Handbook To The Mennonite Hymnary - free ebook by Lester Hostetler

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Handbook To The Mennonite Hymnary

Lester Hostetler

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Handbook to The Mennonite Hymnary

Handbook to The Mennonite Hymnary

By Lester Hostetler, B. D. Coeditor, The Mennonite Hymnary General Conference of the Mennonite Church of North America Board of Publications Newton, Kansas 1949 Copyright, 1949, by the General Conference of Mennonites, Board of Publications Printed by the Brethren Publishing House, Elgin, Illinois TO ALL WHO LOVE THE HYMNS OF THE CHURCH AND DESIRE TO SING THEM WITH THE SPIRIT AND THE UNDERSTANDING THIS BOOK IS DEDICATED IN GRATITUDE AND LOVE...

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PREFACE

PREFACE

The aim of this book is to serve as a companion to the Mennonite Hymnary . It seeks to explain, as far as possible, the origin of the words and music of every hymn in the Hymnary . The great lyrics of the church, contributed by every age since the days of the apostles, are a precious heritage, and a source of inspiration and power. This work is intended to foster an understanding of and love for our hymns, new and old, and to stimulate the time-honored and blessed practice of congregational sing

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EXPLANATORY NOTES

EXPLANATORY NOTES

In the interest of brevity and to avoid repetition, certain recurring words are abbreviated: Hymnary is used for Mennonite Hymnary . c. ( circa ) means approximate date. Tr. is prefixed to the names of all translators. Anon. (anonymous) means without any name acknowledged, as that of author or composer. The word “Number” has been omitted: thus Hymn 22 means Hymn No. 22. Cf. means compare. (Latin: confer). The original texts of German hymns found throughout the Handbook , especially in the sectio

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1. Definition of a Hymn.

1. Definition of a Hymn.

St. Augustine, 354-430, gave a definition of a hymn, which has been widely accepted: A hymn is the praise of God by singing. A hymn is a song embodying the praise of God. If there is merely praise but not praise of God it is not a hymn. If there be praise, and praise of God, but not sung, it is not a hymn. For it to be a hymn, it is needful, therefore, for it to have three things—praise, praise of God, and these sung. A recent definition, accepted by the Hymn Society of America, is that of the l

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2. The Beginnings of Christian Song.

2. The Beginnings of Christian Song.

Hymn singing has always been associated with Christian worship. Jesus and the Twelve sang a hymn, presumably a portion of the Hallel (Ps. 115-118), after the Supper was ended. Paul and Silas sang hymns, “songs of the night,” during the midnight hours of their imprisonment in Philippi. The great Apostle recognized the value of song when he exhorted the churches thus: Be filled with the Spirit; speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart

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3. Hymns of the Eastern Church: Greek and Syriac.

3. Hymns of the Eastern Church: Greek and Syriac.

The ancient Eastern Church developed a rich hymnody, rising steadily in the fourth century until it reached its culmination in the eighth and ninth centuries. Since it employed the Greek and Syriac languages, its hymnic treasures remained almost completely hidden and unknown to the English speaking churches for many centuries. It is only in recent years, through the efforts of scholars like John Mason Neale and Edward Caswall that some of the Eastern hymns have been translated and made available

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4. Hymns of the Western Church: Latin.

4. Hymns of the Western Church: Latin.

Two great names are associated with the music of the Western Church: Ambrose, c. 340-97, known as the “Father of Hymnody in the Western Church;” and Gregory the Great, 540-604, the missionary-minded pope, and reformer of church music. Ambrose, Bishop of Milan, not only composed hymns and music but stimulated others to do the same. Under his leadership there developed a large body of church music based upon four scales, which came to be known as Ambrosian Chant. Although widely known as a scholar

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5. Hymns of the Bohemian Brethren.

5. Hymns of the Bohemian Brethren.

The followers of John Hus who came to be known as the Bohemian Brethren, and later as the Moravians, were the first Protestant group to introduce congregational singing into their worship. They also published the first Protestant hymnbooks, one in 1501 and another in 1505, containing 89 and 400 hymns, respectively, in their native Bohemian tongue. Their efforts to introduce congregational singing were sternly opposed by the Roman hierarchy. The Council of Constance condemned Hus to be burned at

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6. Hymns of the Reformation: the German Chorales.

6. Hymns of the Reformation: the German Chorales.

The movement toward congregational singing, inaugurated by the Bohemian Brethren, was soon to be merged into the greater Reformation movement. Luther’s influence on the worship and music of the church was revolutionary. For a thousand years the laymen had had no part in church song. Congregational singing was unknown. Ambrosian music had at first been introduced for congregational use but it became more and more liturgical, thrusting the laity into the background. The Gregorian Chant which follo

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7. Hymns of the Reformation: The Metrical Psalms.

7. Hymns of the Reformation: The Metrical Psalms.

While the German people, under the leadership of Luther, were singing chorales set to original religious poems, a large section of Protestantism, under the influence of John Calvin, confined itself to the singing of Psalms. To the French reformer, now preaching at Geneva, hymns were “man-made,” whereas the psalms were the inspired word of God and the only proper vehicle for the praise of God. Calvin, unlike Luther, was not a musician, and at first permitted only unison singing, unaccompanied. Pa

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8. Psalm Versions.

8. Psalm Versions.

The use of the psalms in singing, first on the Continent, then in England and Scotland, and later in America, brought forth many metrical versions of the psalter, the principal ones being the following: a. The Genevan Psalter , begun 1539, published complete in 1562. It was made at the request of John Calvin by Clément Marot, court poet of France, and Theodore Beza, a French scholar. It became the psalm book for the Reformation churches on the continent, and is spoken of as the most famous book

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9. English Hymnody.

9. English Hymnody.

The youthful, courageous Isaac Watts, 1674-1748, an ardent dissenter, pioneered the movement which resulted in a flood of hymns and hymnbooks in the English churches. Watts was not satisfied with the psalm singing of his time, which by now had become formal and lifeless. Parts of the psalter, he pointed out, were obviously not written in the spirit of the Gospel. “By keeping too close to David,” he wrote in one of his Prefaces, “the vail of Moses is thrown over our hearts.” Watts removed that “v

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10. American Hymns.

10. American Hymns.

The English speaking colonists who settled in America during the 17th century continued the psalm singing traditions of their forebears in England. The practice prevailed in their churches for two hundred years. The first book printed by them was the Bay Psalm Book , in 1640, at Cambridge, Massachusetts. It contained no original hymns. The singing of psalms, and later of hymns borrowed from England made up nearly the entire repertory of church music until the middle of the 19th century. On the o

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11. Gospel Songs.

11. Gospel Songs.

During the latter part of the 19th century there came into use, both in the United States and in England, a type of religious song known as the Gospel Song. Less dignified than the chorales or the English hymns, these songs made a popular appeal and were widely used in prayer meetings and revivals. The words of the typical Gospel Song are usually simple and easily remembered and concern themselves largely with the individual’s salvation. The personal pronouns “I” and “my” predominate. The tunes

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12. Women Hymn Writers.

12. Women Hymn Writers.

There have been no outstanding women composers of church tunes but some of our finest lyrics have been contributed by women, as the following list from the Hymnary will show:...

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13. Mennonite Hymnody.

13. Mennonite Hymnody.

Mennonites have made many contributions to society through their religious life and practices, but we have produced no important hymnody of our own. Throughout the four hundred years of our existence as a church, we have been a singing people, in times of persecution as well as in times of peace. Great emphasis has always been laid upon the importance of congregational singing in our worship services. Since the beginning of the 19th century the Mennonites of various branches, in America alone, h

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14. The Antecedents of the Mennonite Hymnary.

14. The Antecedents of the Mennonite Hymnary.

The story of the hymn books antedating the Hymnary may be briefly summarized by listing the following books: 1565. The first German Mennonite hymn book was published in 1565 or 1566 (date omitted from title), entitled, Ein schön Gesangbüchlein Geistlicher Lieder, zusammengetragen aus dem A. und N. Testament durch fromme Christen und Liebhaber Gottes, welcher hiefür etliche getrucht sei gewesen, aber noch viel dazu gethan, welche nie im Truck aussgangen seindt, in welchen auch ein recht Leben und

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15. The Translation of Hymns.

15. The Translation of Hymns.

A word may be in order concerning the translation of hymns. It is difficult to transfer the color and feeling of one language to another. For this reason many people who know the German hymns by heart have a sense of disappointment when they read them in an English version. In some instances a translation is inferior to the original but this is not necessarily the case. It is well to remember that nearly all of us read the Bible only in a translation, yet never doubt the literary quality of the

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16. Church Unity in the Hymnbook.

16. Church Unity in the Hymnbook.

The unity of the Christian Church is expressed nowhere more eloquently than in the hymns we sing. Every modern hymnal, regardless of the denominational interest it represents, reaches across the ages to gather its treasures from sources new and old; it knows nothing of the external barriers which divide Christians into denominations, but makes use of the hymns of widely divergent Christian groups. The Mennonite Hymnary is no exception. Here are found hymns from the early church, East and West, t

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17. Hymn Meters.

17. Hymn Meters.

Meter (English, Metre ) refers to the rhythmic element in poetry: The figures attached to the tune names in the Hymnary indicate the number of lines in a stanza and the number of syllables in a line, e. g., 8.7.8.7. means that the hymn has four lines in each stanza, the first line being made up of 8 syllables, the second of 7 syllables, the third of 8 syllables, and the last of 7 syllables. The figures are placed there to facilitate the fitting of tunes to hymns, a responsibility which is left n

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a. What is a good tune?

a. What is a good tune?

The quality of a tune must be judged by its definite and restricted use. It is to be sung by a congregation of people, the majority of whom have had only limited musical training, and without benefit of rehearsal. The tune must therefore be judged by such questions as these: Is it singable? Are the parts within easy pitch range of the voices? Is it free from difficult intervals or modulations into other keys? Is it interesting? Does it create a worshipful atmosphere? Does the mood of the tune fi

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b. The importance of tunes.

b. The importance of tunes.

The tune is of great importance to the success of the hymn. Our “best hymns” owe their popularity in many instances, to the tune with which they are associated. On the other hand many excellent hymns remain unused because the tunes given them are too difficult or too uninteresting. It is the tune that creates the mood of worship and charges the words with emotion so that their message is carried forth with feeling and power....

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c. Composers of tunes.

c. Composers of tunes.

The story of the development of the hymn tune begins with the worship song in the Temple at Jerusalem where the psalms were sung antiphonally by priests and people accompanied by harps and trumpets. Little is known of these tunes or their composers. This early Christian music would doubtless sound strange to modern ears. The important names in the roll of church musicians, from the early centuries to the present time, include the following: The great composers, besides Bach, whose names are foun

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d. Sources of tunes.

d. Sources of tunes.

An examination of the origin of church tunes shows a variety of sources. Many tunes were especially written for the words to which they are set; others are adaptations from early medieval chants; still others, as for example, the “Passion Chorale” and “Londonderry Air”, were folk tunes originally used with secular words. Some of our best tunes are adaptations of melodies from larger musical works, as for example, “Hymn to Joy” ( 10 ) from Beethoven’s Ninth Symphony ; “Finlandia” ( 54 ), from a t

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e. Tune names.

e. Tune names.

Composers usually name their tunes in order to facilitate their identification. The names given them are selected quite arbitrarily. W. H. Havergal, prolific composer of church music, named his tunes after the rivers, mountains, valleys, etc., of Palestine, e.g. “Abana,” “Ahava,” “Ararat,” “Baca,” etc. Other tunes have been named for the composer, e.g., “Bradbury” ( 395 ); the name of a friend, e.g., “Rockingham” ( 105 ); name of a city or village, e.g., “Boylston” ( 214 ); a street, “Federal St

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19. John Wesley’s Rules for Singing.

19. John Wesley’s Rules for Singing.

In one of John Wesley’s compilations of tunes, Sacred Melody , the great preacher and founder of Methodism gives the following rules for singing. Some of the expressions used may provoke a smile but, as Lightwood suggests, “it would be a very good thing if these were read aloud from time to time in all churches and chapels where good congregational singing is aimed at.” a. Learn these tunes before you learn any others; afterwards learn as many as you please. b. Sing them exactly as they are prin

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1. Holy, holy, holy

1. Holy, holy, holy

A metrical paraphrase of Revelation 4:8-11. The hymn was written for use on Trinity Sunday of the Church Year but has found a wide general use as a morning hymn. It ranks high in any list of “best hymns.” Some give it first place. The author, Reginald Heber, was educated at Oxford, England, for the Anglican ministry. For sixteen years he served as rector at Hodnet, Shropshire, where most of his hymns were written. He became an eminent churchman, as well as hymn writer, and was made bishop of Cal

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2. God is in His holy temple

2. God is in His holy temple

Based on Hab. 2:20: “The Lord is in his holy temple: let all the earth keep silence before him.” The hymn, whose authorship is anonymous, is a call to silence and reverence as the worshipper bows in the presence of God. MUSIC. The origin of the popular and useful tune, AUTUMN , has been in dispute. Some books refer to it as a Spanish melody, and others have seen in the tune a reminiscence of a psalm-tune found in the Genevan Psalter of 1551. It is ascribed here to one, Louis von Esch, but Dr. Ro

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3, 4, 5. All hail the power of Jesus’ name

3, 4, 5. All hail the power of Jesus’ name

The original version of this hymn contained eight stanzas and first appeared in the Gospel Magazine , Augustus Toplady’s journal, the first stanza together with the tune “Miles Lane,” in November, 1779, and the remaining stanzas in April, 1780. It is one of the popular, stirring hymns of the English language, sung in England almost invariably to the tune “Miles Lane” and in America more generally to “Coronation.” Edward Perronet was born in 1726 and became a vicar in the Church of England in Sho

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6. Ye servants of God, your Master proclaim

6. Ye servants of God, your Master proclaim

This hymn by Charles Wesley, perhaps the greatest hymnist of all ages, was No. 1 in a collection published in 1774 and entitled, Hymns for Times of Trouble and Persecution . The original had six stanzas and was marked, “To be sung in a tumult.” The Wesleys knew the meaning of persecution and tumults. They were often attacked by godless men who used physical violence. Hoodlums were known to try to break up their meetings by blowing horns, ringing bells, or barking in front of the preacher. Someti

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7. O worship the King, all glorious above

7. O worship the King, all glorious above

A simple, yet majestic hymn, based on the magnificent 104th Psalm. A careful reading of the Psalm will result in a new appreciation of this free paraphrase by Grant. Robert Grant was born in Bombay, India. When six years old, his parents moved to London. He received his education in Oxford, was admitted to the bar, elected to Parliament in 1808, and then held various responsible government positions, climaxed in 1834 by his appointment as Governor of Bombay. He died at Delpoonie, India, where a

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8. Come Thou Almighty King

8. Come Thou Almighty King

This hymn of praise and prayer is widely used in all branches of the Christian church in the English speaking world and has been translated into many foreign languages. It has been generally attributed to Charles Wesley, the great “Bard of Methodism,” but the authorship is uncertain. The hymn appeared as the first of only two selections in a small booklet published by John Wesley about 1757. The second hymn was by Charles Wesley and was entitled, “The Backslider.” “Come, Thou Almighty King,” wit

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9. Christ is our Cornerstone

9. Christ is our Cornerstone

This is a translation of a mediaeval Latin hymn. At the beginning of the Christian era, the prevailing language was Greek. With the dominance of Rome over the empire of Alexander the Great, Greek gradually gave way to the Latin tongue, and from the fourth century to the dawn of the Reformation, a rich treasury of Latin hymns came into existence in the church. Many of these have now been translated for use in modern English speaking churches. They are stately, reverent, devout pieces of devotiona

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10. Joyful, joyful we adore Thee

10. Joyful, joyful we adore Thee

A nature hymn of the first order, written by one who himself had a profound appreciation and love of the out-of-doors. The words from beginning to end are an expression of the beauty in nature and the resulting joy and spirit of praise it brings to the worshipper. The hymn was written in 1907 while the author was on a preaching visit to Williams College; it was designated to be sung to the “Hymn to Joy” in the last movement of Beethoven’s Ninth Symphony . The words fit the music perfectly. It is

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11. Give to our God immortal praise

