “I know that my redeemer liveth, and that he shall stand at the latter day upon the earth.”

Jessie H. Brown was born in Hiram, a college suburb of Cleveland, Ohio. Due to ill health in childhood, she gained most of her education at home. At 15 years of age, she began to write for Cleveland newspapers and religious weeklies and for many years wrote hymns for Fillmore Bros. In 1896 she married Rev. John E. Pounds, at that time pastor of the Central Christian Church in Indianapolis, and later college pastor at Hiram. Her early poems bear her maiden name, while the later ones (No. 498, for example) are signed “Jessie B. Pounds.” She is the author of 9 books, 50 librettos for cantatas and operettas, and nearly 400 hymns. Her best known song poems are “Anywhere with Jesus, I can safely go,” “The way of the Cross leads home,” “Beautiful Isle of Somewhere,” and the present, “I know that my Redeemer liveth.” The latter appeared first in an Easter cantata entitled, _Hope’s Messenger_.

_MUSIC._ FILLMORE was composed by James H. Fillmore who was born June 1, 1849, in Cincinnati, Ohio, into a musical family. After his father’s death, James headed the Fillmore music publishing business in Cincinnati for many years. His compositions include numerous popular titles: “I am resolved,” “I know that my Redeemer liveth,” “Only waiting,” and many more.

454. O the unsearchable riches of Christ _Fanny J. Crosby_, 1820-1915

The well-known fact that Fanny Crosby was blind all her life adds pathos to the power of her songs. The hymn reveals the spiritual riches in her life notwithstanding the cross of affliction laid on her through the loss of her eyesight. Frances Ridley Havergal (See Hymn 126), the gifted English poet and hymn writer, paid her tribute to Fanny Crosby in the following lines:

How can she sing in the dark like this?
What is her fountain of light and bliss?
With never the light of a loving face
Must not the world be a desolate place?

O, her heart can see, her heart can see!
And its sight is strong and swift and free.
Never the ken of mortal eye
Could pierce so deep and far and high
As the eagle vision of hearts that dwell
In that lofty, sunlit citadel.

For the King himself, in his tender grace,
Hath shown her the brightness of his face;
She can read his law as a shining chart,
For his finger hath written it on her heart;
And she reads his love, for on all her way
His hand is writing it every day.
O, this is why she sings so free:
Her heart can see, her heart can see!

_MUSIC._ For comments on the composer, John R. Sweney, 1837-99, see Hymn 342.

455. It may be at morn, when the day is awaking _H. L. Turner_

A song of the imminent return of our Lord, based on I Thess. 5:2: “The day of the Lord so cometh as a thief in the night,”—and the lengthier passage in I Thess. 4:15-18.

Information concerning the author, H. L. Turner, has not been traced.

_MUSIC._ CHRIST RETURNETH. For comments on the composer, James McGranahan, see Hymn 450.

456. Softly and tenderly Jesus is calling _Will L. Thompson_,
1847-1909

A song which has wide use as an invitational hymn at revival meetings.

Will Lamartine Thompson was born at East Liverpool, Ohio, and made his home there all his life. He attended Mt. Union College, Alliance, Ohio, and studied music at the Boston Conservatory of Music. His greatest interest was in sacred song, but he also wrote secular songs, among them the popular, “Come where the lilies bloom.” A successful businessman and song writer, Thompson was known also as a man of beautiful and sterling Christian character. “Simplicity, sincerity, humility, and righteousness marked his life.” He once called to inquire of D. L. Moody at a time when the latter lay very ill and visitors were forbidden. Moody insisted that Thompson be admitted and said to him in the course of their brief conversation: “I would rather have written ‘Softly and tenderly Jesus is calling’ than anything I have been able to do in my whole life.”

457. Come, every soul by sin oppressed _John H. Stockton_, 1813-77

An invitation hymn that has been a help and blessing to many. The original refrain:

“Come to Jesus, come to Jesus,
Come to Jesus now.”

was changed by Ira Sankey to

“Only trust Him, only trust Him.”

