Chapter III (2)

George Heath, the author, was an English minister, born in 1781; died 1822. For a time he was pastor of a Presbyterian Church at Honiton, Devonshire, and was evidently a prolific writer, having composed a hundred and forty-four hymns, an edition of which was printed.

_THE TUNE._

No other has been so familiarly linked with the words as Lowell Mason's "Laban" (1830). It has dash and animation enough to reënforce the hymn, and give it popular life, even if the hymn had less earnestness and vigor of its own.

Ne'er think the vict'ry won
Nor lay thine armor down:
Thy arduous work will not be done
Till thou hast gained thy crown.

Fight on, my soul till death
Shall bring thee to thy God;
He'll take thee at thy parting breath
To His divine abode.

"PEOPLE OF THE LIVING GOD."

Montgomery _felt_ every line of this hymn as he committed it to paper. He wrote it when, after years in the "swim" of social excitements and ambitions, where his young independence swept him on, he came back to the little church of his boyhood. His father and mother had gone to the West Indies as missionaries, and died there. He was forty-three years old when, led by divine light, he sought readmission to the Moravian "meeting" at Fulneck, and anchored happily in a haven of peace.

People of the living God
I have sought the world around,
Paths of sin and sorrow trod,
Peace and comfort nowhere found:

Now to you my spirit turns--
Turns a fugitive unblest;
Brethren, where your altar burns,
Oh, receive me into rest.

James Montgomery, son of Rev. John Montgomery, was born at Irvine, Ayrshire, Scotland, Nov. 4, 1771, and educated at the Moravian Seminary at Fulneck, Yorkshire, Eng. He became the editor of the _Sheffield Iris_, and his pen was busy in non-professional as well as professional work until old age. He died in Sheffield, April 30, 1854.

His literary career was singularly successful; and a glance through any complete edition of his poems will tell us why. His hymns were all published during his lifetime, and all, as well as his longer pieces, have the purity and polished beauty, if not the strength, of Addison's work. Like Addison, too, he could say that he had written no line which, dying, he would wish to blot.

The best of Montgomery was in his hymns. These were too many to enumerate here, and the more enduring ones too familiar to need enumeration. The church and the world will not soon forget "The Home in Heaven,"--

Forever with the Lord,
Amen, so let it be.
Life from the dead is in that word;
'Tis immortality.

Nor--

O where shall rest be found,

--with its impressive couplet--

'Tis not the whole of life to live
Nor all of death to die.

Nor the haunting sweetness of--

There is a calm for those who weep.

Nor, indeed, the hymn of Christian love just now before us.

_THE TUNE._

The melody exactly suited to the gentle trochaic step of the home-song, "People of the living God," is "Whitman," composed for it by Lowell Mason. Few Christians, in America, we venture to say, could hear an instrument play "Whitman" without mentally repeating Montgomery's words.

"TO LEAVE MY DEAR FRIENDS."

This hymn, called "The Bower of Prayer," was dear to Christian hearts in many homes and especially in rural chapel worship half a century ago and earlier, and its sweet legato melody still lingers in the memories of aged men and women.

Elder John Osborne, a New Hampshire preacher of the "Christian" (_Christ-ian_) denomination, is said to have composed the tune (and possibly the words) about 1815--though apparently the music was arranged from a flute interlude in one of Haydn's themes. The warbling notes of the air are full of heart-feeling, and usually the best available treble voice sang it as a solo.

To leave my dear friends and from neighbors to part,
And go from my home, it affects not my heart
Like the thought of absenting myself for a day
From that blest retreat I have chosen to pray,
I have chosen to pray.

The early shrill notes of the loved nightingale
That dwelt in the bower, I observed as my bell:
It called me to duty, while birds in the air
Sang anthems of praises as I went to prayer,
As I went to prayer.[13]

How sweet were the zephyrs perfumed by the pine,
The ivy, the balsam, the wild eglantine,
But sweeter, O, sweeter superlative were
The joys that I tasted in answer to prayer,
In answer to prayer.

[Footnote 13: The _American Vocalist_ omits this stanza as too fanciful as well as too crude]

"SAVIOUR, THY DYING LOVE."