11. Give to our God immortal praise

Recognized as the best of three versions which Watts made of Psalm 136. The hymn expresses with dignity and fervor the high praise of God. Isaac Watts, scholar, poet, and pastor of the Independent Church in Mark Lane, London, ranks among the greatest of English hymn writers. He is the author of about 600 hymns and versions, many of which are still in common use. The Hymnary contains 19 of his works. Watts is often referred to as the “father of English hymnody.” Though suffering from bodily ailme

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12. O for a thousand tongues to sing

12. O for a thousand tongues to sing

From a poem of 18 stanzas, written by Wesley to celebrate the first anniversary of his great spiritual change, a conversion experience in which he felt the clear light of the Gospel possessing his soul. The poem was entitled, “For the Anniversary Day of One’s Conversion.” Wesley was greatly influenced by the Moravian missionary Peter Bohler who once said to him: “Had I a thousand tongues, I would praise Him with them all.” The incident, lingering in Wesley’s mind, was turned into a song which ex

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13. Great God, the followers of Thy Son

13. Great God, the followers of Thy Son

Written for an ordination service which took place in Baltimore in 1819, William E. Channing preaching the sermon. The author, Henry Ware, Jr., was born at Hingham, Mass., April 21, 1794; died September 25, 1843, at Framingham, Mass. He was educated at Harvard, and served as minister of the Second Unitarian Church, Boston, 1817 to 1829, with Ralph Waldo Emerson as assistant for a time. From 1829 to 1842, he was Professor of Pulpit Eloquence and Pastoral Care in the Harvard Divinity School. He wa

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14. The God of Abraham praise

14. The God of Abraham praise

This praise hymn, with its magnificent tune, had its origin in a Jewish synagogue in London. Thomas Olivers, a Welshman and follower of John Wesley, spent fifty years of his life as a Methodist minister, during which time he travelled more than 100,000 miles on horseback in his evangelistic work. His fame, however, rests upon this hymn. While visiting in London, he went to the Great Synagogue in Duke’s Place and heard the cantor sing the Hebrew Yigdal or doxology, in which the articles of the Je

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15. We praise Thee, O God, our Redeemer

15. We praise Thee, O God, our Redeemer

A notable hymn of praise written by Mrs. Julia Cady Cory, who was born and reared in what was reputed to be one of the happiest Christian homes in New York City. Her father, J. Cleveland Cady, was a nationally known architect. A devout Christian, he had a genuine love for boys and girls and was superintendent of the same Sunday school for fifty-two years. Concerning the origin of this hymn, Mrs. Cory has written: Years before I was married (in 1902), the organist of the Brick Presbyterian Church

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16. Praise the Lord: ye heavens adore Him

16. Praise the Lord: ye heavens adore Him

A free rendering of some lines of Psalm 148 in which all the hosts of heaven and earth join in a magnificent chorus of praise to God. The first two stanzas are anonymous. They were first published in the Foundling Hospital Collection , a book of hymns and anthems compiled by Thomas Coram, an English seaman, merchant captain and philanthropist. In later life, Mr. Coram devoted his time and fortune to the support of a children’s hospital in which a chapel was also maintained and the children train

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17. Come, let us join our cheerful songs

17. Come, let us join our cheerful songs

A paraphrase of Revelation 5:11-13. It is one of the most widely esteemed of Watts’ poems and one of the classics of English hymnody. The basses and tenors would be less likely to sing the wrong words at the beginning of the third score if the lines of all four stanzas had been printed. Let the song leader remind them to look ahead for the proper lines of each stanza before singing their solo part, and so avoid some incongruities of thought! For comments on Isaac Watts see Hymn 11 . MUSIC. CAMBR

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18. O come, loud anthems let us sing

18. O come, loud anthems let us sing

A metrical version of Psalm 95, by Tate and Brady, two Irishmen who collaborated in producing, in 1696, the New Version of the Psalms. Their work partly supplanted the older version by Sternhold and Hopkins, then in use. Nahum Tate, 1652-1715, was the son of an Irish clergyman, and, like Brady, received his education at Trinity College, Dublin. He was only a second-rate poet but managed to receive appointment as Poet Laureate of England in 1690. Nicholas Brady, 1659-1726, was granted the honorar

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19. When morning gilds the skies

19. When morning gilds the skies

A radiant morning hymn of adoration. It comes from the German song, “Bei frühem Morgenlicht,” of unknown authorship, which first appeared in print in the Katholisches Gesangbuch , 1828, bearing the title, “A Christian Greeting.” Bei frühem Morgenlicht Erwacht mein Herz und spricht. Gelobt sei Jesus Christus! So sing ich früh and spät, Bei Arbeit und Gebet, Gelobt sei Jesus Christus! The translator, Edward Caswall, was an English scholar and clergyman, educated at Oxford. He left the Church of En

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20. Lord, in the morning

20. Lord, in the morning

Based on Psalm 5:3: “My voice shalt thou hear in the morning, O Lord; in the morning will I direct my prayer to thee, and will look up.” Watts did not hesitate to change the wording of the Psalms, when necessary, to “Christianize” them. In the preface to his book of Psalms , he states his method and purpose in these words: It is necessary that I should inform my readers that they are not to expect in this book an exact translation of the Psalms of David. My design is to accommodate the Book of P

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21. When morning gilds the skies

21. When morning gilds the skies

For comments on the words see Hymn 19 . MUSIC. LAUDES DOMINI was composed by Joseph Barnby, 1838-96, an English organist and one of the most prolific hymn-tune writers of his time. He was conductor of the Royal Choral Society in London, which presented many splendid performances of the great oratorios. It is a reverent and vigorous tune, written especially for this hymn, and makes a good processional....

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22. New every morning is the love

22. New every morning is the love

Taken from John Keble’s Christian Year , a book of devotional poetry, one of the great religious classics in the English language. The original poem of sixteen stanzas is based on Lamentations 3:22b, 23a: “His compassions fail not. They are new every morning.” The hymn shows a deep appreciation of the beauties of the natural world, linking them with the worship of God. John Keble was educated at Oxford where he was an outstandingly brilliant student. Later he taught at Oxford for nine years and

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23. Still, still with Thee

23. Still, still with Thee

Based on Psalm 139:18: “When I awake I am still with Thee.” It is a beautiful, personal, morning hymn, expressing the soul’s adoration upon waking to find itself in the glad consciousness of the divine presence. Harriet Beecher Stowe belonged to a famous American family. Her father, Lyman Beecher, and her brother, Henry Ward Beecher, were eloquent and influential preachers in the Presbyterian and Congregational churches, respectively. Harriet’s girlhood was spent in Cincinnati, Ohio, where her f

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24. Father, we praise Thee

24. Father, we praise Thee

The original of this morning hymn is attributed to Gregory the Great, Pope Gregory I, a sincere man, devoted to missions and reforms within the church, and one of the greatest of the line of Popes. The date of his election to the papacy, A.D. 590, is usually given by church historians as the end of the period of the Ancient Church and the beginning of the period of the Middle Ages—a witness to the importance of Gregory. A man of unblemished character and statesmanlike wisdom, he had a noble visi

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25. Awake, my soul, and with the sun

25. Awake, my soul, and with the sun

Taken from a Manual of Prayers , which Bishop Ken wrote for Winchester College students in 1674. It appeared as the “Morning Hymn.” The preface of the book admonished the boys “to be sure to sing the Morning and Evening Hymn in your chamber devoutly.” Both the Morning and Evening Hymn ( 33 ) had for the closing stanza the famous doxology, “Praise God from whom all blessings flow,” now sung by the whole Christian church. The original poem had fourteen stanzas. According to Julian, this hymn is on

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26. Christ, whose glory fills the skies

26. Christ, whose glory fills the skies

One of the greatest morning hymns in the English language, based on Mal. 4:2: “But unto you that fear my name shall the sun of righteousness arise with healing in his wings.” James Montgomery called it “one of Charles Wesley’s loveliest progeny.” It pictures Christ as the true Light and the Sun of Righteousness triumphing over the darkness of sin and grief. Charles Wesley was the second youngest in a family of nineteen children and became the “sweet singer of Methodism.” He and Isaac Watts were

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27. Come, my soul, thou must be waking

27. Come, my soul, thou must be waking

From a book of German lyrics, translated by H. J. Buckoll. The original poem of 13 stanzas begins with the words, “ Seele, du muszt munter werden .” The hymn, expressing the glories of a new day, is especially suitable for use in schools and colleges. It is a translation of stanzas 1, 6, 8, 10, and 11 of the original: Seele, du musst munter werden! Denn der Erden Blickt hervor ein neuer Tag. Komm, dem Schöpfer dieser Strahlen Zu bezahlen, Was dein schwacher Trieb vermag. Bitte, dass er dir Gedei

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28. Now on land and sea descending

28. Now on land and sea descending

Written for use in a series of vesper services the author was conducting in his church. It was published, with other hymns, in a small book called Vespers . This hymn and “Again as evening’s shadow falls” ( No. 280 ), also by Longfellow, have become two of the most-loved evening hymns in the English language. Samuel Longfellow, younger brother of the poet, Henry Wadsworth Longfellow, was born and died in Portland, Maine. He was educated at Harvard for the ministry and served congregations in Fal

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29. Now the day is over

29. Now the day is over

Based on Proverbs 3:24: “When thou liest down, thou shalt not be afraid; Yea, thou shalt lie down, and thy sleep shall be sweet.” The hymn was written for children, but is suitable for worshippers of all ages. Sabine Baring-Gould was educated at Cambridge and became a clergyman of the Church of England. He was a man of great industry and versatility, and possessed a wide range of interests. He wrote books on travel, biography, history, and is the author of several novels. He also edited several

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30. Sun of my soul, Thou Savior dear

30. Sun of my soul, Thou Savior dear

Another evening hymn, widely used, and destined to live as long as English hymns are sung. It is taken from the author’s Christian Year , a book of devotional poetry which sold 305,500 copies in forty-six years. The original poem of fourteen stanzas, composed November 25, 1820, appeared with the title, “’Tis Gone, that Bright and Orbèd Blaze,” and was headed with the text, “Abide with us” (Luke 24:29). The hymn represents a lone traveller pressing on his way after the sun has set, but trusting i

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31. Day is dying in the west

31. Day is dying in the west

An evening hymn of high rank which has been used widely in American churches during the past half century. Mary A. Lathbury, daughter of a Methodist minister, was a successful art teacher but is remembered chiefly for her work with the Methodist Sunday School Union and her literary contributions to periodicals for young people. The “Look Up” Legion which she founded had for its motto, Edward Everett Hale’s four rules of good conduct: Look up, not down; Look forward, not back; Look out, not in, A

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32. Darkening night the land doth cover

32. Darkening night the land doth cover

From an anonymous 8th-century or earlier Greek hymn. Some authorities believe it to be an expansion of the Greek candle lighting hymn ( No. 34 ), also translated by Robert Bridges. The editors of the Hymnary , in search of a poem to fit the well-known UNTER LILIEN JENER FREUDEN tune in the Gesangbuch mit Noten , found for it this beautiful evening hymn published in the American Oxford Hymnal . The translator, Robert Bridges, was one of England’s great literary scholars who gave serious attention

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33. All praise to Thee, my God this night

33. All praise to Thee, my God this night

Based on Psalm 91:4: “He shall cover thee with his feathers; and under his wings shalt thou trust.” This is the “Evening Hymn,” whereas No. 25 is the “Morning Hymn” which Bishop Ken wrote for the devotional use of students at Winchester College. His endeavor was to express in simple, fitting words the thoughts that ought to be in the minds of the boys of the school “and all other devout Christians” in the evening. The two hymns were published in 1695 and have been growing in fame and power these

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34. O Gladsome Light, O Grace

34. O Gladsome Light, O Grace

This is the oldest Christian hymn in common use, belonging to the first or second century. It was sung by the early Christians as a hymn of thanksgiving at the lighting of the candles at the vesper services in the church and probably also in the home. It is still so used in the Eastern churches. St. Basil wrote c. 370 regarding this hymn: “We cannot say who is the father of this expression at the Thanksgiving of the Lighting of the Lamps; but it is an ancient formula which the people repeat.” So

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35. God that madest earth and heaven

35. God that madest earth and heaven

The original hymn consisted of the first stanza only which was written by Reginald Heber after hearing the tune used here played by a Welch harpist in a home where Heber was visiting. Retiring to a quiet place, he promptly wrote the stanza to suit the melody. For comments on Reginald Heber see Hymn 1 . William Mercer, author of the second stanza, was a clergyman in the Church of England in Sheffield. In 1857, he issued The Church Psalter and Hymn Book , the most important Church of England book

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36. Softly now the light of day

36. Softly now the light of day

An American hymn characterized by simplicity and grace, and sung the world over wherever the English language is spoken. It appeared in 1824 in a collection of poems, Songs by the Way , with the heading “Evening.” It is based on Psalm 141:2, “Let my prayer be set forth before Thee as incense; and the lifting up of my hands as the evening sacrifice.” George Washington Doane was born in Trenton, New Jersey, in 1799, the year that the “Father of our Country” died; hence his name. He was educated at

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37. At even, when the sun was set

37. At even, when the sun was set

This evening hymn, a prayer for the healing of our bodily as well as spiritual ills, has been translated into many foreign tongues, and is found in nearly all standard hymn books both in America and abroad. The original has eight stanzas. It is based on the touching evening scene described in Mark 1:32, “At even, when the sun was set, they brought unto him all that were sick.” Henry Twells was ordained in 1849 in the Church of England. Among the parishes he served was Stratford-on-Avon, the birt

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38. Savior, breathe an evening blessing

38. Savior, breathe an evening blessing

This hymn ranks with the best of the evening hymns of the English language though it is practically all that survives of the more than two thousand hymns that came from the too prolific pen of the author. James Edmeston, a member of the Church of England, was an eminent London architect and surveyor who had a great love for and interest in children and possessed a gift for writing sacred poetry. He had the habit of writing a hymn every Sunday and reading it at family worship. During the Boxer up

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39. Unheard the dews around me fall

39. Unheard the dews around me fall

This hymn, emphasizing the silences of God as manifested in the world without and within, is of anonymous authorship. It is found in Hymns of the Spirit but most of the other modern hymnals have overlooked it. MUSIC. WINDSOR is an English tune of unknown origin. It was set to Psalm 116 in a book of Psalm tunes by M. William Damon, published in 1591. It is one of a number of tunes written in the minor mode which appear in the Hymnary . Note that the “Amen” closes with the chord in F major, in kee

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40. Abide with me; fast falls the eventide

40. Abide with me; fast falls the eventide

One of the great consolation songs of Christianity. It is really not an evening hymn, but for a person in his last illness, when the thought of passing through the gateway of death, and the glory of the great beyond are the soul’s vital concern. It has long been sung at evening services because, presumably, the end of the natural day suggests the evening of life, and the mood of the tune is so well suited to the pensive quietness of the close of day. Henry F. Lyte, a Scotsman, was a young clergy

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41. Blest be the tie that binds

41. Blest be the tie that binds

This hymn is often sung at the close of church meetings. Sometimes the custom of the people joining hands while singing is observed. John Fawcett, an English Baptist minister, was serving a small country church in Yorkshire when he received and accepted a call to a large city church in London, which paid a salary more suited to the needs of his big family. His farewell sermon had been preached, six or seven wagons stood loaded with his furniture and books, and all was ready for his departure. Bu

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42. The Lord be with us as we bend

42. The Lord be with us as we bend

The hymn is particularly appropriate for the close of an evening service. John Ellerton was a minister of the Church of England, a teacher, author, and one of England’s most distinguished hymnists. He assisted in editing the famous Hymns Ancient and Modern , London, 1861. He was early surrounded with religious influences and had a happy childhood life. Of his parents he wrote, “I used to feel how happy my father and mother were, even more than how good they were.” He composed about fifty hymns a

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43. Savior, again to Thy dear Name we raise

43. Savior, again to Thy dear Name we raise

This, the most popular of Ellerton’s hymns, was originally written in 1866 for a choir festival. It was revised and condensed to these four verses, rich in poetic beauty and spiritual power, to take a high place among our evening hymns. The first stanza may be used with good effect as a choral benediction. The last stanza was sung at Ellerton’s funeral on June 20, 1893. For comments on John Ellerton see Hymn 42 . MUSIC. ELLERS was composed for this hymn in 1869. Edward John Hopkins, 1818-1901, w

