Chapter XX: Book III: Gospel Songs (2)

A song of comfort and joy useful for the quiet hour. The presence of Jesus brings to the trusting soul a blessed quietness as it did to the disciples on the stormy lake when He awoke and spoke the word of peace (Mark 4:37-41).

No information has been traced concerning the author of the words, M. P. Ferguson, or the composer, W. S. Marshall, from whose work the tune is an arrangement.

480. Blessed assurance, Jesus is mine _Fanny J. Crosby_, 1820-1915

Another of Fanny Crosby’s fine lyrics, sung the world over, in which is revealed the secret of the author’s own serene trust and cheerful faith. In her _Memories of Eighty Years_, Miss Crosby makes the following reference to this hymn:

Often I take in my mind some tune already well known as a model or,
perhaps, more accurately speaking, as a guide, and work to it. This,
however, does not imply that the tune will ultimately be chosen as the
companion of the words; for it has probably already its own true and
lawful mate, with which it is to be happy and useful. Sometimes a tune
is furnished me for which to write the words. The hymn titled “Blessed
Assurance” was made in this manner. My dear friend, Mrs. Joseph F.
Knapp, so well-known as a writer and singer of most excellent music
and as an aid and inspiration to all who knew her, had composed the
tune; and it seemed to me one of the sweetest I had heard for a long
time. She asked me to write a hymn for it, and I felt while bringing
the words and tones together that the air and the hymn were intended
for each other. In the many hundred times that I have heard it sung,
this opinion has been more and more confirmed.

For comments on Fanny Crosby, see Hymn 313.

_MUSIC._ ASSURANCE was written by Mrs. Joseph Fairchild Knapp, 1839-1908, the daughter of Dr. Walter and Mrs. Phoebe Palmer. Her husband was the founder of the Metropolitan Life Insurance Company in New York City. Both Mr. and Mrs. Knapp were members of the Methodist Episcopal church and gave much of their wealth to charitable and religious work. Mrs. Knapp, a close friend of Fanny Crosby, was an excellent singer, an accomplished organist, and an earnest Christian worker.

481. Sweet are the promises _Wm. A. Ogden_, 1841-97

The third stanza is based on Matt. 11:28: “Come unto me, all ye that labor and are heavy laden, and I will give you rest,” but the author has substituted “weary” for the word “labor.”

Wm. A. Ogden, who wrote the words and music of this song, was born in Franklin County, Ohio. At the age of six, he moved with his parents to Indiana where he enlisted, at the outbreak of the Civil War, in the 13th Indiana Volunteer Infantry. After the close of the war, he resumed his musical studies under Lowell Mason, Thomas Hastings, E. E. Bailey, and B. F. Baker, President of the Boston School of Music. In 1870, he published _Silver Song_ which reached the enormous sale of 500,000 copies. Ogden won distinction as a teacher and conductor of large convention choruses. For six years he was director of music at Iowa Normal School but his greatest musical work was done at Toledo, Ohio, where he moved in 1881 and served as superintendent of public school music from 1887 until his death. He loved children and enjoyed teaching them. His training of 3,000 children in 1894 was the distinct triumph of the great _Saengerfest_ held that year in Toledo. Ogden wrote scores of popular songs, always composing both the words and music.

482. Will your anchor hold _Priscilla J. Owens_, 1829-_c._ 99

A hymn setting forth life in terms of the sea and its billowing waves, and the confidence one may have if anchored to the Rock, which is Christ.

For comments on the author, Priscilla Jane Owens, and the composer of the tune, William J. Kirkpatrick, 1838-1921, see Hymn 334.

483. Hide me, O my Savior, hide me _Fanny J. Crosby_, 1820-1915

For comments on Fanny Crosby and Wm. H. Doane who wrote tunes for many of Miss Crosby’s hymns, see Hymn 313.

484. When peace, like a river, attendeth my way _Horatio G.
Spafford_, 1828-88

A hymn of resignation and submission, written out of bitter experiences of loss and suffering.

Horatio Gates Spafford, born in New York State, was a lawyer who had established himself in Chicago. He lost most of his fortune during the great fire in that city. Then on November 22, 1873, to add to his trials, he lost four of his children when the French steamer, “Villa de Havre,” on which Mrs. Spafford and the children were sailing for Europe, sank in mid-ocean, half an hour after colliding with a large sailing vessel. Mrs. Spafford was rescued and, landing at Cardiff, Wales, ten days later, cabled her husband, “Saved Alone.” Spafford started immediately for Europe to bring his wife to Chicago. D. L. Moody, under whose preaching the Spafford children had been converted in North Chicago shortly before sailing, travelled from Edinburgh to Liverpool to comfort the bereaved parents and was pleased to hear them say, “It is well: the will of God be done.”