In leading this song, Sankey sometimes changed the chorus to

“I will trust Him,” or “I do trust Him.”

John H. Stockton, composer of words and music, was born at New Hope, Pa., and reared in a Presbyterian family. At the age of 19 he was converted in a Methodist camp meeting and became a Methodist preacher. After many years of pastoral and evangelistic work, as a member of the New Jersey Annual Conference, he retired in 1874. He had considerable musical ability and published two gospel song books, _Salvation Melodies_, 1874, and _Precious Songs_, 1875. He rendered valuable assistance in the Moody and Sankey meeting held in Philadelphia, after which Sankey wrote him:

I thank my Heavenly Father for enabling you to write so much sweet
music, as well as words; and I hope you may long be spared to bless
the world with your “precious songs.” I wish you to accept our regards
for one whose songs have been blessed to tens of thousands in the
lands beyond the seas.

Stockton died suddenly while talking to friends just after having attended the morning service at Arch Street Church, Philadelphia, on March 25, 1877.

458. Just as I am, without one plea _Charlotte Elliott_, 1789-1871

An immortal hymn expressing the feelings and needs of all penitent believers. It has been a source of comfort and help to multitudes of people.

“You must come to Christ just as you are.” These words, spoken to Miss Elliott by Dr. César Malan of Geneva, at a time when she was suffering and spiritually depressed, resulted in a new birth and formed the basis of her hymn, written twelve years later, in 1834, and now known all over the world. The hymn was first published in the author’s _Invalids’ Hymn Book_, 1836, headed with the text, John 6:37: “All that the Father giveth me shall come to me; and him that cometh to me I shall in no wise cast out.”

The words were written one day when other members of her family were busy arranging for a bazaar to be held for a school banquet. The immediate circumstances are related by Dr. Handley C. G. Moule, Bishop of Durham, as follows:

The night before the bazaar she was kept wakeful by distressing
thoughts of her apparent uselessness; and these thoughts passed into a
spiritual conflict till she questioned the reality of her whole
spiritual life and wondered whether it were anything better, after
all, than an illusion of the emotions—an illusion ready to be
sorrowfully dispelled. The next day, the busy day of the bazaar, the
troubles of the night came back upon her with such force that she felt
they must be met and conquered in the grace of God. She gathered up in
her soul the grand certainties, not of her emotions, but of her
salvation: her Lord, his power, his promise. And taking pen and paper
from the table, she deliberately set down in writing for her own
comfort the formulae of her faith. So in verse she restated to herself
the gospel of pardon, peace, and heaven. As the day wore on, her
sister-in-law, Mrs. H. V. Elliott, came in to see her and bring news
of the work. She read the hymn and asked (she well might) for a copy.
So it first stole out from that quiet room into the world, where now
for sixty years it has been sowing and reaping till a multitude which
only God can number have been blessed through its message.

Though a helpless invalid, Miss Elliott probably did more that day for her Lord and the upbuilding of His Kingdom than the rest of the family, all strong in body.

The hymn was sent to Dora Wordsworth, daughter of the poet, while she was on her death bed. Her husband, Edward Quillinan, has written of the incident in a letter to Miss Elliott, dated July 28, 1847. He tells of Dora’s appreciation of the hymn and her continual use of it during her last days on earth.

After Miss Elliott died, more than a thousand letters, thanking her for this hymn, were found.

For further comments on Charlotte Elliott see Hymn 233.

A translation of this hymn has had wide use in Germany where it is sung to the tune, “Jesus, meine Zuversicht.”

Wie ich bin, komm’ ich zu dir—
Nichts hat mir die Tür erschlossen,
Als dein Ruf: “Kommt her zu mir,”
Und dein Blut, für mich geflossen;
Diesz allein ermutigt mich—
Gotteslamm, hier komme ich!