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44. O Savior, bless us ere we go

44. O Savior, bless us ere we go

A hymn for the close of evening worship. Frederick W. Faber was educated at Oxford and became a minister in the Church of England. He began his parish work at Elton where he became a forceful preacher and was known for his fine Christian character and lovely spirit. Church attendance increased, the parish grew, and the people who had been known for their intemperance and immorality were now reputed for their thrift and good behavior. Under the influence of John Henry Newman, Faber changed his vi

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45. Lord, dismiss us with Thy blessing

45. Lord, dismiss us with Thy blessing

This popular dismission hymn is ascribed to the English Baptist minister, John Fawcett, who is best known as the author of “Blest be the tie that binds.” The hymn has undergone some alteration with the passing of the years. The third stanza originally read: “So whene’er the signal’s given “Us from earth to call away, “Borne on angels’ wings to heaven “Glad the summons to obey, “May we ever “Reign with Christ in endless day.” For comments on John Fawcett see Hymn 41 . MUSIC. SICILIAN MARINERS is

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46. Mighty God, while angels bless Thee

46. Mighty God, while angels bless Thee

The author of this hymn had a unique career. Robert Robinson, born in Norfolk, England, of lowly parentage, was left fatherless at eight to be the sole support of his widowed mother. At fourteen he was apprenticed to a barber in London who frequently reprimanded him for giving too much time to the reading of books and too little to business. At seventeen he heard the great evangelist Whitefield preach a sermon on Matthew 3:7 and decided to dedicate his life to God. His complete conversion he dat

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47. I sing the mighty power of God

47. I sing the mighty power of God

A hymn of praise, magnifying the power, wisdom, goodness, and omnipresence of God as revealed in creation. It appeared first in Watt’s Divine and Moral Songs for the Use of Children where it was entitled, “Praise for Creation and Providence.” The original has eight stanzas. For comments on Watts see No. 11 . MUSIC. ELLACOMBE is a cheerful, unpretentious tune that deserves to be better known. The source designated is Gesangbuch der Herzogl published in 1784, but some of our best authorities are c

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48. This is my Father’s world

48. This is my Father’s world

The original has sixteen stanzas, each beginning with the words “This is my Father’s world,” a good slogan to begin and end the day. It appeared in the author’s Thoughts for Every Day Living , a book of religious verse. The hymn expresses a confident attitude toward life and a buoyant faith in God. Maltbie D. Babcock, prominent Presbyterian minister, was born in Syracuse, New York, graduated from Syracuse University and Auburn Seminary and then began his first pastorate at the First Presbyterian

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49. Let the whole creation cry

49. Let the whole creation cry

The hymn is an imitation of Psalm 148. It is a universal call to praise rather than an expression of praise, hence it is addressed not to God but to his creation everywhere, as a call to worship God. The hymn is characterized by literary grace, simplicity, and tenderness, and is included in many modern hymnals. Stopford A. Brooke, born in Ireland, was educated at Dublin, then became a clergyman in the Anglican Church. For a time he was one of the most popular preachers in London. In 1880, being

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50. The spacious firmament on high

50. The spacious firmament on high

This hymn was praised by Lord Selbourne as “a very perfect and finished composition, taking rank among the best hymns of the English language.” The author, Joseph Addison, was an eminent Englishman of letters. Dr. Samuel Johnson said of him, “Whoever wishes to attain an English style, familiar, but not coarse, elegant but not ostentatious, must give his days and nights to the volumes of Addison.” In 1712, Addison wrote a series of essays in the Spectator , concluding each essay with a hymn. In t

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51. For the beauty of the earth

51. For the beauty of the earth

This delightful hymn of thanksgiving was originally written for the communion service to bring the note of joy into the solemn sacrament, making it truly an “eucharist.” It is now used frequently at Thanksgiving and children’s services. It names many causes for praise and thanksgiving, from the “beauty of the earth” to the “church that lifteth holy hands.” The author, Folliott S. Pierpoint, was born at Bath, England, and educated at Cambridge. He was a teacher of the classics, published several

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52. God of the earth, the sky, the sea

52. God of the earth, the sky, the sea

A hymn which finds God in every aspect of nature. For comments on the author, Samuel Longfellow, see Hymn 28 . MUSIC. SHELTERING WING , a long-meter melody admirably suited to these words, is by the English church musician, Joseph Barnby, 1838-96. For comments on him see Hymn 19 ....

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53. Lord of all being, throned afar

53. Lord of all being, throned afar

A hymn difficult to praise too highly, probably the greatest penned on the omnipresence of God. Its first appearance was in the Atlantic Monthly as the final installment of the series of articles later collected into book form and entitled The Professor at the Breakfast Table . The work closed with the following lines and the hymn: Peace to all such as may have been vexed in spirit by any utterances these pages may have repeated! They will, doubtless, forget for the moment the differences in the

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54. Be still, my soul, the Lord is on thy side

54. Be still, my soul, the Lord is on thy side

The hymn is a translation of a poem by Katharina von Schlegel. She was born in Germany, 1697. No one seems to have found anything definite concerning her life, except that she wrote some hymns, one of which passed into the English language. The original, based on Psalm 46:10, “Be still and know that I am God,” had four stanzas, as follows: Stille, mein Wille! Dein Jesus hilft siegen; Trage geduldig das Leiden, die Not; Gott ist’s, der alles zum besten will fügen, Der dir getreu bleibt in Schmerz

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55. God is love; His mercy brightens

55. God is love; His mercy brightens

A bright, joyful hymn which we owe to a layman, Sir John Bowring, born at Exeter, England, 1792. Though a member of the Unitarian Church, his faith was apparently that of an evangelical. On his tombstone are engraved the words of another great hymn which he himself wrote, “In the Cross of Christ I glory” (See 110 ). Bowring was the son of a manufacturer of woolen goods and he spent his early years travelling in all parts of the world in the interest of his father’s business. Though he left schoo

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56. How gentle God’s commands

56. How gentle God’s commands

This hymn, beautiful in poetic imagery, is based on I Peter 5:7, “Casting all your care upon Him: for He careth for you.” When it first appeared, posthumously, in a book of hymns by the author, it bore the title, “God’s care a remedy for ours.” Philip Doddridge was born in London, the youngest of a family of twenty, most of whom died in childhood. His father was an oil merchant. Before he could read, he had learned from his mother the stories of the Bible by the aid of Bible pictures on the Dutc

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57. Thou Grace Divine, encircling all

57. Thou Grace Divine, encircling all

The hymn was written by Eliza Scudder, an American hymn writer of the middle nineteenth century. She was born in Boston, and died in Weston, Massachusetts. She was a niece of Edmund H. Sears, author of “It came upon a midnight clear” ( No. 75 ). Miss Scudder was a person of deep religious insight and lived a quiet, retiring life. She published a book of religious verse, Hymns and Sonnets , in 1880. During most of her active life she was a Unitarian, but in later life joined the Episcopal Church.

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58. There’s a wideness in God’s mercy

58. There’s a wideness in God’s mercy

The original of this poem has thirteen stanzas, the first of which reads: Souls of men! why will ye scatter Like a crowd of frightened sheep? Foolish hearts! why will ye wander From a love so true and deep? The five stanzas selected for use here make an impressive and coherent hymn with no trace of the author’s strong Roman Catholic bias which characterizes nearly all of his hymns. For comments on F. W. Faber see Hymn 44 . MUSIC. WELLESLEY was written, by request, for the graduation hymn of the

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59. Father Almighty, bless us with Thy blessing

59. Father Almighty, bless us with Thy blessing

A prayer of invocation seeking the blessing and guidance of Almighty God. The authorship is anonymous. MUSIC. INTEGER VITAE (or FLEMMING ) was composed by Flemming for a chorus of men’s voices. It was set to “Integer Vitae,” an ode by Horace. The tune became a great favorite with college men not only in this country but also in England and Germany. It was introduced as a hymn tune through the hymnals of Dr. Charles R. Robinson, Songs of the Sanctuary , and Laudes Domine , and has since been wide

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60. God moves in a mysterious way

60. God moves in a mysterious way

There is no basis, according to most hymnologists, for the story that this hymn was written after Cowper was mysteriously prevented from committing suicide by drowning. The hymn was published by John Newton in the Olney Hymns , 1779, and rapidly became popular. It is still found in nearly all the hymnals. Its original title was “Light shining out of darkness.” Its central thought is that God is working His sovereign will even in the mystery and perplexity of human life, bringing light, not after

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61. O God, our help in ages past

61. O God, our help in ages past

Based on Psalm 90:1-6: “Lord, thou hast been our dwelling place in all generations,” etc., this is Watt’s greatest hymn and one of the greatest in the English language. It is found in all English hymn books and has been translated into many languages. Its smoothness, simple dignity, and faithfulness to Scripture give it the marks of a true church hymn, and it has probably been chosen more than any other for use upon important occasions. It is an indispensable New Year’s hymn. A press dispatch re

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62. The Lord is my Shepherd

62. The Lord is my Shepherd

One of the fine metrical versions that have been made of the Twenty-third Psalm. It Is found in Montgomery’s Songs of Zion, being Imitations of Psalms , 1822. Another much-loved and widely used version of the same Psalm is that in the Scottish Psalter (See 579 ). James Montgomery, greatest of Moravian hymn writers, was born in Ayrshire, Scotland, near the birthplace of Robert Burns. His father became a minister in the Moravian Church and finally went as a missionary to the West Indies where both

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63. Father and Friend, Thy light, thy love

63. Father and Friend, Thy light, thy love

A hymn on the omnipresence of God who reigns as Lord of life and cares for His children. For comments on John Bowring see Hymn 55 . MUSIC. ILLA , a simple long-meter tune within easy compass of the voices, is by the American composer, Lowell Mason, 1792-1872, an exact contemporary of Bowring. Mason’s tunes were popular at first and then for a time they were frowned upon by some of the “highbrow” musicians but in late years are returning with new favor into the hymn books. Mason’s name appears 24

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64. Let us with a gladsome mind

64. Let us with a gladsome mind

This delightful lyric is the result of John Milton’s paraphrasing of Psalm 136 when he was a boy of 15 years. The original has 26 stanzas. The Psalm tells the story of Israel’s history, ending each verse with the refrain, “For his mercy endureth forever.” The selections here are his renderings of verses 1, 2, 7, and 25. The closing stanza returns to verse 1. John Milton, the poet, was born in London, the son of the John Milton, who had turned from the Roman Catholic Church to become a Protestant

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65. Hail to the Lord’s Anointed

65. Hail to the Lord’s Anointed

A rendering of Psalm 72, made in 1821 for the Christmas worship of a Moravian settlement. The original has eight stanzas. Montgomery was greatly interested in missions and this hymn, generally esteemed his finest composition, is a good missionary hymn as well as a splendid one for the Advent season. Dr. Adam Clarke gave it wide publicity by publishing it in his famous Bible Commentary , 1822, at the end of his exposition of Psalm 72, adding this note: I need not tell the intelligent reader that

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66. Watchman, tell us of the night

66. Watchman, tell us of the night

An Advent and missionary hymn, unique in that it consists of a dialog (between a watchman and a traveller). The hymn is based on Isaiah 21:11, 12: “Watchman, what of the night? watchman, what of the night? The watchman said, The morning cometh, and also the night: if ye will enquire, enquire ye: return, come.” The meaning of the passage is not evident from the context. Dr. C. S. Robinson describes the setting as follows: The image it presents is singularly dramatic and picturesque. The scene is

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67. O come, O come, Emmanuel

67. O come, O come, Emmanuel

Veni, veni, Emmanuel captivum solve Israel, qui gemit in exilio, privatus Dei Filio. Gaude, gaude; Emmanuel nascetur pro te, Israel. The hymn comes from the Latin, being a translation of the first of the seven greater Antiphons (short anthems-verses) sung in the Roman Church at Vespers on the seven days before Christmas. The refrain, “Rejoice, rejoice,” etc., added to the hymn during the 13th century, is the answer to the longing for Christ expressed in each stanza. The translation of Stanza 1 i

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68. Veiled in darkness Judah lay

68. Veiled in darkness Judah lay

Written in 1915, while World War I was raging in Europe and the clouds were gathering thick over the United States. The hymn is an appeal for the Spirit of Christ to bring peace and light to a troubled world. It was composed while the author, a Moravian, was a student at the Divinity School of Harvard University. It was the custom at that institution to have students of the School submit original compositions of hymns, one of which would be selected to be sung at the annual Christmas service of

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69. Come, Thou long-expected Jesus

69. Come, Thou long-expected Jesus

A dignified, yet stirring Advent hymn, based on Haggai 2:7: “The desire of all nations shall come.” One of the first hymns of Wesley, it appeared in a small book of 24 pages. Hymns for the Nativity of our Lord , published in 1744. It is found in nearly all the modern hymn books in England and America. For comments on Charles Wesley see Hymn 6 . MUSIC. HYFRYDOL is a Welsh tune composed by Rowland Hugh Prichard, 1811-87, of Bala, Wales, who was active in the church as song leader, soloist, and com

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70. Joy to the world! the Lord is come

70. Joy to the world! the Lord is come

This hymn, which has such an important place in the yearly celebration of the Nativity, is a free rendering of the latter part of Psalm 98: “Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise.” Watts entitled it, “Messiah’s Coming and Kingdom.” His effort to put the New Testament gospel into the Psalm resulted in a great hymn of the Advent and Nativity, though his free rendering nearly lost sight of the Psalm itself. He feels all nature thrilling wi

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71. Christians, awake! salute the happy morn

71. Christians, awake! salute the happy morn

From a longer poem of 48 lines, written about 1749, by Dr. John Byrom for his daughter Dolly who, when asked what she would like to have for a Christmas present, replied, “Please write me a poem.” On Christmas morning she found on her plate at the breakfast table a sheet of paper on which was written this poem, entitled, “Christmas Day. For Dolly.” It is based on Luke 2. John Byrom was born in Manchester, England, graduated from Cambridge, studied medicine but gave up its practice in order to te

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72. Today be joy in every heart

72. Today be joy in every heart

A hymn of Christmas peace. The author, Frederic L. Hosmer, one of America’s foremost hymn writers, was born in Framingham, Mass., and died in Berkeley, Calif. He was educated at Harvard University and Divinity School and served as minister of Unitarian churches in Northboro, Mass., Quincy, Ill., Cleveland, O., St. Louis, Mo., and Berkeley, Calif. At least 35 of his hymns have come into more or less use in this country and in England. The Hymnary includes thirteen, a larger number than of any oth

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73-74. While shepherds watched their flocks

73-74. While shepherds watched their flocks

This carol is the work of Nahum Tate, poet laureate and co-author with Nicholas Brady of the New Version of the psalms in meter, to which was added a supplement in 1770 containing this hymn. The quaint and picturesque paraphrase of Luke 2:9-11, closing with the doxology, was one of the few hymns permitted to be sung in the English churches along with the metrical psalms. It became very popular and has been translated into the Latin and nearly all the living languages. The words have been set to

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75. It came upon a midnight clear

75. It came upon a midnight clear

Published by the Christian Register in 1860, the hymn quickly attained wide popularity. Edmund H. Sears was minister of a Unitarian Church at Wayland, Mass. He wrote, “Though I was educated in the Unitarian denomination, I believe and preach the divinity of Christ.” A careful reading of the hymn reveals a fine social message. The author was writing at a time of extraordinary unrest throughout the world, caused in America by the passing of the Fugitive Slave Law, the great forty-niner gold rush t

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76. The first Noel the angel did say

76. The first Noel the angel did say

“Noel” is a French word which came to mean several things—a “song of the Birthday,” or “Christmas,” or “Carol.” A carol is a religious song telling the story of a place or person or event. It is less formal and solemn than an ordinary church hymn and was originally intended to be sung outside rather than within the church walls. The words and music of this carol are traditional, which means that no one knows who composed them or when. They are known to have existed as early as the 17th century.