Mr. and Mrs. Spafford later became much interested in the second coming of Christ, becoming so enthusiastic that in 1881 they went to Jerusalem with their remaining daughter, to witness the coming of the Lord. After seven years in Palestine, Spafford died there, September 5, 1888, his widow continuing to live there as the head of a communistic society with headquarters in a building outside of Jerusalem. The daughter, very popular among the natives, became the teacher of a large body of children, instructing them in English and in American ways.

_MUSIC._ IT IS WELL WITH MY SOUL. The music, “a gentle, gliding melody that suits the mood of the words,” was written especially for Spafford’s words and published in _Gospel Hymns No. 3_. The hymn and tune immediately became popular.

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

485. Take the name of Jesus with you _Lydia Baxter_, 1809-74

A popular gospel song widely used in the Moody and Sankey revivals.

Lydia Baxter, born in Petersburg, New York, was converted under the preaching of a Baptist missionary, the Rev. Eben Tucker, and, with her sister, became a leader in the organization of a Baptist Church in her native town. After her marriage she moved to New York City. Though an invalid for many years, she was known for her astonishing cheerfulness and to her home came many a Christian worker for inspiration and advice. A volume of her poems, _Gems by the Wayside_, was published in 1855.

_MUSIC._ PRECIOUS NAME was written for this hymn. It is inseparably associated with these words and has done much to give the hymn the widespread popularity which it enjoys.

For comments on the composer, W. H. Doane, also a Baptist, see Hymn 313.

486. When we walk with the Lord _James H. Sammis_, d. 1919

The origin of this hymn is related in Ira Sankey’s _Story of the Gospel Hymns_:

“Some years ago,” says Professor Towner, musical director of Moody
Bible Institute, “Mr. Moody was conducting a series of meetings in
Brockton, Mass., and I had the pleasure of singing for him there. One
night a young man rose in a testimony meeting and said, ‘I am not
quite sure—but I am going to trust and obey.’ I just jotted that
sentence down, and sent it with the little story to the Rev. J. H.
Sammis, a Presbyterian minister. He wrote the hymn and the tune was
born. The chorus,

‘Trust and obey
For there’s no other way
To be happy in Jesus
But to trust and obey.’

was written before the hymn was.”

James H. Sammis was born in Brooklyn, N. Y., and became a business man in Logansport, Indiana. As an active Christian layman, he was much interested in the Young Men’s Christian Association, and finally gave up his business connections to serve as a General Secretary in the “Y”. After further education at Lane and McCormick Seminaries, he entered the ministry and served as pastor of Presbyterian churches in Indiana, Michigan, and Minnesota. In 1909, he went to California as a teacher in the Bible Institute of Los Angeles, continuing there until his death, June 12, 1919.

_MUSIC._ TRUST AND OBEY. The composer of this tune, D. W. Towner, 1850-1919, was born in Rome, Pa., and became a member of a group of singers and evangelists associated with D. L. Moody. He was a capable leader of choirs and large assemblies. In 1893, he became director of the musical department of Moody Bible Institute in Chicago, a position he held until his death. In recognition of his services, the University of Tennessee honored him with the degree of Doctor of Music, in 1900.

487. My hope is built on nothing less _Edward Mote_, 1797-1874

“A grand hymn of faith” is the characterization given by Bishop Bickersteth of this poem. Written in 1834, and printed as a leaflet, it was later included in the author’s _Hymns of Praise_, 1836, entitled, “The Immutable Basis of a Sinner’s Hope.” The hymn is reminiscent of the words of Paul: “Other foundation can no man lay than that is laid, which is Jesus Christ” (I Cor. 3:11).

Edward Mote, born in London, worked as a cabinet-maker for some years but at length entered the ministry and from 1852 until his death in 1874 served the Baptist Church at Horsham, Essex.

The refrain of this hymn came into his mind one morning as he was walking up Holborn Hill on his way to work. Four stanzas were completed that day and two more were added the following Sunday.

_MUSIC._ SOLID ROCK. For comments on the composer of this tune, Wm. B. Bradbury, see Hymn 103.