This hymn of grateful piety was written in 1862, by Rev. S. Dryden Phelps, D.D., of New Haven, and first published in _Pure Gold_, 1871; afterwards in the (earlier) _Baptist Hymn and Tune Book_.

Saviour, Thy dying love
Thou gavest me,
Nor should I aught withhold
Dear Lord, from Thee.

* * * * *

Give me a faithful heart,
Likeness to Thee,
That each departing day
Henceforth may see
Some work of love begun,
Some deed of kindness done,
Some wand'rer sought and won,
Something for Thee.

The penultimate line, originally "Some sinful wanderer won," was altered by the author himself. The hymn is found in most Baptist hymnals, and was inserted by Mr. Sankey in _Gospel Hymns No. 1_. It has since won its way into several revival collections and undenominational manuals.

Rev. Sylvester Dryden Phelps, D.D., was born in Suffield, Ct., May 15, 1816, and studied at the Connecticut Literary Institution in that town. An early call to the ministry turned his talents to the service of the church, and his long settlement--comprising what might be called his principal life work--was in New Haven, where he was pastor of the First Baptist church twenty-nine years. He died there Nov. 23, 1895.

_THE TUNE._

The Rev. Robert Lowry admired the hymn, and gave it a tune perfectly suited to its metre and spirit. It has never been sung in any other. The usual title of it is "Something for Jesus." The meaning and sentiment of both words and music are not unlike Miss Havergal's--

I gave my life for thee.

"IN SOME WAY OR OTHER."

This song of Christian confidence was written by Mrs. Martha A.W. Cook, wife of the Rev. Parsons Cook, editor of the _Puritan Recorder_, Boston.

It was published in the _American Messenger_ in 1870, and is still in use here, as a German version of it is in Germany. The first stanza follows, in the two languages:

In some way or other the Lord will provide.
It may not be my way,
It may not be thy way,
And yet in His own way
The Lord will provide.

Sei's so oder anders, der Herr wird's versehn;
Mag's nicht sein, wie ich will,
Mag's nicht sein, wie du willst,
Doch wird's sein, wie Er will:
Der Herr wird's versehn.

In the English version the easy flow of the two last lines into one sentence is an example of rhythmic advantage over the foreign syntax.

Mrs. Cook was married to the well-known clergyman and editor, Parsons Cook, (1800-1865) in Bridgeport, Ct., and survived him at his death in Lynn, Mass. She was Miss Martha Ann Woodbridge, afterwards Mrs. Hawley, and a widow at the time of her re-marriage as Mr. Cook's second wife.

_THE TUNE._

Professor Calvin S. Harrington, of Wesleyan University, Middletown, Ct., set music to the words as printed in _Winnowed Hymns_ (1873) and arranged by Dr. Eben Tourjee, organizer of the great American Peace Jubilee in Boston. In the _Gospel Hymns_ it is, however, superseded by the more popular composition of Philip Phillips.

Dr. Eben Tourjee, late Dean of the College of Music in Boston University, and founder and head of the New England Conservatory, was born in Warwick, R.I., June 1, 1834. With only an academy education he rose by native genius, from a hard-working boyhood to be a teacher of music and a master of its science. From a course of study in Europe he returned and soon made his reputation as an organizer of musical schools and sangerfests. The New England Conservatory of Music was first established by him in Providence, but removed in 1870 to Boston, its permanent home. His doctorate of music was conferred upon him by Wesleyan University. Died in Boston, April 12, 1891.

Philip Phillips, known as "the singing Pilgrim," was born in Jamestown, Chautauqua, Co., N.Y., Aug. 13, 1834. He compiled twenty-nine collections of sacred music for Sunday schools, gospel meetings, etc.; also a _Methodist Hymn and Tune Book_, 1866. He composed a great number of tunes, but wrote no hymns. Some of his books were published in London, for he was a cosmopolitan singer, and traveled through Europe and Australia as well as America. Died in Delaware, O., June 25, 1875.

"NEARER, MY GOD, TO THEE."