Wie ich bin, komm’ ich zu dir!
Auch nicht einen meiner Fehle
Auszutilgen, steht bei mir;
Meine schuldbefleckte Seele
Wird gereinigt nur durch dich,
Gotteslamm, hier komme ich!

Wie ich bin, komm’ ich zu dir,
Ob auch Zweifel mich umfangen;
Umgetrieben bin ich hier
Von so manchem Kampf und Bangen,
Trübsal in—und äuszerlich—
Gotteslamm, hier komme ich!

Wie ich bin, tret’ ich herzu—
Elend, arm, am Geist erblindet;
Meinen Mangel stillest du;
Heilung, Reichtum, der nicht schwindet,
Alles finde ich durch dich—
Gotteslamm, hier komme ich!

Wie ich bin, komm’ ich zu dir,
Deine Liebe sonder Gleichen
Ist zu stark geworden mir,
Alle Schranken müssen weichen;
Dir, nur dir verschreib’ ich mich—
Gotteslamm, hier komme ich!

_MUSIC._ WOODWORTH was first published in Hastings’ and Bradbury’s hymnal, _The Third Book of Psalms_, 1849, set to the words, “The God of love will surely indulge.” The tune became widely known after its association with “Just as I am, without one plea.” It is the most popular of Bradbury’s tunes and appears in nearly all American hymnals.

For comments on Wm. Bradbury see Hymn 103.

459. Come, ye sinners, poor and needy _Joseph Hart_, 1712-68

An evangelistic song, written by a Congregational minister. Hart, born in London and brought up in a devout Christian home, was well educated and taught the classics for many years. Early in life he departed from his religious training and fell into a life of “carnal and spiritual wickedness, irreligious and profane.” After continuing in this state for a long period of years, during which he exerted a pernicious influence upon all with whom he associated, Hart became deeply convicted, in his fortieth year, and betook himself to daily prayer and Bible reading. He was finally converted upon hearing a sermon on Rev. 3:10: “Because thou hast kept the word of my patience, I also will keep thee from the hour of temptation, which shall come upon all the world, to try them that dwell upon the earth”—preached in the Moravian Chapel in Fetter Lane, London. Becoming an earnest and consecrated Christian, and writer of hymns, he was importuned to become a preacher, which he did, although in his 48th year. From 1760 till his death in 1768, he preached regularly as pastor of an Independent Congregation in London, drawing large crowds. He died in the midst of labors and successes almost unprecedented, and it is said that 20,000 people came to his funeral. He is remembered chiefly, however, for his hymns, most of them of the evangelistic type.

_MUSIC._ GREENVILLE, a beautifully quaint and popular tune, was not written for sacred use but for a little song in the opera _Le Devin du Village_, by Rousseau. It was once popular in a piano arrangement known as “Rousseau’s Dream.”

Jean Jacques Rousseau, 1712-78, philosopher and musician, was born at Geneva. Though not a religious man, he greatly influenced education in Europe and became one of the great forces in modern literature. A political radical, he was forced to leave France and for a time lived in England. His opera, _Le Devin du Village_, was a success, but none of his later musical efforts came to anything. He lived an unhappy life and is thought to have committed suicide. His death occurred near Paris, July 3, 1778.

460. I have a Savior, He’s pleading in glory _S. O’Maley Cluff_

A favorite prayer-meeting hymn for many years, in many churches.

Sankey came across these words in a printed leaflet while he was on his first visit with D. L. Moody to Ireland in 1874. It was the second hymn to which he wrote music and was much used in later Moody-Sankey revival services.

No definite information has been traced by hymnologists concerning Samuel O’Malley Clough to whom the words are attributed. He is believed to have been an Irish clergyman who left the Established Church to unite with the Plymouth Brethren in Ireland; later (1881) seceding from that body to lead a “holiness” schism which has since become extinct. Julian and others spell the name “Clough”; Sankey spells it “Cluff.”

_MUSIC._ CLUFF derives its name from the author of the words to which Sankey set the tune.