488. ’Tis so sweet to trust in Jesus _Louisa M. R. Stead_

A hymn of simple trust. Information concerning the author, Louisa M. R. Stead, has not been traced.

_MUSIC._ TRUSTING was composed for these words by the gospel singer and composer, Wm. J. Kirkpatrick, 1838-1921.

For comments on Kirkpatrick see Hymn 334.

489. What a fellowship, what a joy divine _Elisha A. Hoffman_

For comments on the author, Elisha A. Hoffman, see Hymn 464.

_MUSIC._ LEANING ON JESUS was composed by Anthony J. Schowalter, who was born at Cherry Grove, Pa., May 1, 1858. The following from his pen tells the story of the origin of this hymn and tune:

While I was conducting a singing-school at Hartsells, Alabama, I
received a letter from two of my former pupils in South Carolina,
conveying the sad intelligence that on the same day each of them had
buried a wife. I tried to console them by writing a letter that might
prove helpful in their hour of sadness. Among other Scriptures, I
quoted this passage, “Underneath are the everlasting arms.” Before
completing the writing of the sentence, the thought came to me that
the fact that we may lean on these everlasting arms and find comfort
and strength, ought to be put in a song; and before finishing that
letter, the words and music of the refrain were written. The
manuscript was sent to Elisha Hoffman ... in a few days his completion
of the poem was received.

490. Jesus, keep me near the cross _Fanny J. Crosby_, 1820-1915

A hymn on “the cross.” The refrain suggests the words of Paul: “God forbid that I should glory save in the cross of our Lord Jesus Christ” (Gal. 6:14). This is another instance in which the words of the blind hymn writer and the music of Mr. Doane were combined to make a popular gospel song.

For comments on Fanny Crosby and Wm. H. Doane, composer of the tune, see Hymn 313.

491. Nearer the cross _Fanny Crosby_, 1820-1915

For comments on the author of these words, Fanny Crosby, see Hymn 313.

For Mrs. J. F. Knapp, composer of the tune, see Hymn 480.

492. There is a fountain filled with blood _William Cowper_, 1731-1800

The imagery in the first verse is drawn from Zechariah 13:1: “In that day there shall be a fountain opened to the house of David and to the inhabitants of Jerusalem for sin and for uncleanness.” The dislike which some have for this Old Testament phraseology has given rise to much dispute concerning the hymn, but all attempts to revise it have been without success. It is excellent poetry and should be left as Cowper wrote it.

The hymn was published in Conger’s _Collection of Psalms and Hymns_, 1772, and later in the _Olney Hymns_ (See Hymn 60).

For comments on William Cowper see Hymn 60.

_MUSIC._ CLEANSING FOUNTAIN, also called “Western Melody” in some of the older books, is a stirring tune reminiscent of the early American camp meeting songs. It is attributed here to Lowell Mason, but it is not certain whether he wrote it or whether it is an adaptation from his tune, “Cowper,” which it resembles and to which the hymn is set in _The Hymnal_, 1933 (Presbyterian).

For comments on Lowell Mason see Hymn 12.

493. I love to tell the story _Katherine Hankey_, 1834-1911

A simple song which became popular and has been translated into several different languages, because it expresses what is in the hearts of multitudes of people.

The words are from a long poem of 50 stanzas, in two parts, on the life of Jesus. Part I, dated January 29, 1866, is entitled, “The Story Wanted.” Part II, dated November 18, 1866, is entitled, “The Story Told.” The author composed the poem during a long period of convalescing after a serious illness. This hymn and “Tell me the old, old story” (No. 495) are selections from Part II and Part I, respectively, of the above-mentioned poem.

Katherine Hankey, born in Clapham, England, was the daughter of a banker. She was a refined, consecrated woman, a Sunday school teacher, and organizer of Bible classes among working girls. She travelled in South Africa to look after an invalid brother and became so interested in mission work that she devoted thereto the income from her writings.

_MUSIC._ HANKEY was composed for these words. For comments on the composer, Wm. G. Fischer, see Hymn 469. The melody, written in 1869, was harmonized by Hubert P. Main (No. 426) and became popular at revival meetings. It is one of the gospel song tunes that is included in the more dignified church hymnals.