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77. The stars were silent and the hills

77. The stars were silent and the hills

The poem was published in the Presbyterian about 1939. No specific information is at hand concerning the author. Bixel, composer of the music, is under the impression that E. Royce was a missionary to China who sent this poem to her church paper for publication. MUSIC. SILENT was composed for this carol by James W. Bixel, who was born at Bluffton, Ohio, November 7, 1913. After graduating from Bluffton College, Bixel studied music in Cincinnati Conservatory of Music, where he received his Master

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78. What child is this

78. What child is this

One of numerous carols written by William Dix about 1865. William Chatterton Dix was the son of a Bristol surgeon. He was educated for a business career and became the manager of a marine insurance company in Glasgow. He maintained, however, his literary interests and wrote the Life of Chatterton , the poet; a book of Pen Pictures of Popular English Preachers ; and other works, including several volumes of devotional poetry. He had been ill in bed on Epiphany Day, and after reading the Gospel fo

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79. Come, all ye shepherds

79. Come, all ye shepherds

A shepherd carol from Bohemia. The words and music are traditional. MUSIC. The tune was arranged by Edward Shippen Barnes, b. 1887, American organist and composer who received his musical education at Yale and in Paris. He now lives at Santa Monica, California. His personal counsel was solicited and secured in the compilation and editing of the Hymnary ....

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80. O come, all ye faithful

80. O come, all ye faithful

Adeste, fideles, Laeti triumphantes; Venite, venite in Bethlehem; Natum videte Regem Angelorum: Venite, adoremus Dominum. Deum de Deo; Lumen de Lumine, Gestant puellae viscera Deum Verum, Genitum, non factum: Venite, adoremus Dominum. Ergo Qui natus Die hodierna, Iesu, Tibi sit gloria: Patris Aeterni Verbum Caro factum! Venite, adoremus Dominum. A priceless legacy from the Latin Church and one of the most popular of Christmas hymns. It has been translated into at least 125 languages. The origin

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81. Angels from the realms of glory

81. Angels from the realms of glory

A graceful lyric presenting to the imagination a series of pictures—the Angels, the Shepherds, the Wise Men, and the Saints who like Simeon and Anna, were waiting for the consolation of Israel. The fourth verse is reminiscent of the prophetic words of Malachi: “The Lord whom ye seek shall suddenly come to his temple, even the messenger of the covenant whom ye delight in: behold he shall come, saith the Lord of Hosts” (3:1). It is widely used for the Christmas season. For comments on James Montgo

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82. Angels we have heard on high

82. Angels we have heard on high

A popular carol of French origin, sung first in England by the Westminster Abbey Choir and for that reason it is sometimes called the “Westminster Carol.” No information has been traced concerning Bishop Chadwick. MUSIC. GLORIA is a traditional melody of anonymous composition. The tune has been variously harmonized. This version is found in the St. Basil’s Hymnal , compiled by the Basilian Fathers, and published in Chicago, 1918 (Revised Ed.)....

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83. Silent night, holy night

83. Silent night, holy night

The most loved and most widely used of all Christmas carols. It was composed December 24, 1818, by Joseph Mohr, 1792-1848, assistant Catholic priest in an obscure German village, Oberndorf, near Salzburg, Austria. At a Christmas celebration in the schoolhouse Mohr withdrew for a time, then returned with a folded sheet of paper on which this carol was written. He handed it to his friend, Franz Gruber, 1787-1863, schoolmaster, song writer, and organist, as a Christmas gift. Gruber composed the tun

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84. O little town of Bethlehem

84. O little town of Bethlehem

This carol was written for children, but it has become popular everywhere with adults as well. Phillips Brooks, one of America’s greatest preachers, grew up in a musical home where memorizing and reciting of hymns was a part of the children’s education. By the time he was ready for college he had committed over 200 hymns to memory. He graduated from Harvard and from the Episcopal Theological Seminary, Alexandria, Virginia, and served as rector at the Church of the Advent, Philadelphia, and at Tr

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85. Hark the herald angels sing

85. Hark the herald angels sing

One of the most popular English hymns. Julian listed four hymns as standing at the head of all in the English language: “When I survey” (105-6), “Rock of Ages” ( 148 ), “Awake my soul” ( 25 ), and this one. It is taken from Wesley’s Hymns and Sacred Poems , 1739. The original had 10 four-line stanzas and no refrain. The hymn has been altered in various ways and improved. For example, the lines, With the angelic host proclaim, Christ is born in Bethlehem, originally read Universal nature say Chri

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86. O holy night

86. O holy night

The night of the Saviour’s birth is the subject of Christmas carols in every land, of which this and “Silent Night” are outstanding examples. The words are anonymous. The omitted third stanza reads as follows: Truly He taught us to love one another; His law is love and His gospel is peace. Chains shall he break for the slave is our brother, And in His name all oppression shall cease. Sweet hymn of joy in grateful chorus raise we, Let all within us praise His holy name; Christ is the Lord, Oh, pr

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87. What star is this

87. What star is this

A Latin hymn, Quae stella sole pulchrior , was included in the Paris Breviary , 1736, and, again, in Coffin’s Hymni Sacri , 1736. Charles Coffin, rector of the University of Paris, wrote a large number of hymns, “not so much,” he says, “to gratify the poetic Spirit as to achieve elegance and piety.” The translation is by John Chandler, 1806-76, in his Hymns of the Primitive Church , 1837. Chandler was educated at Oxford and became a minister in the Church of England. Besides making a collection

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88. Bethlehem, of noblest cities

88. Bethlehem, of noblest cities

Based on Matt. 2:6: “And thou, Bethlehem, in the land of Judah, art not the least among the princes of Judah: for out of thee shall come a governor, that shall rule my people Israel,” and the story of the three wise men bringing their gifts to Jesus. The author, Prudentius, 348-c. 413, a Spaniard, was one of the best and most prolific of early Latin Christian poets. He received legal training and served as lawyer and judge in several cities. At the age of 57 he entered a monastery and for the re

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89. From the eastern mountains

89. From the eastern mountains

Based on Matt. 2:2: “We have seen his star in the east and are come to worship Him.” Its reference to the guiding star and its missionary emphasis fit it ideally for the Epiphany season, but the hymn may be used appropriately on more general occasions. Godfrey Thring was educated at Shrewsbury and Balliol College, Oxford, and held various positions as minister in the Church of England. In 1859, he succeeded his father as rector of Alford-with-Hornblotton and in 1876, became prebendary of East Ha

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90. We three kings of Orient are

90. We three kings of Orient are

A popular carol giving the story of the wise men seeing the star and bringing gifts to the Christ child. John Henry Hopkins, Jr., was born at Pittsburgh, Pa. His father was an Episcopalian minister who became the Bishop of Vermont. John was educated at the University of Vermont and later was minister at Williamsport, Pa. He is the author of several books of poems. MUSIC. KINGS OF ORIENT was composed for this hymn by the author....

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91. Brightest and best of the sons

91. Brightest and best of the sons

A lovely hymn of great beauty and simplicity of form and characterized by robust faith—“richer by far is the heart’s adoration.” It was written for the feast of Epiphany and was entitled, “Star of the East.” The hymn was first published in the Christian Observer , 1811. Heber, a hymnist of the first order, ranking with Wesley and Watts, was governed by three ideas in his hymn writing: (1) the hymn is liturgical and should follow the church year; (2) the hymn should follow and supplement the serm

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92. O sing a song of Bethlehem

92. O sing a song of Bethlehem

Written as a Christmas carol but sings also of the later life of Jesus in Nazareth, Galilee, and at Calvary. It was contributed to The School Hymnal (Presbyterian), edited by Dr. Benson in 1899. Louis Fitzgerald Benson was born in Philadelphia and educated for the bar. After seven years of practice, he gave up law to enter Princeton Theological Seminary and was ordained a Presbyterian minister. He became minister of the Church of the Redeemer, Germantown, Pa., but resigned his charge after six y

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93. O Master Workman of the race

93. O Master Workman of the race

A hymn entitled, “The Carpenter of Nazareth,” written for young people while the author was watching some carpenters at work in an Adirondack Camp. It is one of a number of excellent modern hymns concerned with the earthly life of Jesus and connecting Him with our daily life and labor. Others are “O Master let me walk with Thee” ( 223 ), “Where cross the crowded ways” ( 222 ), and “O Son of Man, Thou madest known” ( 373 ). Jay T. Stocking was educated at Amherst, Yale Divinity School, and at the

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94. Ye fair green hills of Galilee

94. Ye fair green hills of Galilee

A fine hymn, setting forth obedience to duty and love to God and man as the marks of Christ’s followers. It was contributed by the author to the Congregational Church Hymnal , London, 1887. Eustace Rogers Conder studied for the Congregational ministry in Birmingham and later graduated with high honors in philosophy at London University. For 17 years, he was minister of a Congregational Church at Poole, where he trained students for missionary work, besides attending to his regular duties as past

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95. Thine arm, O Lord, in days of old

95. Thine arm, O Lord, in days of old

A hymn on the healing ministry of Christ, written in 1864 for use in the Chapel of King’s College Hospital, London. Suitable for Hospital Day and other occasions. Edward Hayes Plumptre, an English scholar and church man, was educated at King’s College, London, and at Oxford. He was minister in various churches (Anglican) and became Professor of New Testament Exegesis at King’s College. He wrote many excellent books, including the standard Life of Bishop Ken , and several volumes of poems. He was

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96. Who is he in yonder stall

96. Who is he in yonder stall

A hymn on the birth, ministry, passion, resurrection, and exaltation of Christ, the refrain answering the question asked in each stanza. It may be used effectively for antiphonal singing between choir and congregation. The author, Benjamin Russel Hanby, was a minister in the United Brethren Church but was strongly inclined to music and decided to make that his life work. An interesting and talented man, he became associated with George F. Root in the publication of sacred and secular song books

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97. Fairest Lord Jesus

97. Fairest Lord Jesus

Called the “Crusader’s Hymn,” but there is no foundation for the tradition that it was sung by the German knights of the 12th century on their way to Jerusalem. The text and tune are modern. The German text was published in Münster Gesangbuch , 1677 (Catholic). Our translation, the oldest English version, is by an unknown author, about 1850. A later translation, beginning “Beautiful Savior,” was made by J. A. Seiss in 1873. The original is as follows: Schönster Herr Jesu, Herrscher aller Herren,

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98. Not always on the mount

98. Not always on the mount

Based on the story of the transfiguration in Matthew 17, the lesson enforced by the hymn is that the mount is necessary for vision; we cannot abide there, yet our work in the valley will be nobler for the pattern shown us on the mount. For comments on Frederick L. Hosmer see Hymn 72 . The hymn, written in 1882, was first published in Unity , Chicago, April 1, 1884. A year later it was included, in revised form, in the author’s first series of The Thought of God . MUSIC. TRANSYLVANIA is from a 16

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99. I know not how that Bethlehem’s Babe

99. I know not how that Bethlehem’s Babe

A Christmas song written in 1910, while the author was a graduate student at Harvard University. It was awarded the prize which had been offered for the best Christmas hymn written by a student. Though simple and unpretentious, Professor George Herbert Palmer declared it “a perfect poem.” The few lines encompass a vast body of Christian truth. The author, Harry W. Farrington, 1880-1931 (date of death printed erroneously as 1911 in earlier editions of the Hymnary ), was educated at Harvard and th

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100. All glory laud and honor

100. All glory laud and honor

From a long Latin hymn of 39 couplets, based on Psalm 24:7-10; Psalm 118:25-26; Matthew 21:1-17; and Luke 19:37-38. Gloria, laus et honor tibi sit, rex, Christe, redemptor, cui puerile decus prompsit hosanna pium. Israel tu rex, Davidis et inclyta proles, nomine qui in Domini, rex benedicte, venis. Coetus in excelsis te laudat caelicus omnis et mortalis homo, cuncta creata simul. Plebs Hebraea tibi cum palmis obvia venit; cum prece, voto, hymnis adsumus ecce tibi. Hi tibi passuro solvebant munia

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101. Ride on, ride on in majesty

101. Ride on, ride on in majesty

A popular Palm Sunday hymn and incidentally one of the finest poems in our hymn books. It was written by Henry H. Milman at the age of 30, the year he was elected Professor of Poetry at Oxford University—1821. Henry H. Milman was born in London, the son of Sir Francis Milman, physician to the King. After a brilliant career at Oxford, he was ordained at 25, appointed Professor of Poetry at Oxford at 30. Later he became canon of Westminster and finally dean of St. Paul’s Cathedral in London, which

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102. When my love to God grows weak

102. When my love to God grows weak

A useful hymn, true to the Gospel record, and free from the emotional morbidity that is found in many passion hymns. John Wreford, an Englishman trained for the Unitarian ministry, was compelled to give up his ministry on account of a failing voice. He then opened a school at Edgbaston. The later years of his life were spent in retirement at Bristol. The original of this hymn written in 1837, received little notice until it was rewritten and improved by Samuel Longfellow, brother of the more fam

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103. ’Tis midnight and on Olive’s brow

103. ’Tis midnight and on Olive’s brow

A midnight hymn, depicting the darkness and sadness of Gethsemane. It is often sung at communion services held on Thursday evening before Good Friday. William Bingham Tappan, a clock maker, was an influential leader in Sunday school work in the Congregational Church in America. In early manhood he taught school in Philadelphia, and then from 1826 until his death he was in the employ of the American Sunday School Union as manager and superintendent at Philadelphia, Cincinnati, and Boston. He wrot

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104. There is a green hill far away

104. There is a green hill far away

A popular hymn on the atonement, written for children but appropriated for general use with all ages. It was first published in the author’s Hymns for Little Children , 1848, her most famous book which ran into 100 editions. The accuracy of the first line may well be questioned for the Gospels do not state that Jesus was crucified on a hill, only that it was a place called “the skull” (Lk. 23:33). In any case, the sun-baked Judean hills are seldom green. Cecil Frances Humphrey, daughter of Major

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105-106. When I survey the wondrous cross

105-106. When I survey the wondrous cross

One of the twenty-five hymns prepared by Watts to be sung at the Lord’s Supper. Matthew Arnold, the famous literary critic, called it the “most majestic hymn in the English language.” It is one of four hymns which have been printed in more collections, translated into more tongues, and used in more congregations, than any other. The three hymns classed with this in popularity are “Rock of Ages,” “Jesus, Lover of my soul,” and “All hail the power of Jesus’ name.” Watts gave this hymn the title “C

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107. Go to dark Gethsemane

107. Go to dark Gethsemane

A song of the sufferings and death of Christ. Gethsemane, the Judgment Hall, and Calvary are successively brought to mind and at each stage there is found in the example of Christ a lesson for his disciples to learn. The fourth verse in the original poem reads: Early hasten to the tomb Where they laid his breathless clay; All is solitude and gloom; Who hath taken him away? Christ is risen! he meets our eyes: Saviour, teach us so to rise. For comments on James Montgomery see Hymn 62 . MUSIC. GETH

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108. Alas! and did my Savior bleed

108. Alas! and did my Savior bleed

A fine hymn of consecration, published by Watts in his Hymns and Spiritual Songs , 1707, under the title “Godly Sorrow Arising from the Sufferings of Christ.” Dr. Charles S. Robinson states that “more conversions in Christian biography are credited to this hymn than to any other.” Fanny Crosby, the blind poet, ten of whose lyrics are found in the Hymnary , credits this hymn with a share in her conversion. In telling the story she says that during a revival in the old Thirtieth Street Church, New

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109. Throned upon the awful tree

109. Throned upon the awful tree

A solemn dirge of the Passion, written in 1875 in the seclusion of a quiet rural parish and regarded as the author’s best composition. It appeared in Hymns Ancient and Modern , 1875. For comments on John Ellerton see Hymn 43 . MUSIC. REDHEAD NO. 76, also called “Petra,” and “Gethsemane,” was composed by Richard Redhead, 1820-1901, English chorister and organist, and proponent of the Oxford Movement (not to be confused with the modern Oxford movement headed by Buchman). The tune, without name, ap

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110. In the Cross of Christ I glory

110. In the Cross of Christ I glory

The most popular of John Bowring’s Hymns , published in 1825, and a classic among the hymns of the cross. It is based on Gal. 6:14: “But God forbid that I should glory save in the cross of our Lord Jesus Christ, by whom the world is crucified unto me, and I unto the world.” Bowring died on November 23, 1872, and the words, “In the cross of Christ I glory,” were placed on his tombstone. It is remarkable that so great a hymn on the cross should be written by a Unitarian, a communion which denies t

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111. Cross of Jesus, Cross of sorrow