Ira David Sankey, 1840-1908, famous singer of “gospel songs,” was born in Edinburg, Pa., and was a member of the Methodist Church. For many years he was associated with D. L. Moody in evangelistic work in America and England. He composed many gospel tunes, the most popular of which is his “Ninety and Nine,” and edited numerous songbooks. Concerning his own gift of singing and songs suited to his purpose, he wrote:

I am no musician, I am no singer; I was never taught to sing.... As to
my singing there is no art or conscious design in it. I never touch a
song that does not speak to me in every word and phrase. Before I sing
I must feel, and the hymn must be of such a kind that I know I can
send home what I feel into the hearts of those who listen. I find it
much more difficult to get good words than good music. Our best words
come from England; the music which best suits our purpose comes from
America. Your composers, apparently, do not care to write simple songs
such as we need. We can get plenty of the grand and solid style, but
though that is useful now and again, our services could not thrive on
it.

Homer Rodeheaver has used this song with antiphonal effects by letting the choir sing the first phrase of the refrain, the audience responding with the second; or, if the audience is large, letting one side, then the other side, then the whole congregation, then the gallery sing, successively, one phrase each of the refrain.

461. A ruler once came to Jesus by night _W. T. Sleeper_

Based on our Lord’s words to Nicodemus: “Verily, verily, I say unto you, ... ye must be born again” (John 3:3-7).

The hymn was written by Rev. W. T. Sleeper, one of the pastors in the city of Worcester, Mass., upon the request of Geo. C. Stebbins, who was assisting Dr. Pentecost in a revivalistic campaign in that city. One of the latter’s sermon themes was “The New Birth.” As the truth of this great theme was being enforced and illustrated, it occurred to Stebbins that a musical setting of this Scripture passage in John 3 would be an effective means of emphasizing the truth of the new birth. He asked the Rev. Sleeper to write some verses on the subject and the result was this hymn. Before the meetings closed, Stebbins had composed this tune for the words. The song was published in _Gospel Hymns, No. 3_, and has been widely used as solo, choir number, and congregational song in revival meetings and otherwise.

_MUSIC._ BORN AGAIN. For comments on George C. Stebbins, 1846-1945, a composer of the tune, see Hymn 38.

462. I hear the Savior say _Elvina M. Hall_, 1818-?

A much-used and much-loved revival hymn which came into use, especially in Methodist churches, several years before Moody’s great revivalistic movement.

Mrs. Elvina M. Hall (later Mrs. Myers), author of the words, was born in Alexandria, Va., in 1818. She composed this hymn, strangely enough, while sitting in the choir of the M. E. Church, Baltimore, pencilling the first draft on a fly-leaf of a hymn book, _The New Lute of Zion_, during the pastor’s prayer! It is the only hymn known that can be traced to such an origin. The author’s mind, indeed, wandered from the immediate service of worship, but it did not stray from God and prayer.

_MUSIC._ ALL TO CHRIST. John T. Grape, born in Baltimore, Md., 1833, was choir director in his church when he wrote the tune, after having made it “a matter of prayer and study.” He writes that “it was pronounced very poor by my choir and my friends, but my dear wife persistently declared it was a good piece of music and would live.” Mrs. Grape’s faith was justified by the wide reception and use the tune has enjoyed. The minister of the church, Rev. Mr. Schrick, liked the tune upon hearing it and suggested that it be used with the words written by Mrs. Elvina M. Hall. This was done, and the song started on its career. It was first published in a volume called, _Sabbath Chords_.

463. Amazing grace! how sweet the sound _John Newton_, 1725-1807

The original has six stanzas and is entitled, “Faith’s Review and Expectation.”

The hymn reminds one of Newton’s words: “I can never forget two things: first, that I was a great sinner, and second, that Jesus is a great Saviour.” It is based on I Chron. 17:16, 17:

Who am I, O Lord God, and what is mine house, that Thou hast brought
me hitherto? And yet this was a small thing in thine eyes, O God; for
thou hast also spoken of thy servant’s house for a great while to
come, and hast regarded me according to the estate of a man of high
degree, O Lord God.