494. Sing them over again to me _Philip P. Bliss_, 1838-76

Written especially for use in the first issue of _Words of Life_, a Sunday school paper published by Fleming H. Revell. Two years later, George Stebbins introduced the song in an evangelistic campaign which he and Dr. Pentecost were conducting in New Haven, Conn., the two men singing the song as a duet. The song was received with enthusiasm and immediately became popular. It was published in _Gospel Hymns, No. 3_ and has had a wide use in evangelistic services and in the Sunday schools throughout the country.

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

495. Tell me the old, old story _Katherine Hankey_, 1834-1911

For comments on the author, Katherine Hankey, and an account of the origin of this hymn, see Hymn 493.

_MUSIC._ Dr. W. H. Doane heard the poem read at a Y.M.C.A. Conference at Montreal in 1867 and was so impressed by it that he copied it and later set it to music while riding on a stage coach during a vacation in the White Mountains.

For comments on W. H. Doane, see Hymn 313.

496. There is a Name I love to hear _Frederick Whitfield_, 1829-1904

A hymn on the name of Jesus which was published in 1855 in hymn-sheets and leaflets in various languages. In 1861, it appeared in the author’s _Sacred Poems and Prose_, a volume containing twenty-six hymns.

Frederick Whitfield, born at Threapwood, Shropshire, was a minister in the Anglican Church. Educated at Trinity College, Dublin, where he took his B.A. degree in 1859, he became, successively, curate of Otley, vicar of Kirby-Ravensworth, senior curate of Greenwich, and vicar of St. John’s, Bexley. He is the author of nearly thirty volumes of prose and poetry.

_MUSIC._ O HOW I LOVE JESUS is a traditional melody of unknown authorship.

497. Rescue the perishing _Fanny J. Crosby_, 1820-1915

A rallying song for Christian workers in all parts of the world. This is the only one of Fanny Crosby’s hymns to be included in the famous English publication, _Hymns Ancient and Modern_. It was a great favorite of Frances E. Willard and Frances Murphy, temperance crusaders, and D. L. Moody was very fond of it.

The hymn had its origin in a visit which the blind poet made to one of the worst slum districts in New York City. When she addressed the men at a rescue mission, Miss Crosby heard harrowing tales of lost and perishing people. She wrote:

“While I sat there that evening the line came to me, ‘Rescue the
perishing, care for the dying.’ I could think of nothing else that
night. When I arrived at my home, I went to work at once, and before I
retired the entire hymn was ready for a melody.”

For comments on Fanny J. Crosby see Hymn 313.

_MUSIC._ RESCUE was composed by Dr. Doane for this hymn. The hymn and tune have resounded through many thousands of mission services.

For comments on Wm. H. Doane see Hymn 313.

498. O scatter seeds of loving deeds _Jessie Brown Pounds_, 1861-1921

For comments on Jessie Brown Pounds, see Hymn 453.

Her song poem has gone around the world on the wings of this tune composed by Fred A. Fillmore, of the musically famous Fillmore brothers. See comments at Hymn 453. Fred A. was born May 15, 1856, at Paris, Illinois.

499. Judge me, God of my salvation _Psalm 43_

A metrical version of Psalm 43 which may be compared with the version from the Scottish Psalter at No. 587. The fifth verse of the Psalm is made to serve as the refrain. The poet who made the version has not been identified. The hymn and tune were taken from the _Psalter_ of the United Presbyterian Church.

_MUSIC._ AMARA was composed by William O. Perkins, concerning whom no information has been found.

500. I can hear my Savior calling _E. W. Blandy_

An intimate hymn of personal consecration. The repetition of the phrases and the close harmony of the music have made the use of this song, even without the aid of an accompanying instrument, easy and enjoyable. No information has been found concerning the author, E. W. Blandy (misspelled Blandly in the _Hymnary_).

_MUSIC._ WHERE HE LEADS ME is admirably suited to the words. No information has come to light concerning the composer, J. S. Norris.

501. And must I be to judgment brought _Charles Wesley_, 1707-88

The hymn, originally in eight stanzas, was entitled “A Thought on Judgment” and was written for children! Why Wesley wrote such serious-minded hymns for children is explained in his preface to _Hymns for Children_, from which this hymn is taken:

There are two ways of writing or speaking to children. The one is to
let ourselves down to them; the other, to lift them up to us. Dr.
Watts wrote in the former way, and has succeeded admirably well,
speaking to children as children and leaving them as he found them.
The following hymns are written on the other plan. They contain strong
and manly sense, yet expressed in such plain and easy language as even
children may understand. But when they do understand them, they will
be children no longer—only in years and in stature.