111. Cross of Jesus, Cross of sorrow

From Stainer’s oratorio, The Crucifixion , where it appears as No. 4 under the title, “The Mystery of Divine Humiliation.” The original has 10 stanzas. The libretto of The Crucifixion was written by Wm. J. Sparrow Simpson, Church of England clergyman. He was educated at Cambridge, ordained in 1882, and became chaplain of St. Mary’s Hospital, Great Alford. His theological works include the Catholic Conception of the Church and the History of the Anglo-Catholic Movement . MUSIC. CROSS OF JESUS in

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112. Beneath the Cross of Jesus

112. Beneath the Cross of Jesus

A hymn of Scottish origin, especially appropriate for use in Good Friday services, but it can also be used on more general occasions. Elizabeth Cecilia Douglas Clephane, daughter of the Sheriff of Fife and Kinross, was born in Edinburgh. She was a member of the Free Church of Scotland. Her hymn, “There were ninety and nine,” became widely known through its use by Moody and Sankey in their famous evangelistic meetings. The hymn, “Beneath the Cross of Jesus,” appeared in Scotland, three years afte

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113. Come ye faithful, raise the strain

113. Come ye faithful, raise the strain

A Greek hymn based on the Song of Moses, Exodus 15. Αἴσωμεν, πάντες λαοί, τῶ ἐκ πικρᾶς δουλείας Φαραὼ τὸν Ἰσραὴλ ἀπαλλάξαντι καὶ ἐν βυθῷ φαλάσσης ποδὶ ἀβρόχως ὁδηγήσαντι ᾠδὴν ἐπινίκιον, ὅτι δεδόξασται. Σήμερον ἔαρ ψυχῶν, ὅτι Χριστὸς ἐκ τάφου, ὥσπερ ἥλιος, ἐκλάμψας τριήμερος τον ζοφερὸν χειμῶνα ἀπήλασε τῆς ἁμαρτίας ἡμῶν, αὐτὸν ἀνυμνήσωμεν, ὅτι δεδόξασται. Ἡ βασιλὶς τῶν ὡρῶν τῆ λαμπροφόρῳ ἡμέρᾳ ἡμερῶν τε βασιλίδι φανότατα δωροφοροῦσα, τέρπει τὸν ἔγκριτον τῆς ἐκκλησίας λαόν, ἀπαύστως ἀνυμνοῦσα τὸν

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114. Jesus Christ is ris’n today

114. Jesus Christ is ris’n today

This hymn, which Percy Dearmer called “the Easter hymn par excellence,” is based upon some Latin verses of an Easter carol of the 14th century, except verse 4, which is attributed to Charles Wesley. It is of unknown authorship, appearing with the tune “Easter Hymn” in a now rare book, Lyra Davidica . “Allelujah” is “Hallelujah” with the “H” omitted to soften it. For comments on Wesley see Hymn 6 . MUSIC. EASTER HYMN , one of the most famous of all hymn tunes, is from Lyra Davidica, or a Collecti

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115. The day of Resurrection

115. The day of Resurrection

Ἀναστάσεως ἡμέρα, λαμπρυνθῶμεν λαοί. Πάσχα Κυρίου, πάσχα. Ἐκ γὰρ θανάτου πρὸς ζωήν, καὶ ἐκ γῆς πρὸς οὐρανόν, Χριστὸς ὁ θεὸς ἡμᾶς διεβίβασεν, ἐπινίκιον ᾄδοντας. Another resurrection hymn from the Eastern Church by John of Damascus. (See 113 .) It is sung after midnight on Easter morning to set forth the fact of the resurrection. Julian describes the service in his Dictionary of Hymnology ( p. 62 ). The people assemble in the church with unlighted tapers in their hands. While the priest chants in

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116. The strife is o’er, the battle done

116. The strife is o’er, the battle done

Alleluia, Alleluia, Alleluia. Finita iam sunt praelia, Est parta iam victoria; Gaudeamus et canamus: Alleluia! Post fata mortis barbara Devicit Iesus tartara; Applaudamus et psallamus: Alleluia! Surrexit die tertia Caelesti clarus gratia Insonemus et cantemus: Alleluia! Sunt clausa stygis ostia. Et caeli patent atria; Gaudeamus et canamus: Alleluia! Per tua, Iesu, vulnera Nos mala morte libera, Ut vivamus et canamus: Alleluia! Amen. One of the most celebrated of Easter hymns. It comes from an an

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117. Hail the day that sees Him rise

117. Hail the day that sees Him rise

This hymn, originally in ten stanzas, appeared in Wesley’s Hymns and Sacred Poems , 1739, under the caption “For Ascension Day.” The Hallelujah was added later in White’s Introits and Hymns , 1852. For comments on Charles Wesley see Hymn 6 . MUSIC. LLANFAIR , also named “Bethel,” is a Welsh hymn tune by Robert Williams, c. 1781-1821, a basket maker. He was born blind, but became a skilled craftsman and a musician of considerable ability....

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118. Crown Him with many crowns

118. Crown Him with many crowns

Based on Rev. 19:12: “On his head were many crowns.” The hymn mentions a four-fold crowning of Christ, as: (1) Lamb upon His throne; (2) Son of God; (3) Lord of life; (4) Lord of heaven. Two omitted stanzas mention “Lord of peace,” and “Lord of years.” Matthew Bridges was brought up in the church of England but became interested in the Oxford Movement and entered the Roman Catholic Church in 1848. He was a student of history and wrote The Roman Empire under Constantine the Great . He is also the

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119. Look, ye saints, the sight is glorious

119. Look, ye saints, the sight is glorious

A majestic coronation hymn ranking with the best hymns of Watts and Wesley. It is based on Rev. 11:15: “The kingdoms of this world are become the kingdoms of our Lord and of his Christ. And he shall reign forever and ever.” Thomas Kelly was born in Dublin, the son of an Irish judge. He at first intended to follow his father into the legal profession, but his profound religious convictions led him to train for the ministry. As a young clergyman, he was summoned, with others, to appear before the

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120. Majestic sweetness sits enthroned

120. Majestic sweetness sits enthroned

This hymn was published in John Rippon’s Selection , 1787, with the title, “Chief among Ten Thousand: or the Excellencies of Christ.” It is based on Song of Solomon 5:10-16. The original has 9 stanzas. The author, Samuel Stennett, prominent non-conformist and champion of religious freedom, was a Baptist clergyman who in 1741 became his father’s assistant in Little Wild Street Church, London, and then succeeded his father in 1758, continuing in the pastorate of the church until his death in 1795.

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121. Rejoice, the Lord is King

121. Rejoice, the Lord is King

A jubilant song of Christ’s exaltation and coming in power, based on Phil. 4:4: “Rejoice in the Lord alway, and again I say, rejoice.” The hymn, in seven stanzas, appeared first in John Wesley’s Sacred and Moral Poems , 1744, and later in Wesley’s Hymns for our Lord’s Resurrection , 1746. Though the resurrection note is in the hymn, it is appropriate also for general occasions. Charles Wesley wrote four great festival hymns: (1) “Hark! the herald angels sing” for Christmas; (2) “Christ the Lord

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122. Hail, Thou once despisèd Jesus!

122. Hail, Thou once despisèd Jesus!

A worshipful and strongly doctrinal hymn, bringing out plainly the doctrine of the atonement as well as the Saviour’s enthronement and glorification. The authorship is traditionally assigned to John Bakewell, one of John Wesley’s lay preachers. But it is not clear that he wrote all of it. It appeared in 1760 in a collection by M. Madan, and later, in 1776, it was included in Psalms and Hymns by Augustus M. Toplady. Both editors apparently made some changes and omissions in the hymn, resulting in

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123. Hark, ten thousand harps and voices

123. Hark, ten thousand harps and voices

Based on Heb. 1:6: “Let all the angels of God worship Him.” The original poem has 7 stanzas. Lowell Mason added the “Hallelujahs” and the “Amen” when he set the hymn to music. Some hymn books have softened the “Hallelujah” to “Allelujah.” The last stanza is a prayer for the hastening of the day when heaven and earth shall pass away, which some may not be able to sing heartily and sincerely. For comments on Thomas Kelly see Hymn 119 . MUSIC. HARWELL was written for this hymn in 1840. The original

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124. Alleluia! sing to Jesus!

124. Alleluia! sing to Jesus!

Based on Rev. 5:9: “Thou hast redeemed us to God by thy blood out of every nation.” The original poem of five stanzas appeared in Dix’s Altar Songs , 1867, and was entitled “Redemption by the Precious Blood.” The hymn was linked to the sacrament of the Lord’s Supper. The third and fourth stanzas, omitted here, are as follows: Alleluia! Bread of Heaven, Thou on earth our food, our stay! Alleluia! here the sinful Flee to thee from day to day: Intercessor, friend of sinners, Earth’s Redeemer, plead

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125. The King shall come when morning dawns

125. The King shall come when morning dawns

This hymn, setting forth the hope of Christ’s Second Coming in triumph, comes from the Greek, but no information is at hand concerning the original poem. It is not included in Julian’s Dictionary . The translation is by John Brownlie, a Scottish minister, born in Glasgow. He published several books of original hymns and translations from the Greek. MUSIC. JERUSALEM, JERUSALEM is wrongly attributed here to Thomas Hastings though it is possible that the arrangement is his. The same tune, named “St

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126. Thou art coming, O my Savior

126. Thou art coming, O my Savior

The first hymn Miss Havergal wrote after Advent Sunday, December 2, 1873, when she “first saw clearly the blessedness of true consecration.” Frances Ridley Havergal was the daughter of Rev. Wm. H. Havergal, an Anglican clergyman who was greatly interested in the hymns and music of the church and composed a number of tunes still in use. His tune, “Evan,” is used in the Hymnary ( 153 and 253 ). Frances thus grew up in a cultured religious environment in which hymns and church music held a prominen

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127. Christ is coming, let creation

127. Christ is coming, let creation

A Scottish hymn setting forth the glowing hope and expectation of the coming of Christ in glory. It is based on Rev. 22:20: “He which testifieth these things saith, Surely, I come quickly. Amen. Even so, come, Lord Jesus.” John R. Macduff was minister of the Sandyford Parish, Glasgow. He is the author of several books of devotions and wrote numerous hymns. His ministry at Sandyford was singularly fruitful. George Mattheson, blind Scottish preacher, then a boy in Macduff’s congregation, afterward

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128. Ye servants of the Lord

128. Ye servants of the Lord

“The Active Christian” is the author’s title of this hymn. It appeared first in Job Orton’s posthumous edition of Hymns founded on Various Texts , 1755. It is founded on Luke 12:35-37: Let your loins be girded about, and your lights burning; And ye yourselves like unto men that wait for their lord, when he will return from the wedding; that when he cometh and knocketh, they may open unto him immediately. Blessed are those servants, whom the lord when he cometh shall find watching: verily I say u

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129. Come, Lord, and tarry not

129. Come, Lord, and tarry not

A plaintive, sad hymn bordering almost on pessimism, by an able, pious author who held the doctrine of the premillenarian coming of Christ. All his life, Bonar’s mind was occupied with the subject of the second advent, an interest which inspired much of his writing. Horatius Bonar, born in Edinburgh, was the prince of Scottish hymn writers. Educated at the University of Edinburgh, he was ordained in 1837 and became a minister in the Established Church of Scotland at Kelso. At the Disruption in 1

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130. Lo, He comes, with clouds descending

130. Lo, He comes, with clouds descending

A hymn on the Second Advent, based on Rev. 1:7: “Behold He cometh with clouds; and every eye shall see him, and they also which pierced him: and all kindreds of the earth shall wail because of him. Even so, Amen.” The author, John Cennick, came from a Quaker family though he grew up in the Church of England. For some years his religious convictions were unsettled. Then while engaged in land surveying, he came under the influence of Wesley and became one of his lay preachers. Later he became a fo

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131. Come, Holy Ghost, in love

131. Come, Holy Ghost, in love

Veni, Sancte Spiritus, Et emitte caelitus Lucis tuae radium: Veni, Pater pauperum; Veni, Dator munerum; Veni, Lumen cordium. Consolator optime, Dulcis Hospes animae, Duce Refrigerium, In labore Requies, In aestu Temperies, In fletu Solacium. O Lux beatissima, Reple cordis intima Tuorum fidelium. Sine tuo numine Nihil est in homine. Nihil est innoxium. Lava, quod est sordidum, Riga, quod est aridum, Rege, quod est devium, Fove, quod est languidum, Flecte, quod est rigidum, Sana, quod est saucium.

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132. Lord God, the Holy Ghost

132. Lord God, the Holy Ghost

One of the few hymns which deals distinctively with the Day of Pentecost. For this reason, as well as for its inherent quality, it is especially valuable. For comments on James Montgomery see Hymn 62 . MUSIC. OLD 134TH. For comments on this tune see Hymn 128 ....

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133. Spirit of God, descend upon my heart

133. Spirit of God, descend upon my heart

Based on Gal. 5:25: “If we live in the Spirit, let us also walk in the Spirit.” George Croly was educated at Trinity College, Dublin. After ministering in Ireland for a number of years, he went to London to engage in literary pursuits. He had varied talents and became well known for his poetry, fiction, plays, and contributed articles to magazines. In 1835, he entered parish work in London, where he was greatly admired and loved. His outspoken utterances attracted large congregations of all rank

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134. Holy Ghost, dispel our sadness

134. Holy Ghost, dispel our sadness

A hymn of entreaty for the indwelling of the Holy Spirit. The original is as follows: O Du allersüsste Freude, O Du allerschönstes Licht, Der Du uns in Lieb und Leide Unbesuchet lässest nicht; Geist des Höchsten, höchster Fürst Der Du hältst und halten wirst Ohn’ Aufhören alle Dinge Höre, höre, was ich singe. Du bist ja die beste Gabe Die ein Mensch nur nennen kann; Wenn ich Dich erwünsch’ und habe, Geb’ ich alles Wünschen d’ran. Ach, ergib Dich, komm zu mir, In mein Herze, das Du Dir, Eh ich in

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135. Breathe on me, breath of God

135. Breathe on me, breath of God

An earnest prayer for an inbreathing of the Holy Spirit and a greater consecration of life. The hymn was first published in a privately printed leaflet called, Between Doubt and Prayer , 1878. It is based on John 20:22: “He breathed on them and saith unto them, Receive ye the Holy Ghost.” Edwin Hatch, Church of England clergyman and University Reader of Ecclesiastical History at Oxford, was a scholar of world reputation. His Bampton Lectures, The Organization of the Early Christian Church , 1881

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136. Holy Spirit, Truth divine

136. Holy Spirit, Truth divine

Entitled a “Prayer for Inspiration,” this superb hymn of the Holy Spirit appeared in Hymns of the Spirit , 1864, edited by Samuel Johnson and the author. Stanzas 5 and 6 are omitted. For comments on Samuel Longfellow see Hymn 28 . MUSIC. MERCY is an arrangement of a piano composition called, “The Last Hope,” by Louis Gottschalk, 1829-69, American composer, conductor, and popular concert pianist. Among Gottschalk’s works are two operas, two symphonies, and some piano pieces and songs—most of whic

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137. Holy Spirit, faithful Guide

137. Holy Spirit, faithful Guide

The hymn and tune were written by Marcus M. Wells, a farmer and maker of farm implements who lived all his life in New York State. Born at Otsego, N. Y., he was converted in a mission at Buffalo. Regarding the origin of the hymn and tune he wrote: On a Saturday afternoon, Oct. 1858, while at work in my cornfield, the sentiment of the hymn came to me. The next day, Sunday, being a very stormy day, I finished the hymn and wrote a tune for it and sent it to Prof. I. B. Woodbury. The hymn sets forth

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138. Our blest Redeemer, ere He breathed

138. Our blest Redeemer, ere He breathed

One of the finest of our hymns on the Holy Spirit. It was written for Whitsunday and published in the author’s The Spirit of the Psalms , 1829, in seven stanzas, the second and third being omitted here. The hymn appears in most modern hymnals and has been translated into several languages. Harriet Auber, whose grandfather went from Normandy to England in 1685 as a Huguenot refugee, was born in London. She was a woman of refinement and culture who spent most of her life in the quiet villages of B

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139. Spirit divine, attend our prayer