For comments on John Newton, see Hymn 274.

_MUSIC._ MCINTOSH, also known as “Amazing Grace,” is believed to be an old Southern melody. It appeared in _Southern Harmony_, by William Walker, 1835, anonymously. Dr. Robert McCutchan thinks it may be a variant of an old tune called “Loving Lamb.”

For comments on Edwin O. Excell, 1851-1921, who arranged the tune, see Hymn 420.

464. Down at the cross where my Savior died _Elisha A. Hoffman_,
1839-?

The words are by the Rev. Elisha A. Hoffman who was born of Pennsylvania German parents. Hoffman became a Congregational minister and served churches of his denomination in Lebanon, Pa., and other places, and wrote a number of hymns and tunes.

_MUSIC._ GLORY TO HIS NAME. For comments on the composer of this tune, Rev. John H. Stockton, see Hymn 457.

465. O happy day, that fixed my choice _Philip Doddridge_, 1702-51

This hymn, reflecting spiritual joy, is often used at baptismal services and is also one of the best revival hymns. It is based on II Chron. 15:15: “And all Judah rejoiced at the oath; for they had sworn with all their heart, and sought him with their whole desire; ... and the Lord gave them rest round about.”

The original title was “Rejoicing in our covenant engagements to God.” It was published in 1819, by the author’s great-grandson, John Doddridge Humphreys.

The hymn was chosen by Prince Albert, the consort of Queen Victoria, to be sung always on occasions when members of the royal family were confirmed. It reflects a deep and rich experience of God. “Blessed is the man,” says James Montgomery, “who can take the words of the hymn and make them his own from similar experience.”

For comments on Philip Doddridge see Hymn 56.

_MUSIC._ HAPPY DAY is an adaptation from a work by E. F. Rimbault, 1816-76, a London scholar, musician and writer. He became organist at Swiss Church, Soho, London, and was offered, but declined, the chair of professor of music at Harvard University. The tune was originally a popular secular melody. The English _Hymnary_ uses this hymn set to a tune called “Heaton Norris,” with refrain omitted.

466. Sinners Jesus will receive _Arr. from Erdmann Neumeister_,
1671-1756
_Tr. Emma Frances Beaven_, 1827-1909

An English version of a popular German hymn which appeared first in the author’s _Evangelische Nachklänge_, Hamburg, 1719. The hymn is appropriate for missionary services. The original in eight stanzas, written by Neumeister as a conclusion to a sermon on Luke 15:1, “Then drew near to him all the publicans and sinners for to hear him,” is as follows:

1.
Jesus nimmt die Sünder an;
Saget doch dies Trostwort allen,
Welche von der rechten Bahn
Auf verkehrten Weg verfallen!
Hier ist, was sie retten kann:
Jesus nimmt die Sünder an.

2.
Keiner Gnade sind wir wert,
Doch hat er in seinem Worte
Eidlich sich dazu erklärt
Sehet nur, die Gnadenpforte
Ist hier völlig aufgetan:
Jesus nimmt die Sünder an.

3.
Wenn ein Schaf verloren ist,
Suchet es ein treuer Hirte;
Jesus, der uns nie vergisst,
Suchet treulich das Verirrte,
Dass es nicht verderben kann:
Jesus nimmt die Sünder an.

4.
Kommet alle, kommet her,
Kommet, ihr betrübten Sünder!
Jesus rufet euch, und er
Macht aus Sündern Gottes Kinder.
Glaubet’s doch und denket dran:
Jesus nimmt die Sünder an.

5.
Ich Betrübter komme hier
Und bekenne meine Sünden.
Lass, mein Heiland, mich bei dir
Gnade zur Vergebung finden,
Dass dies Wort mich trösten kann:
Jesus nimmt die Sünder an.