Mr. William Stead, fond of noting what is often believed to be the "providential chain of causes" in everything that happens, recalls the fact that Benjamin Flower, editor of the _Cambridge Intelligencer_, while in jail (1798) at the instigation of Bp. Watson for an article defending the French Revolution, and criticising the Bishop's political course, was visited by several sympathizing ladies, one of whom was Miss Eliza Gould. The young lady's first acquaintance with him there in his cell led to an attachment which eventuated in marriage. Of that marriage Sarah Flower was born. By the theory of providential sequences Mr. Stead makes it appear that the forgotten vindictiveness of a British prelate "was the _causa causans_ of one of the most spiritual and aspiring hymns in the Christian Hymnary."

"Nearer, My God, to Thee" was on the lips of President McKinley as he lay dying by a murderer's wicked shot. It is dear to President Roosevelt for its memories of the battle of Las Quasimas, where the Rough Riders sang it at the burial of their slain comrades. Bishop Marvin was saved by it from hopeless dejection, while practically an exile during the Civil War, by hearing it sung in the wilds of Arkansas, by an old woman in a log hut.

A letter from Pittsburg, Pa., to a leading Boston paper relates the name and experience of a forger who had left the latter city and wandered eight years a fugitive from justice. On the 5th of November, (Sunday,) 1905, he found himself in Pittsburg, and ventured into the Dixon Theatre, where a religious service was being held, to hear the music. The hymn "Nearer, My God, to Thee" so overcame him that he went out weeping bitterly. He walked the floor of his room all night, and in the morning telephoned for the police, confessed his name and crime, and surrendered himself to be taken back to the Boston authorities.

Mrs. Sarah Flower Adams, author of the noble hymn (supposed to have been written in 1840), was born at Harlow, Eng., Feb. 22, 1805, and died there in 1848. At her funeral another of her hymns was sung, ending--

When falls the shadow, cold in death
I yet will sing with fearless breath,
As comes to me in shade or sun,
"Father, Thy will, not mine, be done."

The attempts to _evangelize_ "Nearer, My God, to Thee" by those who cannot forget that Mrs. Adams was a Unitarian, are to be deplored. Such zeal is as needless as trying to sectarianize an Old Testament Psalm. The poem is a perfect religious piece--to be sung as it stands, with thanks that it was ever created.

_THE TUNE._

In English churches (since 1861) the hymn was and may still be sung to "Horbury," composed by Rev. John B. Dykes, and "St. Edmund," by Sir Arthur Sullivan. Both tunes are simple and appropriate, but such a hymn earns and inevitably acquires a single tune-voice, so that its music instantly names it by its words when played on instruments. Such a voice was given it by Lowell Mason's "Bethany," (1856). (Why not "Bethel," instead, every one who notes the imagery of the words must wonder.) "Bethany" appealed to the popular heart, and long ago (in America) hymn and tune became each other's property. It is even simpler than the English tunes, and a single hearing fixes it in memory.

"I NEED THEE EVERY HOUR."

Mrs. Annie Sherwood Hawks, who wrote this hymn in 1872, was born in Hoosick, N.Y., in 1835.

She sent the hymn (five stanzas) to Dr. Lowry, who composed its tune, adding a chorus, to make it more effective. It first appeared in a small collection of original songs prepared by Lowry and Doane for the National Baptist Sunday School Association, which met at Cincinnati, O., November, 1872, and was sung there.

I need Thee every hour,
Most gracious Lord,
No tender voice like Thine
Can peace afford.

CHORUS.
I need Thee, Oh, I need Thee,
Every hour I need Thee;
Oh, bless me now, my Saviour,
I come to Thee!

One instance, at least, of a hymn made doubly impressive by its chorus will be attested by all who have sung or heard the pleading words and music of Mrs. Hawks' and Dr. Lowry's "I need Thee, Oh, I need Thee."

"I GAVE MY LIFE FOR THEE."