For comments on Charles Wesley, see Hymn 6.

_MUSIC._ MARLOW was composed by Rev. John Chetham, 1700-63, an English clergyman, curate of Skipton.

502. Savior, lead me lest I stray _Frank M. Davis_, 1839-96

The words and music were written on the deck of a steamer that plied between Baltimore and Savannah.

Frank M. Davis was born on a farm near Marcellus, New York, the youngest of a family of ten children. He began composing tunes at an early age and became a teacher of vocal and instrumental music. He travelled extensively through the eastern and southern states, directing chorus choirs and teaching vocal classes. He compiled several Sunday school collections, among them _New Pearls of Song_, 1877, and _Notes of Praise_, of which more than 100,000 copies were sold. Davis is the author of over 100 vocal and instrumental compositions. He died suddenly of heart failure at Chesterfield, Indiana, where he was attending a camp meeting.

503. My days are gliding swiftly by _David Nelson_, 1793-1844

A hymn written by a preacher while hiding from pursuing slave-holders whose anger and violence were aroused by Nelson’s aggressive anti-slavery views.

David Nelson, a surgeon in the U. S. Army during the war of 1812, left his profession to become a minister, meanwhile owning and operating a plantation in Missouri. After listening to an address on slavery, he declared himself in favor of freeing the slaves and advocated the plan of colonizing them in Africa. This so enraged some of the slave-holders that they drove Nelson from his home. To avoid mob violence, he escaped, reaching, after three days and nights of wandering, the Mississippi River opposite Quincy, Illinois. Hiding there in the bushes, with his pursuers near but unable to find him, the river gliding swiftly before him, he wrote this hymn on the back of old letters he had in his pocket. He was finally rescued by members of the Quincy Congregational Church who, having learned of his plight, took him on a fishing canoe and rowed him across the river, still pursued, to safety and friends, on the hospitable shore of a free state.

_MUSIC._ SHINING SHORE, one of the composer’s most popular tunes, has been given various arrangements for voice and instruments. Root has written concerning the origin of the tune:

One day, I remember, as I was working at a set of graded part-songs
for singing classes, mother passed through the room and laid a slip
from one of the religious newspapers before me, saying, “George, I
think that would be good for music.” I looked at the poem which began,
“My days are gliding swiftly by,” and a simple melody sang itself in
my mind as I read. I jotted it down and went on with my work. That was
the origin of the music of “The Shining Shore.” Later, when I took up
the melody to harmonize it, it seemed so very simple and commonplace,
that I hesitated about setting the other parts to it. I finally
decided that it might be useful to somebody, and I completed it,
though it was not printed until some months afterward. In after years
I examined it in an endeavor to account for its great popularity—but
in vain. To the musician there is not one reason in melody or harmony
scientifically regarded, for such a fact. To him hundreds of others,
now forgotten, were better.

For comments on George F. Root, 1820-95, see Hymn 418.

504. There’s a land that is fairer than day _S. F. Bennett_, 1836-98

“It’ll be all right _by and by_.” This trivial remark by Webster, when one morning, seemingly depressed, he was asked by his partner, Bennett, what was wrong with him, was the occasion for the writing of this hymn. The author and composer were friends and partners in the music publishing business in the village of Elkhorn, Wis. Webster, the musician of the firm, was inclined to be nervous and subject to periods of depression. His partner understood this and often effected a cure, as on this occasion, by putting him to work on a new song. Upon Bennett’s suggestion, the two agreed that morning to make a hymn out of the idea, “The sweet by and by.” Bennett penned the words and handed them to Webster, who promptly wrote the music. Words and music were thus produced in the incredibly short time of about thirty minutes. The song was published soon afterward in a Sunday school song book, _The Signet Ring_, which the two men were compiling. From there it found its way into numerous collections of songs until today “it is translated into various foreign languages and sung in every land under the sun.”

Sanford Filmore Bennett was a native of the West. He settled in Elkhorn, Wis., in 1861, to devote himself to music but later studied medicine and practiced in Richmond, Ill.

_MUSIC._ SWEET BY AND BY. Joseph Philbrick Webster, 1819-75, composer of this tune, was born in New Hampshire. He was an active member of the Handel and Haydn Society and various other musical organizations. He lived in Madison, Indiana, and Racine, Wisconsin, before finally moving to Elkhorn, in 1857.