6.
Ich bin ganz getrostes Muts.
Ob die Sünden blutrot wären,
Müssten sie kraft deines Bluts
Dennoch sich in Schneeweiss kehren
Da ich gläubig sprechen kann:
Jesus nimmt die Sünder an.

7.
Mein Gewissen beisst mich nicht,
Moses darf mich nicht verklagen;
Der mich frei und ledig spricht,
Hat die Schulden abgetragen,
Dass mich nichts verdammen kann:
Jesus nimmt die Sünder an.

8.
Jesus nimmt die Sünder an,
Mich hat er auch angenommen
Und den Himmel aufgetan,
Dass ich selig zu ihm kommen
Und auf den Trost sterben kann:
Jesus nimmt die Sünder an.

The four stanzas of our text correspond to stanzas 1, 4, 7, and 8 of the original. The translation is by Mrs. Emma Frances Beaven, 1827-1909, concerning whom no biographical information has been traced. Her work was altered somewhat to fit McGranahan’s tune.

Erdmann Neumeister was a distinguished student and afterwards lecturer at Leipzig University. Later he achieved fame as a court preacher and as pastor of St. James’ Church, Hamburg. An eloquent preacher and a strong High Lutheran, he opposed the Moravians and the Pietists of his day, holding that their teachings were too subjective. Besides being a gifted preacher, he was also a musician of ability and eminence. He originated the cantata form of church music and composed a number of works in that form. He is the author of 650 hymns, many of them of the highest rank and still in general use in Germany though only a few have been translated into English.

_MUSIC._ NEUMEISTER. For comments on the composer of this popular gospel tune with its change of rhythm in the refrain, James McGranahan, see Hymn 450.

The German words are set to the tune, “_Grosser Gott wir loben Dich_” in the _Gesangbuch mit Noten_.

467. The whole world was lost _Philip P. Bliss_, 1838-76

Based on the incident in John 9, in which Jesus restored the sight to the man born blind, and the saying of Jesus, “I am the light of the world” (John 9:5).

For comments on Philip P. Bliss, author and composer, see Hymn 442.

468. Jesus, my all, to heaven is gone _John Cennick_, 1718-55

A hymn which has had wide use in prayer-meeting and camp-meeting assemblies. A hearty unison “crescendo” on the last stanza is impressive:

“Then will I tell to sinners round
What a dear Savior I have found;
I’ll point to His redeeming blood,
And say, ‘Behold, the way to God.’”

The author had known the joy of finding Christ and his hymn reflects his personal experience. While frequenting London, as a youth, in a vain search for employment,

He became addicted, in consequence, to sight-seeing, song-singing,
play-going, card-playing, horse-racing, ball-frequenting, and the
like. But on an Easter visit to London, in 1735, he was seriously
impressed as he was walking hastily in Cheapside. He became greatly
distressed on account of his sins, broke off from his sinful course,
and walked softly before God; but he found no peace until September 6,
1737, in his nineteenth year, when he was enabled to trust in Christ
alone and find joy and peace in believing.

For further comments on John Cennick, see Hymn 130.

_MUSIC._ DUANE STREET, a stirring revival tune, was composed by Rev. George Coles, in 1835, for one of James Montgomery’s hymns, but has been associated with this hymn for many years.

George Coles, 1792-1858, was born in Stewkley, England, and died in New York City. He came to America as a young man and spent all his life in the Methodist ministry. He was editor of the _New York Christian Advocate_ and the _Sunday School Advocate_, for some years, and was a composer of ability, besides being a good singer.

469. Lord Jesus, I long to be perfectly whole _James Nicholson, 19th
cent._

A hymn that has brought joy and release to many sin-burdened souls, especially encouraging with its promise in stanza 4:

“To those who have sought Thee
Thou never saidst, No.”

It is built around the verse

“Wash me, and I shall be whiter than snow” (Psalm 51:7).

The hymn appeared in Sankey’s _Songs and Solos_.

The author, James Nicholson, was an American Methodist minister of the 19th century.