139. Spirit divine, attend our prayer

This is a revision by Samuel Longfellow of a hymn written by Andrew Reed, an English Congregational minister. Reed, a philanthropist and great organizer, and founder of six asylums and orphanages, wrote 21 hymns and published several hymn books. He was an ardent supporter of missionary work at home and abroad. Writing to his son who suggested that the father should write his autobiography, Dr. Reed summed up his own life in these words: I was born yesterday, I shall die tomorrow, and I must not

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140. Jesus calls us o’er the tumult

140. Jesus calls us o’er the tumult

A hymn of consecration which has had far-reaching influence especially over young people. It is based on Matt. 4:18, 19: “And Jesus, walking by the sea of Galilee, saw two brethren, Simon, called Peter, and Andrew, his brother, casting a net into the sea: for they were fishers. And he saith unto them, Follow me, and I will make you fishers of men.” There is also a reference to the incident by the lake recorded in John 21:15: “So when they had dined, Jesus saith to Simon Peter, son of Jonas, love

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141. Behold a stranger at the door

141. Behold a stranger at the door

A lyric revealing in a remarkable manner the tenderness and love of Christ. It is based on Rev. 3:20: “Behold, I stand at the door and knock.” Bishop How’s hymn, “O Jesus Thou art standing” ( 144 ), with which this may be compared, is based on the same passage. Joseph Grigg, an English Presbyterian minister, began writing hymns when only ten years old. After a brief pastorate, he retired from the active ministry to devote himself to literary work. He published about 40 volumes, including several

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142. I heard the voice of Jesus say

142. I heard the voice of Jesus say

Based on John 1:16: “Of his fulness have all we received, and grace for grace,” and originally published with the title, “The Voice from Galilee.” The hymn is constructed on three sayings of Jesus: (1) “Come unto me, all ye that labor and are heavy laden, and I will give you rest,” Mt. 11:28; (2) “Whosoever drinketh of the water that I shall give shall never thirst,” John 4:14; (3) “I am the light of the world; he that followeth me shall not walk in darkness, but shall have the light of life.” J

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143. Art thou weary, heavy laden

143. Art thou weary, heavy laden

A restful, appealing lyric on the theme, “Come unto me, all ye that labor and are heavy laden, and I will give you rest” Matt. 11:28. It is one of the few dialog hymns. [Others are “Watchman, tell us of the night” ( 66 ), and “Who is He in yonder stall?” ( 96 )]. It may be sung antiphonally, the choir singing the questions and the congregation the answers. Neale published this hymn in his Hymns of the Eastern Church , 1862, as a translation of a Greek hymn by Stephen the Sabaite. It is a paraphr

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144. O Jesus, Thou art standing

144. O Jesus, Thou art standing

Based on Rev. 3:20: “Behold, I stand at the door and knock: if any man hear my voice and open the door, I will come in to him, and sup with him, and he with me.” It was composed after the author had been reading the beautiful poem by Jean Ingelow, entitled “Brothers and a Sermon,” describing two brothers listening to an old parson in a fishing-village church. A part of the poem is as follows: The parson knew that he had lost the eyes And ears of those before him for he made A pause ... ... then

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145. Savior, when in dust to Thee

145. Savior, when in dust to Thee

A hymn of penitence which has had a wide use. It was published in the Christian Observer , 1815, as a Lenten “Litany.” The last line of each stanza (five in the original) read, “Hear our solemn litany,” here changed to “Hear thy people when they cry.” Stanzas 2 and 4 have been much altered by an unknown hand. Grant’s original hymn of five stanzas reads as follows: Savior, when in dust to Thee Low we bow the adoring knee, When, repentant, to the skies Scarce we lift our weeping eyes, Oh, by all T

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146. Come, let us to the Lord our God

146. Come, let us to the Lord our God

A version, from the Scottish Presbyterian Church, of Hosea 6:1-4: Come, and let us return unto the Lord: for he hath torn, and he will heal us; he hath smitten, and he will bind us up. After two days will he revive us: in the third day he will raise us up, and we shall live in his sight. Then shall we know, if we follow on to know the Lord: his going forth is prepared as the morning: and he shall come unto us as the rain, as the latter and former rain unto the earth. O Ephraim, what shall I do u

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147. Lord, thy mercy now entreating

147. Lord, thy mercy now entreating

A hymn of penitence which was contributed to The Children’s Hymn Book , 1881, published by the Society for the Promotion of Christian Knowledge, London. The author, Mary Ann Sidebotham, was an accomplished musician and a lifelong friend of Henry Smart, the eminent organist and composer. She spent much of her life in her brother’s vicarage, St. Thomas-on-the-Bourne, Surrey, England, where she served as organist. She composed numerous songs for children and was the music editor of the above-mentio

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148. Rock of Ages, cleft for me

148. Rock of Ages, cleft for me

Few hymns are more generally familiar or more treasured in the affections of all ranks of people than this. It appeared first in the Gospel Magazine , edited by Toplady, March, 1776, at the end of an article entitled, “A remarkable calculation Introduced here for the sake of the Spiritual Improvements subjoined. Questions and answers relating to the National Debt.” The article points out that the national debt is so large that the government will never be able to pay it off. The author then proc

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149. Strong Son of God, immortal love

149. Strong Son of God, immortal love

From the prologue of Tennyson’s great poem, “In Memoriam,” 1850, containing eleven stanzas; these are 1, 4, 5, and 7, unaltered. The story of “In Memoriam” is familiar. At Cambridge University, Tennyson and Arthur Hallam became intimate friends. Hallam became engaged to Tennyson’s sister, and, after graduating from the University, took a trip to the Continent. At Vienna, he became sick and died, which prompted Tennyson to write the following brief but beautiful words: “In Vienna’s fatal walls, G

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150. My faith looks up to Thee

150. My faith looks up to Thee

This hymn was written when the author had just left Yale at the age of 21 and was looking forward to his lifework in the Congregational ministry. The origin of the hymn is given in Duffield’s English Hymns , as follows: The hymn was written in 1830, but not published (as a hymn) until 1882. The author was in New York City, “Between his college and theological studies,” and was in poor health, and a teacher in a ladies’ school. Dr. Palmer says: “I gave form to what I felt by writing, with little

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151. How firm a foundation

151. How firm a foundation

A great song of faith, calling to mind such scripture passages as Heb. 13:5: “I will never leave thee nor forsake thee”; Isa. 43:1, 2: “Fear not, for I have redeemed thee: I have called thee by thy name; thou art mine. When thou passest through the waters, I will be with thee; and through the rivers, they shall not overflow thee; when thou walkest through the fire, thou shalt not be burned; neither shall the flame kindle upon thee.” The authorship is uncertain. The hymn appeared in A Selection o

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152. We walk by faith, and not by sight

152. We walk by faith, and not by sight

Based on the story of the incredulity of Thomas in John 20:25-29: “Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe ... blessed are they that have not seen, and yet have believed.” Henry Alford was educated at Cambridge for the Anglican ministry. After serving various churches, he finally, in 1857, became Dean of Canterbury, the highest post in the church. He was a renowned scholar and the

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153. O for a faith that will not shrink

153. O for a faith that will not shrink

An excellent hymn on “The Power of Faith,” based on I John 5:4: “And this is the victory that overcometh the world, even our faith.” It appeared in the author’s Psalms and Hymns for Public and Private Use , 1831. William Hiley Bathurst graduated from Oxford in 1818. During 33 years of ministry at Barwick-in-Elmet, he endeared himself to his people by his “eminent piety, his great simplicity of character, his tender love, and his abundant generosity.” He was a shy and reserved man “and had the pe

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154. Faith of our fathers, living still

154. Faith of our fathers, living still

A stirring hymn of faith bringing to mind the story of the Christian martyrs and pledging loyalty till death to the faith of our fathers. The last stanza, suggesting the preaching of the faith through “kindly words and virtuous life,” is especially fine and Christian in spirit. By “faith of our fathers” we mean, as we sing the hymn, the truth contained in the Gospels, taught by the Apostles, and brought again into clear light at the Reformation. But the hymn originally, written by a Roman Cathol

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155. Jesus, the very thought of Thee

155. Jesus, the very thought of Thee

“This may well be called the sweetest and most evangelical hymn of the Middle Ages.... It breathes the deepest love to Christ, as the fountain of all peace and comfort, and the sum of all that is pure and lovely.”—Philip Schaff. It is from the famous medieval hymn “ Jesu, dulcis memoria ,” which David Livingstone used to repeat as he explored Africa: “That hymn of St. Bernard, on the name of Christ, although in what might be termed dog-Latin, pleases me so: it rings in my ears as I wander across

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156. Rejoice, ye pure in heart

156. Rejoice, ye pure in heart

A popular processional hymn written for that purpose in May, 1865, for a choir festival in Peterborough Cathedral, one of the most important Norman churches now standing in England. It was published in the same year in the author’s Lazarus, and Other Poems . The refrain has been added. For comments on Edward H. Plumptre see Hymn 95 . MUSIC. MARION was written in 1883 for this hymn. The tune is admirably adapted to the words and the combination has made this one of the choicest of processional hy

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157. Jesus, our Savior, grant us Thy peace

157. Jesus, our Savior, grant us Thy peace

A hymn of the peace of God, based on Col. 3:15: “And let the peace of God rule in your hearts, to which also ye are called”; and John 14:27: “Peace I leave with you, my peace I give unto you.” The original poem of five stanzas appears in the Gesangbuch mit Noten where it is attributed to E. C. Poppe. Erhard Christoph Poppe, 1804-78, the son of a goldsmith, was born in Bremen. He was a colporteur for the Methodist church. Seliger Friede, köstliche Gab’ Meines geliebten Heilands, mich lab’; Tief i

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158-9. Jesus, Lover of my soul

158-9. Jesus, Lover of my soul

The greatest hymn of all time. Many of the stories concerning the origin of this hymn, such as that of the bird flying in time of storm to Wesley, or a dove pursued by a hawk finding refuge in his room, or Wesley’s own escape from a threatening mob, cannot be substantiated and must be dismissed as legendary, however plausible and fitting they may be. The hymn first appeared in Hymns and Sacred Poems , 1740, with the title, “In time of Prayer and Temptation.” The third stanza, omitted from all hy

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160. Guide me, O Thou great Jehovah

160. Guide me, O Thou great Jehovah

A superb hymn of guidance in which the analogies of the history of Israel in the wilderness appear in every stanza and almost in every line. It was written in Welsh in 1745 and translated into English in 1771 by Rev. Peter Williams, friend of the author and fellow-worker. Some think stanzas 2 and 3 were translated by the author himself or by his son, the Rev. John Williams. The hymn in Welsh, with its unpronounceable words, is as follows: Arglwydd, arwain trwy’r anialwch Fi bererin gwael ei wedd

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161. Jesus, Savior, pilot me

161. Jesus, Savior, pilot me

A beautiful hymn suggested by the seafaring life. It was published anonymously in Sailors’ Magazine , 1871, and again in the Baptist Praise Book , 1871, and in C. S. Robinson’s collection of Spiritual Songs , 1878. The author of the hymn, unknown for several years, was discovered at the anniversary of the Seamen’s Friend Society, held at the Broadway Tabernacle, New York City, May 10, 1880. Dr. Edward Hopper, popular pastor of the Church of the Sea and Land in New York, having been asked to writ

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162-3. Lead, kindly Light

162-3. Lead, kindly Light

A prayer for light and guidance, written on Sunday, June 16, 1833, while the author, travelling for his health, was lying, sick in mind and body, on the deck of a sail vessel that was becalmed for a whole week in the Straits of Bonifacio, in the Mediterranean Sea. Newman was going through a period of great heart-searching because of the disturbed conditions in England, both in church and state. His depressed feelings were accentuated by the wretched state of his health. The hymn deserves its wid

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164. Lead us, O Father, in the paths of peace

164. Lead us, O Father, in the paths of peace

A hymn on the journey of life, entitled by the author, “Prayer for Guidance.” William Henry Burleigh was brought up on a farm at Plainfield, Conn. At the age of 25, he went to Pittsburgh, Pa., and learned the printing trade and journalism. He later became editor of the Christian Freeman , an abolitionist journal, at Hartford, Conn. He was an ardent temperance reformer and advocate of the abolition of slavery. His last appointment was harbour master at New York, a post he held for 15 years. Burle

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165. O’er the trackless ocean guided

165. O’er the trackless ocean guided

A hymn on pioneer service, written probably with the Pilgrim Fathers in mind, but equally applicable to other groups of immigrants who came “o’er the trackless ocean” to build “rude homes” in the “new land, wild and lonely.” Information concerning the author has not been traced. The hymn is not listed in Julian’s Dictionary . MUSIC. BEECHER. For comments on this tune and its composer see Hymn 178 ....

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166. For them whose ways are in the height

166. For them whose ways are in the height

This hymn for travellers by air was created to meet the new day of amazing development which has taken place in modern travel. It is a welcome addition to the hymnody of travel. Richard Roberts, born in Wales, in 1874, is an eminent preacher. Before going to Canada where he became the first Moderator of the United Church of Canada, he occupied pulpits in Wales, London, and Brooklyn. He is one of the founders of the “Fellowship of Reconciliation.” His views on the relation of the church to war ar

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167. O God of Bethel, by whose hand

167. O God of Bethel, by whose hand

A paraphrase of Genesis 28:20-22: “And Jacob vowed a vow, saying, If God will be with me, and will keep me in this way that I go, and will give me bread to eat, and raiment to put on, so that I come again to my father’s house in peace; then shall the Lord be my God: and this stone, which I have set for a pillar, shall be God’s house: and of all that thou shalt give me I will surely give the tenth unto thee.” The hymn has undergone certain changes and additions so that it really is a composite pr

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168. Captain of Israel’s host, and Guide

168. Captain of Israel’s host, and Guide

Based on the story of God’s guidance of the Israelites during their exodus from Egypt and their journeyings in the wilderness, Exodus 13:17-22. For comments on Charles Wesley see Hymn 6 . MUSIC. MIDDLESEX is an anonymous tune, the origin of which has not been traced. The hymn and tune were taken from The Hymnary , published in Toronto, 1930, by the United Church of Canada....