This was written in her youth by Frances Ridley Havergal, and was suggested by the motto over the head of Christ in the great picture, "Ecce Homo," in the Art Gallery of Dusseldorf, Prussia, where she was at school. The sight--as was the case with young Count Zinzendorf--seems to have had much to do with the gifted girl's early religious experience, and indeed exerted its influence on her whole life. The motto read "I did this for thee; what doest thou for me?" and the generative effect of the solemn picture and its question soon appeared in the hymn that flowed from Miss Havergal's heart and pen.

I gave my life for thee,
My precious blood I shed,
That thou might'st ransomed be
And quickened from the dead.
I gave my life for thee:
What hast thou given for me?

Miss Frances Ridley Havergal, sometimes called "The Theodosia of the 19th century," was born at Astley, Worcestershire, Eng., Dec. 14, 1836. Her father, Rev. William Henry Havergal, a clergyman of the Church of England, was himself a poet and a skilled musician, and much of the daughter's ability came to her by natural bequest as well as by education. Born a poet, she became a fine instrumentalist, a composer and an accomplished linguist. Her health was frail, but her life was a devoted one, and full of good works. Her consecrated _words_ were destined to outlast her by many generations.

"Writing is _praying_ with me," she said. Death met her in 1879, when still in the prime of womanhood.

_THE TUNE._

The music that has made this hymn of Miss Havergal familiar in America is named from its first line, and was composed by the lamented Philip P. Bliss (christened Philipp Bliss[14]), a pupil of Dr. George F. Root.

[Footnote 14: Mr. Bliss himself changed the spelling of his name, preferring to let the third P. do duty alone, as a middle initial.]

He was born in Rome, Pa., Jan. 9, 1838, and less than thirty-nine years later suddenly ended his life, a victim of the awful railroad disaster at Ashtabula O., Dec. 29, 1876, while returning from a visit to his aged mother. His wife, Lucy Young Bliss, perished with him there, in the swift flames that enveloped the wreck of the train.

The name of Mr. Bliss had become almost a household word through his numerous popular Christian melodies, which were the American beginning of the series of _Gospel Hymns_. Many of these are still favorite prayer-meeting tunes throughout the country and are heard in song-service at Sunday-school and city mission meetings.

"JESUS KEEP ME NEAR THE CROSS."

This hymn, one of the best and probably most enduring of Fanny J. Crosby's sacred lyrics, was inspired by Col. 1:29.

Frances Jane Crosby (Mrs. Van Alstyne) the blind poet and hymnist, was born in Southeast, N.Y., March 24, 1820. She lost her eyesight at the age of six. Twelve years of her younger life were spent in the New York Institution for the Blind, where she became a teacher, and in 1858 was happily married to a fellow inmate, Mr. Alexander Van Alstyne, a musician.

George F. Root was for a time musical instructor at the Institution, and she began early to write words to his popular song-tunes. "Rosalie, the Prairie Flower," and the long favorite melody, "There's Music in the Air" are among the many to which she supplied the text and the song name.

She resides in Bridgeport, Ct., where she enjoys a serene and happy old age. She has written over six thousand hymns, and possibly will add other pearls to the cluster before she goes up to join the singing saints.

Jesus, keep me near the Cross,
There a precious Fountain
Free to all, a healing stream,
Flows from Calv'ry's mountain.

CHORUS.
In the Cross, in the Cross
Be my glory ever,
Till my raptured soul shall find
Rest beyond the river.

* * * * *

Near the Cross! O Lamb of God,
Bring its scenes before me;
Help me walk from day to day
With its shadows o'er me.

CHORUS.

William Howard Doane, writer of the music to this hymn, was born in Preston, Ct., Feb. 3, 1831. He studied at Woodstock Academy, and subsequently acquired a musical education which earned him the degree of Doctor of Music conferred upon him by Denison University in 1875. Having a mechanical as well as musical gift, he patented more than seventy inventions, and was for some years engaged with manufacturing concerns, both as employee and manager, but his interest in song-worship and in Sunday-school and church work never abated, and he is well known as a trainer of choirs and composer of some of the best modern devotional tunes. His home is in Cincinnati, O.

"I WOULD NOT LIVE ALWAY."