_MUSIC._ FISCHER. The composer, William Gustavus Fischer, 1835-1912, was born in Baltimore, Md. Moving to Philadelphia in early life, he received a good musical education and became a teacher of piano and singing, and conductor of choral groups and Welsh singing societies in that city. For ten years he was Professor of Music at Girard College, and at the same time became associated with J. E. Gould in a flourishing piano business, under the firm name of Gould and Fischer. In 1876, he led the Moody and Sankey choir in the great building at Thirteenth and Market Streets in Philadelphia.

470. O Thou, in whose presence my soul takes delight _Joseph Swain_,
1761-96

Swain entitled this hymn, “A Description of Christ by His Grace and Power,” which was suggested to him by the description of the “Shepherd” in Solomon’s Song 1:7. The original poem has nine stanzas of eight lines each.

For comments on the author, John Swain, see Hymn 323.

_MUSIC._ MY BELOVED, also called “Beloved” and “Meditation,” is of uncertain origin. It appeared in a book, _The Beauties of Harmony_, compiled by Freeman Lewis in 1813 and was arranged by Hubert P. Main in 1869. Lewis, 1780-1859, was by profession a surveyor at Uniontown, Pa. Music was his avocation.

For comments on Hubert P. Main see Hymn 426.

471. I do not ask, O Lord, that life may be _Adelaide A. Proctor_,
1825-64

A hymn reflecting the quiet strength resulting from faith and trust in God. It is the most admired of Miss Proctor’s hymns.

For comments on Adelaide Anne Proctor, see Hymn 177.

_MUSIC._ SUBMISSION, a tune well suited to the meaning and spirit of the poem, was composed for this hymn.

For comments on the composer, Albert L. Peace, see Hymn 175.

472. More love to Thee, O Christ _Elizabeth Prentiss_, 1818-78

A simple prayer put into verse, written hastily, as many hymns have been, and, after some years, printed as a leaflet. It was then included by Dr. Doane in his _Songs of Devotion_, in four stanzas, the third being omitted here. In form and sentiment, the hymn is an echo of “Nearer, my God, to Thee,” and is more explicitly Christian, for the latter omits the name of Christ completely.

Elizabeth Payson Prentiss was born in Portland, Maine, the daughter of the famous minister, Rev. Edward Payson. After teaching school for some years, she married Dr. George L. Prentiss, eminent Presbyterian clergyman, and professor at Union Theological Seminary in New York City, who published her _Life and Letters_ soon after her death. Mrs. Prentiss wrote poetry and prose for the _Youths’ Companion_ and published several volumes of poems.

_MUSIC._ MORE LOVE TO THEE was written for this hymn and published in Dr. Doane’s _Songs of Devotion_, 1870.

For comments on Wm. Howard Doane see Hymn 313.

473. What a wonderful Savior _Elisha A. Hoffman_

A hymn on the atonement.

Words and music are by the Rev. Elisha A. Hoffman.

For comments on Hoffman, see Hymn 464.

474. Pass me not, O gentle Savior _Fanny J. Crosby_, 1820-1915

One of Fanny Crosby’s best and most popular songs. Ira D. Sankey says of it: “No hymn in our collection was more popular than this at our meetings in London in 1874.” Miss Crosby wrote it in 1868 at the request of Dr. W. H. Doane, who gave her the first line as a theme. Doane published the hymn in his _Songs of Devotion_, 1870.

For comments on Fanny Crosby see Hymn 313.

_MUSIC._ PASS ME NOT was written for this hymn. For comments on the composer, W. H. Doane, see Hymn 313.

475. I am Thine, O Lord _Fanny J. Crosby_, 1820-1915

A song of consecration, based on Heb. 10:22, “Let us draw near with a true heart.” It was written one evening while Miss Crosby was visiting in the home of Dr. William H. Doane in Cincinnati, Ohio. The latter composed for it the tune by which the song has become familiar to a multitude of worshippers.

For comments on Fanny Crosby and W. H. Doane see Hymn 313.