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169. Eternal Father! strong to save

169. Eternal Father! strong to save

A hymn for travellers by sea. This hymn and tune have long been used more frequently than any other for that purpose. Sir Evelyn Wood wrote regarding this hymn: “It is much used by those at sea, and, when the wind blows hard, by those on land.” The words, written in 1860, have been revised several times. It was the favorite hymn of the late Franklin D. Roosevelt and was sung at his funeral at Hyde Park, New York, April 14, 1945. William Whiting was a native of Kensington, London, and was for ove

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170. Jesus, Thy boundless love to me

170. Jesus, Thy boundless love to me

A hymn of the love of Christ, suited especially well for the Communion Service. This great hymn by Paul Gerhardt first appeared in Crüger’s Praxis Pietatis Melica , Berlin, 1653, in sixteen stanzas. John Wesley, great revivalist and eminent translator of German hymns, rendered the entire hymn into English, in a different meter, and published it in Hymns and Sacred Poems , 1739. Our hymn consists of the first three stanzas, the original of which are as follows: O Jesu Christ, mein schönstes Licht

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171. Jesus, Thou Joy of loving hearts

171. Jesus, Thou Joy of loving hearts

A hymn of devotional meditation especially appropriate for the Communion Service. From the same Latin hymn, “ Jesu dulcis memoria ,” as Hymn 155 (which see) but using a different set of quatrains, Nos. 4, 3, 20, 28, and 10, which appear in the Latin as follows: Jesu, dulcedo cordium; Fons veri, lumen mentium, Excedit omne gaudium, Et omne desiderium. Jesus, spes poenitentibus, Quam pius es petentibus, Quam bonus te quaerentibus! Sed quid invenientibus? Qui te gustant, esuriunt; Qui bibunt, adhuc

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172. O love divine, that stooped to share

172. O love divine, that stooped to share

One of Holmes’ best hymns to which he gave the title, “Hymn of Trust.” It is found in the author’s Poems , 1862. It was first published as one of the poems in The Professor at the Breakfast Table , where it was represented as having been heard by the professor as he walked by a sick room. The little refrain, “Thou art near,” is based on Psalm 119:151: “Thou art near, O Lord; and all thy commandments are truth.” Oliver Wendell Holmes, American poet and man of letters, was the son of Rev. Abiel Ho

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173. Immortal Love, forever full

173. Immortal Love, forever full

One of the great hymns on the living presence and sympathy of Christ. It is taken from the poem, “Our Master,” of 38 stanzas, of which this hymn is a selection of stanzas 1, 5, 13, 14, and 16 of the original. John Greenleaf Whittier, the “Quaker Poet,” was born near Haverhill, Mass., where he began life as a farm boy and village shoemaker. At the age of 20, with only a limited education, he entered the profession of journalism, largely as the result of becoming acquainted with William Lloyd Garr

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174. Gracious Spirit, Holy Ghost

174. Gracious Spirit, Holy Ghost

Written for one of the pre-Lenten Sundays ( Quinquagesima ), the lesson for the day being I Corinthians 13. It is a fine enough hymn, but no poet can render this great paean of praise of love into verse to equal in poetic beauty the English of the King James Version. Christopher Wordsworth was a nephew of the poet William Wordsworth. He was a brilliant student and a good athlete. After graduation from Cambridge, he became Head Master of Harrow for a time, then minister of a church where he prove

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175. O Love that wilt not let me go

175. O Love that wilt not let me go

A song of joyful resignation, love, and trust, born out of the author’s experience of suffering. The story has been circulated that the hymn was written after the woman whom Matheson loved gave him up because of his becoming blind—a good story with one defect, viz. , that it isn’t true. It could not be true because Matheson became blind at 15 and the hymn was not written until he was 40 years old. The author’s own account of the composition of the hymn is as follows: My hymn was composed in the

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176. For common gifts we bless Thee, Lord

176. For common gifts we bless Thee, Lord

A hymn of gratitude for the common gifts too often taken for granted—the physical senses, the air, sun, darkness and sleep, the courtesies of friendship, etc. The last stanza is a prayer for unforgetful gratitude. Information regarding the author, Charlotte M. Packard, has not been traced. The hymn was taken from Hymns of the Spirit , 1937, Boston. MUSIC. ILLSLEY appeared in A Sett of New Psalm Tunes in Four Parts by John Bishop , c. 1700, where it is set to Psalm 100. John Bishop, the composer,

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177. My God, I thank Thee, who hast made

177. My God, I thank Thee, who hast made

A hymn of pure gratitude, expressing thankfulness even for the trials of life. It is equally useful for the sick and the well. Adelaide Anne Proctor was born in London, the daughter of Bryan W. Proctor, known in literary circles as “Barry Cornwall.” She possessed extraordinary intellectual power and was specially gifted in music and language. Miss Proctor contributed lyrics to Household Verses , edited by Chas. Dickens, who wrote with admiration of her verse making, her mental resources, humor,

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178-9. Love divine, all loves excelling

178-9. Love divine, all loves excelling

The hymn appeared in the curiously named collection, Hymns for those that seek and those that have Redemption in the Blood of Christ , 1747, and was entitled “Jesu, show us Thy salvation.” It dwells upon the thought of God as love, an idea not too common in the early hymns. The thought of the hymn is complete without stanza 2 and many hymnals omit it. Some have objected to this stanza because of the line, “Take away our power of sinning.” Literally interpreted this would be a prayer to have take

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180. Pray when the morn is breaking

180. Pray when the morn is breaking

A hymn setting forth the idea of prayer in a very simple way. Jane Cross Simpson was the daughter of James Bell, a Glasgow attorney. In 1837, she married her cousin J. B. Simpson, of Glasgow. At the age of 20, she had written a poem, “Go when the morning shineth,” which, after some revision, had become popular. When Songs of Praise , an important English hymnbook, was in the making, this poem was again revised to make the present hymn. The “others” referred to are responsible for the revision an

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181. Dear Lord and Father of mankind

181. Dear Lord and Father of mankind

A song of quietude and peace, reflecting the inner life of the “Quaker Poet.” The verses are from a poem called, “The Brewing of Soma,” in which Whittier tells of a certain sect of devotees in India who drank intoxicating liquor brewed from the Soma plant. The drinking of it brought them to a state of intoxicated excitement in which they imagined they were god-possessed. The poet then points out how among Christians emotional excitement is often mistaken for spiritual power. “In sensual transpor

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182. Sweet hour of prayer

182. Sweet hour of prayer

One of the most popular of all modern prayer meeting hymns, sometimes erroneously ascribed to Fanny Crosby. It was composed in 1842 by Rev. William W. Walford, a blind minister of England, of whom little is known except that he recited the words of this hymn to Rev. Thos. Salmon, Congregational minister at Coleshill, England, who wrote them down and later sent them to the New York Observer , in which publication they were printed September 13, 1845. The original has four stanzas, the last two be

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183. Lord, what a change within us one short hour

183. Lord, what a change within us one short hour

A hymn of the peace and power available through the practice of prayer. It is an arrangement of Trench’s sonnet on “Prayer.” Richard Chenevix Trench was born in Dublin, educated at Twyford School, Harrow, and Trinity College, Cambridge. He was preacher, poet, professor of divinity and later the Archbishop of Dublin. Trench, a scholar of distinction, is the author of valuable books, including Notes on the Parables , Notes on the Miracles , and Study of Words . The poem came into the hymn books th

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184. Prayer is the soul’s sincere desire

184. Prayer is the soul’s sincere desire

A classic poem on prayer, written in 1818 at the request of the Rev. E. Bickersteth for his Treatise on Prayer . In 1825 it was published in The Christian Psalmist , headed, “What is Prayer?” The original has eight stanzas of which our hymn is a selection of 1, 2, 4, 5. Prayer is more, to be sure, than “the soul’s sincere desire,” for we sincerely desire many things that are in conflict with God’s will. But taken as a whole, the poem is an elaborate description of the nature of prayer and teache

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185. Thou art the Way, to Thee alone

185. Thou art the Way, to Thee alone

Based on John 14:6: “I am the way, the truth, and the life; no man cometh unto the Father, but by me.” The hymn was written by one of the most able and influential men in the Episcopal Church in America. It takes high rank among all the hymns America has produced, and is one of the few hymns of American origin included in the famous English book, Hymns Ancient and Modern . It is written in simple style, employing only twelve words of more than one syllable. For further comments on Bishop Doane s

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186. What a friend we have in Jesus

186. What a friend we have in Jesus

A spiritual song of comfort and hope and the most popular Canadian contribution to the hymnody of the church. The authorship of this hymn long remained a secret. In one publication it was erroneously attributed to Horatius Bonar. Scriven composed it for his mother to comfort her in time of special sorrow, not intending that anyone else should see it. This information was revealed to a friend who sat up with the author in his last illness. Joseph Scriven, born in Dublin, came to Canada at the age

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187. I need Thee every hour

187. I need Thee every hour

A song expressing the Christian believer’s ever-present sense of divine help and guidance. It first appeared in a small collection of gospel songs prepared for the National Baptist Sunday School Association which met in Cincinnati, Ohio, November, 1872, and was sung there. Mrs. Annie Sherwood Hawks was an active member of the Baptist Church in Brooklyn of which Rev. Robert Lowry, who wrote the music to the words and added the refrain, was the pastor. Concerning the hymn, Mrs. Hawks wrote: Whenev

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188. Father, in Thy mysterious presence kneeling

188. Father, in Thy mysterious presence kneeling

A beautiful hymn of contrition, and prayer for the “Presence.” Samuel Johnson was born in Salem, Mass. After graduating from Harvard University and Harvard Divinity School, he became minister of the Independent Church at Lynn, Mass., where he served from 1853 to 1870. He was a fellow-student and close friend of Samuel Longfellow, the two “Sams” collaborating in the editing of A Book of Hymns which passed through twelve editions and became the source of excellent hymnic material not published bef

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189. Come, thou Fount of every blessing

189. Come, thou Fount of every blessing

An old hymn that has been a “fount of blessing” itself to multitudes, written only three years after the author’s conversion. It sounds a note of anxiety lest the paths of sin lure the soul away from God. The Scripture reference in the second stanza is to I Sam. 7:12: “Then Samuel took a stone and set it between Mizpeh and Shen, and called the name of it Ebenezer, saying, Hitherto hath the Lord helped me.” For comments on the author, Robert Robinson, see Hymn 46 . MUSIC. NETTLETON appeared in Jo

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190. Who is on the Lord’s side

190. Who is on the Lord’s side

An impressive call to Christian service. The hymn is based on the incident in the life of David in I Chron. 12:18: “Then the spirit came upon Amasai who was the chief of the captains, and he said, ‘Thine are we, David, and on thy side’.... Then David received them and made them captains of the band.” For comments on Frances Havergal see Hymn 126 . MUSIC. ARMAGEDDON. This stirring tune was first used to “Onward, Christian Soldiers,” and later with the above hymn. It is an arrangement by John Goss

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191. When courage fails, and faith burns low

191. When courage fails, and faith burns low

A triumphant song setting forth the ultimate victory of truth, and encouraging young people to stand loyally for the truth, even “though men deride.” For comments on the author, Frederick L. Hosmer, see Hymn 72 . MUSIC. WINCHESTER OLD. For comments on this tune see Hymn 588 ....

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192. Jesus, and shall it ever be

192. Jesus, and shall it ever be

Entitled by the author “Ashamed of Me.” The hymn is based on Mark 8:38: “Whosoever therefore shall be ashamed of me and of my words in this adulterous and sinful generation; of him also shall the Son of man be ashamed, when he cometh in the glory of his Father with the holy angels.” The original poem, composed when the author was only ten years of age, has been altered somewhat by Benjamin Francis, an English Baptist preacher who was born in Wales in 1734. Francis was an earnest and popular mini

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193. Stand up, stand up for Jesus

193. Stand up, stand up for Jesus

A hymn of the Christian warfare, widely known, and found in nearly all English hymn books. The origin of it is best given in the author’s own words in a leaflet printed in Detroit, 1883, and quoted by his son, Samuel Duffield, in English Hymns , 1886: “Stand up for Jesus” was the dying message of the Rev. Dudley A. Tyng, to the Young Men’s Christian Association, and the ministers associated with them in the Noon-Day Prayer Meeting, during the great revival of 1858, usually known as “The Work of

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194. God’s trumpet wakes the slumb’ring world

194. God’s trumpet wakes the slumb’ring world

A stirring call to a loyal stand for truth and witness against wrong. The hymn first appeared in Hymns of the Spirit , 1864. For comments on Samuel Longfellow see Hymn 28 . MUSIC. ALL SAINTS NEW was written for Bishop Heber’s hymn, “The Son of God goes forth to war.” The composer, Henry Stephen Cutler, 1824-1902, received his education at Boston, his birthplace, and in Europe. He became a well-known organist and choir master, serving churches in Boston, New York, and other cities, and attracted

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195. In the hour of trial

195. In the hour of trial

The hymn is based on Luke 22:32: “I have prayed for thee, that thy faith fail not.” It was written October 13, 1834, with the title, “In trial and temptation,” and published in 1853 in Montgomery’s Original Hymns under the title “Prayers on Pilgrimage.” The third and fourth stanzas have been altered considerably, not entirely for the better. Montgomery began the second stanza: With its witching pleasures. In the first stanza he had Jesus pray for me; to which there was much objection on scriptur

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196. Lord Jesus, think on me

196. Lord Jesus, think on me

A subjective and meditative hymn of trust, coming to us from the ancient Eastern Church. Synesius, a native of Cyrene, came from an illustrious family. He studied at Alexandria and became a Christian in 401. Against his own wishes, but in response to the will of the people, he was elected bishop of Ptolemais. He is described in Chas. Kingsley’s Hypatia as a distinguished churchman, philosopher, statesman, and patriot. The translator, Rev. A. W. Chatfield, was an Anglican clergyman who had a dist

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197. O for a closer walk with God

197. O for a closer walk with God

A tender, beautiful hymn, in use wherever English is spoken. It was published in the Olney Hymns (See 60 ) under the title “Walking with God.” It is based on Genesis 5:24: “Enoch walked with God.” The hymn was written December 9, 1769, during the serious illness of the poet’s dear friend, the wife of Rev. Morley Unwin, in whose home he stayed and found the tenderest of care during his own illness. Concerning her, Cowper wrote in a letter the day following the composition of this hymn: She is the

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198. Soldiers of Christ, arise

198. Soldiers of Christ, arise

For comments on Charles Wesley see Hymn 6 . “The Whole Armor of God” is the title of this hymn in Wesley’s Hymns and Sacred Poems , 1749. It is based on Ephesians 6:10-18: “Put on the whole armor of God, that ye may be able to stand against the wiles of the devil,” etc. The entire poem contains 16 double stanzas, of which our hymn is a selection of the first, second, and sixteenth. MUSIC. DIADEMATA. For comments on this tune see Hymn 118 ....

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199. While Thee I seek, protecting Power

199. While Thee I seek, protecting Power

A hymn of faith and trust in God. Helen Maria Williams, an English Unitarian, lived for some years with her sister who had married a French Protestant. It was during the period of the Revolution and the reign of terror. Being an outspoken republican, she was imprisoned by Robespierre, and was released only after his death in 1794. She was a woman of extraordinary intellectual strength and published many volumes on politics, religion, and literary questions, and finally her collected poems, entit

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200. Rise, my soul, and stretch thy wings

200. Rise, my soul, and stretch thy wings

This hymn, entitled “The Pilgrim’s Song,” first appeared in Hymns for Christian Worship , by Robert Seagrave, London, 1742. Robert Seagrave, son of Rev. Robert Seagrave, was educated at Cambridge and was ordained a clergyman in the Church of England. He became interested in the Wesleys and Whitefield and published pamphlets and sermons designed to reform the clergy and Church of England. He wrote 50 original hymns, of which this one is still in use. The exact year of Seagrave’s death is not cert

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201. We would see Jesus

201. We would see Jesus

Based on John 12:20-23: “There were certain Greeks among them that came up to worship at the feast: the same came therefore to Philip, which was of Bethsaida of Galilee, and desired him, saying, Sir, we would see Jesus.... And Jesus answered them saying, The hour is come, that the Son of man should be glorified.” The hymn first appeared in six stanzas in Hymns of the Church Militant , compiled by Anna Warner, New York, 1858, and published in 1861. It is another example of a fine hymn contributed

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202. Nearer, my God, to Thee

202. Nearer, my God, to Thee

A hymn of high poetic quality which has preserved its popularity from generation to generation. It is based on the story of Jacob at Bethel in Gen. 28:10-22: And Jacob went out from Beersheba, and went toward Haran. And he lighted upon a certain place, and tarried there all night, because the sun was set; and he took of the stones of that place, and put them for his pillows, and lay down in that place to sleep. And he dreamed, and behold a ladder set up on the earth, and the top of it reached to

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203. When the weary, seeking rest

203. When the weary, seeking rest

Entitled, “Intercession for All Conditions of Men,” in Bonar’s Hymns of Faith and Hope , 3d series, 1867. The history of this hymn is given by the author’s son, Rev. H. N. Bonar, as follows: My father was asked to provide words to the music, and was especially requested to furnish a fitting refrain to the two lovely lines of Mendelssohn’s with which Callcott’s tune, “Intercession,” ends. In searching for a Scripture theme containing some reiterated phrase almost of the nature of a refrain, he wa

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204. Lord, I hear of show’rs of blessing

204. Lord, I hear of show’rs of blessing

Based on Gen. 27:34: “Bless me, even me also, O my Father,” and Ezek. 34:26: “There shall be showers of blessing.” It is an especially useful hymn at revival meetings. Elizabeth Codner was the wife of Rev. David Codner, a clergyman of the Church of England. She engaged in some literary work and was much interested in the Mildmay Protestant Mission in North London. The author has given the origin of the hymn as follows: A party of young friends over whom I was watching with anxious hope attended

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205. Blest are the pure in heart

205. Blest are the pure in heart

A hymn of the simple, pure life. Purity of heart has a wider meaning than the specific virtue of chastity. Stanzas 1 and 3 are from Keble’s, The Christian Year , 1827. Stanzas 2 and 4 are from the New Mitre Hymn Book , 1836, and their authorship is uncertain. Some think they are from the pen of the editor of the book, W. J. Hall, or of the co-editor, Edward Osler. For comments on John Keble see Hymn 22 . MUSIC. FRANCONIA is from a book compiled by Johann Balthasar König, Harmonischer Lieder-Scha

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206. How blest are they whose hearts are pure

206. How blest are they whose hearts are pure

Based on the beatitude in Matt. 5:8: “Blessed are the pure in heart: for they shall see God.” For comments on the author, W. H. Bathurst, see Hymn 153 . MUSIC. GLENLUCE is one of the Common Tunes (See 20 ) in the Scottish Psalter of 1635. For comments on the Scottish Psalter see Hymn 575 ....