This threnody (we may almost call it) of W.A. Muhlenberg, illustrating one phase of Christian experience, was the outpouring of a poetic melancholy not uncommon to young and finely strung souls. He composed it in his twenties,--long before he became "Doctor" Muhlenberg,--and for years afterwards tried repeatedly to alter it to a more cheerful tone. But the poem had its mission, and it had fastened itself in the public imagination, either by its contagious sentiment or the felicity of its tune, and the author was obliged to accept the fame of it as it originally stood.

William Augustus Muhlenberg D.D. was born in Philadelphia, Sept. 16, 1796, the great-grandson of Dr. Henry M. Muhlenberg, founder of the Lutheran church in America. In 1817 he left his ancestral communion, and became an Episcopal priest.

As Rector of St. James church, Lancaster, Pa., he interested himself in the improvement of ecclesiastical hymnody, and did much good reforming work. After a noble and very active life as promoter of religious education and Christian union, and as a friend and benefactor of the poor, he died April, 8, 1877, in St. Luke's Hospital, N.Y.

_THE TUNE._

This was composed by Mr. George Kingsley in 1833, and entitled "Frederick" (dedicated to the Rev. Frederick T. Gray). Issued first as sheet music, it became popular, and soon found a place in the hymnals. Dr. Louis Benson says of the conditions and the fancy of the time, "The standard of church music did not differ materially from that of parlor music.... Several editors have attempted to put a newer tune in the place of Mr. Kingsley's. It was in vain, simply because words and melody both appeal to the same taste."

"SUN OF MY SOUL, MY SAVIOUR DEAR."

This gem from Keble's _Christian Year_ illustrates the life and character of its pious author, and, like all the hymns of that celebrated collection, is an incitive to spiritual thought for the thoughtless, as well as a language for those who stand in the Holy of Holies.

The Rev. John Keble was born in Caln, St. Aldwyn, April 25, 1792. He took his degree of A.M. and was ordained and settled at Fairford, where he began the parochial work that ceased only with his life. He died at Bournmouth, March 29, 1866.

His settlement at Fairford, in charge of three small curacies, satisfied his modest ambition, though altogether they brought him only about £100 per year. Here he preached, wrote his hymns and translations, performed his pastoral work, and was happy. Temptation to wider fields and larger salary never moved him.

_THE TUNE._

The music to this hymn of almost unparalleled poetic and spiritual beauty was arranged from a German Choral of Peter Ritter (1760-1846) by William Henry Monk, Mus. Doc., born London, 1823. Dr. Monk was a lecturer, composer, editor, and professor of vocal music at King's College. This noble tune appears sometimes under the name "Hursley" and supersedes an earlier one ("Halle") by Thomas Hastings.

Sun of my soul, my Saviour dear,
It is not night if Thou be near.
O may no earth-born cloud arise
To hide Thee from Thy servants' eyes.

* * * * *

Abide with me from morn till eve,
For without Thee I cannot live
Abide with me when night is nigh,
For without Thee I cannot die.

The tune "Hursley" is a choice example of polyphonal sweetness in uniform long notes of perfect chord.

The tune of "Canonbury," by Robert Schumann, set to Keble's hymn, "New every morning is the love," is deservedly a favorite for flowing long metres, but it could never replace "Hursley" with "Sun of my soul."

"DID CHRIST O'ER SINNERS WEEP?"

The Rev. Benjamin Beddome wrote this tender hymn-poem while pastor of the Baptist Congregation at Bourton-on-the-water, Gloucestershire, Eng. He was born at Henley, Chatwickshire, Jan. 23, 1717. Settled in 1743, he remained with the same church till his death, Sept. 3, 1795. His hymns were not collected and published till 1818.

_THE TUNE._

"Dennis," a soft and smoothly modulated harmony, is oftenest sung to the words, and has no note out of sympathy with their deep feeling.

Did Christ o'er sinners weep,
And shall our cheeks be dry?
Let floods of penitential grief
Burst forth from every eye.

The Son of God in tears
Admiring angels see!
Be thou astonished, O my soul;
He shed those tears for thee.

He wept that we might weep;
Each sin demands a tear:
In heaven alone no sin is found,
And there's no weeping there.