476. Are you weary, are you heavy-hearted _Jeremiah E. Rankin_,
1828-1904

A song that has touched many a burdened heart, written by the author of “God be with you till we meet again.” For comments on Jeremiah E. Rankin, see Hymn 365.

_MUSIC._ TELL IT TO JESUS. For comments on the composer, E. S. Lorenz, see Hymn 439.

477. Yield not to temptation _Horatio R. Palmer_, 1834-1907

A song that has been a source of strength to many in time of temptation.

The words and tune are by Horatio Richmond Palmer, Mus. Doc., an American musician born at Sherburne, New York. He studied music in Berlin and Florence and became the director of the Rushford Academy of Music, New York, in 1857. In 1884, he took charge of the Church Choral Union in New York, an organization which grew to a membership of 4,000 singers devoted to the improvement of church music. He was dean, for a time, of the school of music at Chautauqua, N. Y., and compiled a number of popular choral collections. He is the author of _A Theory of Music_ and _A Manual for Teachers_.

Concerning the composition of this hymn and tune, Dr. Palmer wrote:

This song is an inspiration. I was at work on the dry subject of
“Theory” when the complete idea flashed upon me, and I laid aside the
theoretical work and hurriedly penned both words and music as fast as
I could write them. I submitted them to the criticism of a friend
afterward, and some changes were made in the third stanza, but the
first two are exactly as they came to me. The music was first written
in A flat; but I soon saw that B flat was better, and for many years
it has appeared in that key. I am reverently thankful it has been a
power for good.

_MUSIC._ YIELD NOT TO TEMPTATION. The tune, composed for the hymn by Dr. Palmer himself, appeared in _Sabbath School Songs_ (1868). It is also named “Fortitude.”

478. He leadeth me, O blessed thought _Joseph H. Gilmore_, 1834-1918

A widely used hymn, based on Psalm 23:2: “He leadeth me beside the still waters.” “It has the true hymn quality, combining all the simplicity of spontaneous thought and feeling with perfect accent and liquid rhythm” (Brown and Butterworth).

Joseph Henry Gilmore, a Baptist minister, was born in Boston, the son of Joseph A. Gilmore. He graduated from Brown University in 1858 and from Newton Theological Seminary in 1861. In 1863-64 he served as private secretary to his father, then governor of New Hampshire. From 1865 to 1867, he was pastor of the Second Baptist Church at Rochester, N. Y., and Acting Professor of Hebrew in Rochester Theological Seminary, 1867-68. In 1868, he became Professor of Logic, Rhetoric, and English Literature in the University of Rochester, a position he held for about forty years. One of his published volumes is _Outlines of English and American Literature_, 1905.

The hymn was written after Dr. Gilmore had conducted the Wednesday evening service at the First Baptist Church, Philadelphia, where he expounded the twenty-third Psalm. After the service, the discussion of the subject was continued in the home where he was stopping. The author says:

During the conversation, the blessedness of God’s leadership so grew
upon me that I took out my pencil, wrote the hymn just as it stands
today, handed it to my wife, and thought no more about it. She sent
it, without my knowledge, to the _Watchman and Reflector_. Three years
later, I went to Rochester to preach for the Second Baptist Church. On
entering the chapel, I took up a hymn book, thinking: “I wonder what
they sing.” The book opened at “He Leadeth Me,” and that was the first
I knew my hymn had found a place among the songs of the Church.

_MUSIC._ HE LEADETH ME. Finding the hymn in a Christian periodical, Bradbury composed for it this popular tune with which it has since been associated. In singing the tune, holds should be observed at the end of lines 2, 3, and 4 of the stanzas, and at the end of lines 2 and 4 of the refrain. “Few composers have so exactly caught the tone and spirit of their text as Bradbury did when he vocalized the gliding measures of ‘He Leadeth Me.’”

For comments on the composer, Wm. Bradbury, see Hymn 103.

479. Joys are flowing like a river _M. P. Ferguson_