The tune of "Dennis" was adapted by Lowell Mason from Johann Georg Nägeli, a Swiss music publisher, composer and poet. He was born in Zurich, 1768. It is told of him that his irrepressible genius once tempted him to violate the ethics of authorship. While publishing Beethoven's three great solo sonatas (Opus 31) he interpolated two bars of his own, an act much commented upon in musical circles, but which does not seem to have cost him Beethoven's friendship. Possibly, like Murillo to the servant who meddled with his paintings, the great master forgave the liberty, because the work was so good.

Nägeli's compositions are mostly vocal, for school and church use, though some are of a gay and playful nature. The best remembered of his secular and sacred styles are his blithe aria to the song of Moore, "Life let us cherish, while yet the taper glows" and the sweet choral that voices Beddome's hymn.

"MY JESUS, I LOVE THEE."

The real originator of the _Coronation Hymnal_, a book into whose making went five years of prayer, was Dr. A.J. Gordon, late Pastor of the Clarendon St. Baptist church, Boston. While the volume was slowly taking form and plan he was wont to hum to himself, or cause to be played by one of his family, snatches and suggestions of new airs that came to him in connection with his own hymns, and others which seemed to have no suitable music. The anonymous hymn, "My Jesus, I Love Thee," he found in a London hymn-book, and though the tune to which it had been sung in England was sent to him some time later, it did not sound sympathetic. Dissatisfied, and with the ideal in his mind of what the feeling should be in the melody to such a hymn, he meditated and prayed over the words till in a moment of inspiration the beautiful air sang itself to him[15] which with its simple concords has carried the hymn into the chapels of every denomination.

[Footnote 15: The fact that this sweet melody recalls to some a similar tune sung sixty years ago reminds us again of the story of the tune "America." It is not impossible that an unconscious _memory_ helped to shape the air that came to Dr. Gordon's mind; though unborrowed similarities have been inevitable in the whole history of music.]

My Jesus, I love Thee, I know Thou art mine,
For Thee all the pleasures of sin I resign;
My gracious Redeemer, my Saviour art Thou,
If ever I loved Thee, my Jesus, 'tis now.

* * * * *

I will love Thee in life, I will love Thee in death,
And praise Thee as long as Thou lendest me breath,
And say when the death-dew lies cold on my brow,
If ever I loved Thee, my Jesus, 'tis now.

In mansions of glory and endless delight
I'll ever adore Thee, unveiled to my sight,
And sing, with the glittering crown on my brow,
If ever I loved Thee, my Jesus, 'tis now.

The memory of the writer returns to a day in a railway-car en route to the great Columbian Fair in Chicago when the tired passengers were suddenly surprised and charmed by the music of this melody. A young Christian man and woman, husband and wife, had begun to sing "My Jesus, I love Thee." Their voices (a tenor and soprano) were clear and sweet, and every one of the company sat up to listen with a look of mingled admiration and relief. Here was something, after all, to make a long journey less tedious. They sang all the four verses and paused. There was no clapping of hands, for a reverential hush had been cast over the audience by the sacred music. Instead of the inevitable applause that follows mere entertainment, a gentle but eager request for more secured the repetition of the delightful duet. This occurred again and again, till every one in the car--and some had never heard the tune or words before--must have learned them by heart. Fatigue was forgotten, miles had been reduced to furlongs in a weary trip, and a company of strangers had been lifted to a holier plane of thought.

Besides this melody there are four tunes by Dr. Gordon in his collection, three of them with his own words. In all there are eleven of his hymns. Of these the "Good morning in Glory," set to his music, is an emotional lyric admirable in revival meetings, and the one beginning "O Holy Ghost, Arise" is still sung, and called for affectionately as "Gordon's Hymn."

Rev. Adoniram Judson Gordon D.D. was born in New Hampton, N.H., April 19, 1836, and died in Boston, Feb. 2d, 1895, after a life of unsurpassed usefulness to his fellowmen and devotion to his Divine Master. Like Phillips Brooks he went to his grave "in all his glorious prime," and his loss is equally lamented. He was a descendant of John Robinson of Leyden.