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207. I would be true

207. I would be true

A popular hymn at young people’s summer conferences and other youth gatherings. The words have often been reprinted in trade journals and newspapers and used on many a motto card. The ideals of youth—truth, purity, strength, bravery, friendship, generosity, humility, laughter, love, and helpfulness, encompassed in these few lines—were all revealed in the author’s brief life. Howard Arnold Walter was graduated cum laude in 1905 from Princeton University while Woodrow Wilson was president of the i

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208. How happy is he born and taught

208. How happy is he born and taught

The original of this hymn was published in Reliquiae Wottonianae with a memoir by Isaac Walton, 1651. The poem was altered somewhat to make it suitable for a congregational hymn. Henry Wotton graduated from Oxford in 1588. He had a varied career, travelling on the continent, acting as agent to the Earl of Essex for collection of foreign intelligence, and then settling in Venice where he was ambassador at the court from 1604-24, with two intervals during which he was engaged in diplomatic mission

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209. Walk in the light! so shalt thou know

209. Walk in the light! so shalt thou know

A useful hymn, by a Quaker poet, setting forth the characteristic Quaker doctrine of the “Inner Light,” based on I John 1:7: “But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin.” The hymn appeared in the author’s Devotional Verses , London, 1826. Bernard Barton, known in England as the “Quaker Poet” (as was Whittier in America), was born in London and educated at a Quaker school at Ipswich. When

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210. Believe not those who say

210. Believe not those who say

A hymn of courage. The original is in 10 stanzas, of which this hymn is a selection of stanzas 1, 2, 8, 9, 10. Anne Brontë, one of three illustrious sisters, the other two being Charlotte and Emily, was born near Bradford, England, the daughter of the Rev. Patrick Brontë, Vicar of Haworth, Yorkshire. She was joint author with her sisters of a book of Poems , 1846, and wrote other volumes under the pseudonym, “Acton Bell.” MUSIC. The tune, VIGIL , is by the Italian composer, Giovanni Paisiello, 1

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211. Go forth to life

211. Go forth to life

A challenge to live life bravely and true. The hymn is from Hymns of the Spirit , 1864, prepared by Samuel Longfellow and Samuel Johnson. It is one of the lyrics which helped establish Longfellow’s reputation as a hymn writer. For comments on Samuel Longfellow see Hymn 28 . MUSIC. MENDON is a variation of a “German Air” introduced into American hymn books by Samuel Dyer. The original had an additional note in each line and a different last line. The change to the present form and its name is att

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212. O Jesus, I have promised

212. O Jesus, I have promised

A hymn of consecration which the author wrote on the occasion of the confirmation of his daughter and two sons as “O Jesus, we have promised.” It is frequently, and appropriately, used at baptismal services. John Ernest Bode graduated with high honors from Oxford, where he was a fellow and tutor for six years; then became rector of Westwall, Oxfordshire, and later of Castle Campus, Cambridgeshire. He was a man of considerable attainments and was Bampton Lecturer in 1855. He wrote a number of hym

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213. We give Thee but thine own

213. We give Thee but thine own

Based on Prov. 19:17: “He that hath pity on the poor lendeth to the Lord.” It is a hymn on Christian giving and liberality, sounding the real humanitarian note, a side of religion which an effective and virile hymnology cannot ignore. It may appropriately be sung by choir or congregation in the dedication of the offering. (See comments at 611 .) For comments on W. W. How see Hymn 144 . MUSIC. SCHUMANN , a fine short-meter tune, is ascribed to Robert Schumann but it seems as if no one has ever fo

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214. A charge to keep I have

214. A charge to keep I have

One of the greatest of Wesley’s short hymns taken from Short Hymns on Select Passages of the Holy Scriptures , 1762, where it is headed, “Keep the charge of the Lord, that ye die not” (Lev. 8:35). The hymn strikes a much-needed note regarding the serious significance of this life. Thomas Carlyle expressed the same thought in his old age when he said: “The older I grow, and now I stand upon the brink of eternity, the more comes back to me the sentence in the catechism which I learned when a child

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215. Take my life and let it be

215. Take my life and let it be

One of the finest hymns of consecration and service. It has been translated into many languages, including Russian, and many of Africa and Asia. The author’s own story of how this hymn was written after her visit in a certain home throws a vivid light on her evangelical zeal: There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. He gave me the prayer, “Lord give me ALL in this house.” And He just did. Before I left the house every

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216. My Jesus, I love Thee

216. My Jesus, I love Thee

The authorship of this hymn was unknown until recently when Robert McCutchan, author of Our Hymnody , discovered that it was written by William Rolf Featherstone, a Canadian by birth, when he was only sixteen years of age. The author sent the hymn to an aunt, Mrs. E. Featherstone Wilson, living in Los Angeles, who suggested to her nephew that it be published. No further information concerning Featherstone is at hand. MUSIC. GORDON. The tune was written for this hymn which the composer, Dr. Gordo

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217. Have Thine own way, Lord

217. Have Thine own way, Lord

A hymn of the believer’s humble resignation to God, as the clay to the potter. The author, Adelaide Addison Pollard, was a modest poet. She signed her writings for many years with only her initials, but in recent times her publishers have used her full name. Miss Pollard was born in Iowa, but died in New York City. She was buried in the family plot at Ft. Madison, Iowa. While a teacher of elocution and expression, she became interested in deeper spiritual things through the ministry of R. A. Tor

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218. Fountain of good, to own thy love

218. Fountain of good, to own thy love

An appealing hymn on fellowship and service as well as consecration. The author entitled the hymn, “On Relieving Christ in the Poor.” The original first line began “Jesus, my Lord, how rich thy grace.” The hymn was rewritten by Edward Osler, 1798-1863, for Hall’s Mitre Hymn Book , 1836, in which form it is found in modern hymnals, including the Hymnary . For comments on Philip Doddridge see Hymn 56 . MUSIC. DALEHURST was composed by Arthur Cottman, 1842-79, an Englishman trained for the law but

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219. Master, speak! thy servant heareth

219. Master, speak! thy servant heareth

Based on the conversation between Samuel and Eli, I Sam. 3:1-10. Miss Havergal’s favorite name for Christ was “Master,” because, she said, “it implies rule and submission, and this is what love craves. Men may feel differently, but a true woman’s submission is inseparable from deep love.” For comments on Frances Havergal see Hymn 126 . MUSIC. AMEN, JESUS HAN SKAL RAADE (“Amen, Jesus, He shall reign”) comes from Denmark. The composer, Anton Peter Berggreen, 1801-80, was born in Copenhagen and liv

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220. Savior, thy dying love

220. Savior, thy dying love

Phelps gave this hymn to be published in Pure Gold, a Sunday school songbook which Robert Lowry, composer of music, was then editing and of which more than a million copies were sold. The hymn was given the heading, “Lord, what wilt Thou have me to do?” (Acts 9:6.) Sylvanus Dryden Phelps, Baptist minister, was born in Suffolk, Conn.; received his education at Brown University; and in 1846 became pastor of the First Baptist Church, New Haven, Conn., where he remained for 28 years. He published th

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221. Work, for the night is coming

221. Work, for the night is coming

Based on John 9:4: “I must work the works of him that sent me, while it is day: the night cometh, when no man can work.” The hymn was written when the author, eighteen years old, lived in Canada. It was published in a Canadian newspaper and later in her small volume of poems, Leaves from the Backwoods , Montreal, 1864. Anna Louisa Walker was born in England but went in her teens with her parents to Sania, Canada, where her brothers were railway engineers. Returning to England, she became a gover

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222. Where cross the crowded ways of life

222. Where cross the crowded ways of life

An unexcelled “Hymn for the City.” The following account of it is given in The Churchman , July, 1938, in an article by Eloise R. Griffith, on “Our Great Hymns”: Frank Mason North, D.D., a well-known clergyman of the Methodist Church, is the author of this well-loved hymn. It is sometimes called “A Prayer for the City,” or “A Prayer for the Multitudes,” and has the distinction of appearing in more standard hymnals today than any other hymn written in this century. To those of us who are concerne

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223. O Master, let me walk with Thee

223. O Master, let me walk with Thee

A greatly loved service hymn which the author entitled, “Walking with God.” In a note dated June 15, 1907, Gladden says: This hymn was written in 1879 for a magazine, Sunday Afternoon , which I was then editing. There were three eight-line stanzas. Dr. Charles H. Richards found the poem, which was not intended for a hymn, and made a hymn of it by omitting the second stanza, which was not suitable for devotional purposes. The omitted stanza reads as follows: O Master, let me walk with Thee Before

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224. O Thou great Friend to all the sons of men

224. O Thou great Friend to all the sons of men

Based on the Scriptural passages, John 15:14: “Ye are my friends if ye do the things which I command you” and John 14:6: “I am the way, the truth, and the life.” The author, Rev. Theodore Parker, an outstanding abolitionist and a leader in New England Unitarianism, was educated at Harvard and spent most of his ministry in Boston. While travelling abroad in the hope of restoring his health, he became ill and died at Florence, Italy, where he was buried. MUSIC. FFIGYSBREN. For comments on this tun

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225. Onward, Christian soldiers

225. Onward, Christian soldiers

A hymn of the Christian warfare, written by a Church of England clergyman for a children’s processional, but now having a much wider use. The author gave the following account of the writing of the hymn: Whitmonday is a great day for school festivals in Yorkshire. One Whitmonday, thirty years ago, it was arranged that our school should join forces with a neighboring village. I wanted the children to sing when marching from one village to another; so I sat up at night, resolved that I would write

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226. Teach me, my God and King

226. Teach me, my God and King

A hymn of consecration and heavenly-mindedness that marks the Christian life. Verses 2 and 4 are by John Wesley, and the third verse was altered by him. For comments on John Wesley see Hymn 170 . George Herbert, noted English poet and minister in the Church of England, was born in Wales; educated at Cambridge; and became a great pastor and preacher, serving, during his all too brief career, churches at Layton Ecclesia in 1626, and at Bemerton from 1630 to his death in 1632. His spare moments wer

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227. When thy heart with joy o’erflowing

227. When thy heart with joy o’erflowing

A hymn setting forth the spirit of brotherhood in terms of sharing. Information regarding the author, Rev. Theodore C. Williams, has not been traced. MUSIC. BULLINGER was written in 1874 by Ethelbert William Bullinger, 1837-1913, an English clergyman who made the study of music his avocation. He is remembered principally as the composer of this tune with its last phrase somewhat awkward due to the long, tied initial note....

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228. Who is thy neighbor?

228. Who is thy neighbor?

Based on the parable of the Good Samaritan. The hymn first appeared in The Christian Mirror , Portland, Me., 1838, in seven stanzas. One of the omitted stanzas reads: Thy neighbor? Yonder toiling slave, Fettered in thought and limb; Whose hopes are all beyond the grave, Go thou, and ransom him. The author, William Cutter, was an editor and publisher, born at Yarmouth, Me., a graduate of Bowdoin College, and member of the Congregational Church. He was in business in Portland, Me., for several yea

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229. O brother man, fold to thy heart thy brother

229. O brother man, fold to thy heart thy brother

A hymn of brotherly love and service, taken from a poem of 15 stanzas, entitled, “Worship,” to which was affixed the scriptural reference, James 1:27: “Pure religion and undefiled before God the Father is this, To visit the fatherless and widows in their affliction, and to keep himself unspotted from the world.” A concern for the well being of his fellow man was to Whittier a vital part of the Christian faith, as witness his championship of the cause of the slaves. For comments on John Greenleaf

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230. Rise up, O men of God

230. Rise up, O men of God

A hymn challenging the men of the church to loyal service to Christ. It is widely used in America and has found a place in English and Canadian hymnals. Concerning the origin of the hymn, Dr. Merrill says, in a letter to the writer, dated, April 18, 1947: I was asked back in 1911 to write a hymn to be used in the “Brotherhood Movement,” then going strong. I had come upon an article by Gerald Stanley Lee, entitled, “The Church of the Strong Men”; and that gave me a start. I can give no interestin

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231. Go, labor on; spend and be spent

231. Go, labor on; spend and be spent

A hymn to encourage Christian workers. It was published in Songs for the Wilderness , 1843, under the title, “Labour for Christ.” In Hymns of Faith and Hope , 1867, it was entitled, “The Useful Life.” Regarding the origin of the hymn, Rev. H. N. Bonar, son of the author wrote: It was probably in the year 1836 that my father first wrote a hymn not primarily intended for the young. To encourage his faithful fellow workers in his mission district, he wrote, to the tune of the “Old Hundredth,” the n

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232. O have you not heard of that beautiful stream

232. O have you not heard of that beautiful stream

Based on Rev. 22:1, 17: “And he showed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb.” “And the Spirit and the bride say, Come. And let him that heareth say, Come. And let him that is athirst come. And whosoever will, let him take the water of life freely.” It is reminiscent also of Ezek. 47:1-12, the vision of the healing stream of water flowing from the house of God to the Dead Sea, causing new life to flourish. “Everything shall live w

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233. O holy Savior, Friend unseen

233. O holy Savior, Friend unseen

A hymn which is best understood by those who have had experience in suffering and sorrow. Entitled, “Clinging to Christ,” it was written in 1834, shortly after the death of the author’s father and published in the 1834 edition of her Invalid’s Hymn Book . Charlotte Elliott, a member of the Church of England, was born and reared amid refined, cultured, Christian surroundings. Her grandfather, Rev. Henry Venn, was an “eminent Church of England divine of apostolic character and labors,” and the aut

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234. Thou true Vine, that heals the nations

234. Thou true Vine, that heals the nations

Based on John 15:1-5: “I am the true vine, and my Father is the husbandman. Every branch in me that beareth not fruit he taketh away: and every branch that beareth fruit, he purgeth it, that it may bring forth more fruit. Now are ye clean through the work which I have spoken unto you. Abide in me, and I in you. As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me. I am the vine, ye are the branches; He that abideth in me and I in him, the

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235. God of my heart

235. God of my heart

A hymn celebrating the believer’s life in God. It was taken from St. Basil’s Hymnal compiled by the Basilian Fathers, published in 1918. The musical editors were Healey Willan and Jules Brazil. The authorship of the hymn is anonymous. MUSIC. CARMEN NATURAE is an arrangement from a melody in Donizetti’s opera, Carmen . Gaetano Donizetti, 1797-1848, son of an Italian weaver, studied music in Naples. He composed 66 operas, 6 masses, 12 string quartets, a requiem, songs, and other compositions....

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236. Since Jesus is my Friend

236. Since Jesus is my Friend

A hymn of consolation and joy to give strength and courage to troubled hearts. It is based on Romans 8:31: “If God be for us, who can be against us?” The original has 15 stanzas. The lines translated here are as follows: Hab ich das Haupt zum Freunde Und bin geliebt bei Gott, Was kann mir tun der Feinde Und Widersacher Rott’? Sein Geist spricht meinem Geiste Manch süsses Trostwort zu, Wie Gott dem Hülfe leiste Der bei ihm suchet Ruh. Mein Herze geht in Sprüngen Und kann nicht traurig sein, Ist v

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237. O heart of God!

237. O heart of God!

A hymn of confidence and trust resulting from the mystical repose in the heart of God. The words and tune are found in St. Basil’s Hymnal , compiled by the Basilican Fathers, and published in Chicago, 1918. The author, Francis Stanfield, a Roman Catholic priest, was born in London, November 5, 1836, the son of Clarkson Stanfield, an artist. He was educated at St. Edmund’s College, near Ware. After ordination, he spent most of his time conducting missions and retreats, though he was stationed for

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238. Life of all that lives below

238. Life of all that lives below

This hymn, a prayer for a fuller life nurtured by Christ, the living Bread, is of composite authorship, but no information is at hand concerning the part which Wesley and Longfellow, respectively, had in it. It is not listed in Julian’s Dictionary of Hymnology . For comments on Charles Wesley see Hymn 6 . For comments on Longfellow see Hymn 28 . MUSIC. PLEYEL is taken from the Andante movement of the composer’s Fourth String Quartet, Op. 7 . It appeared as a long-meter tune in Arnold and Callcot

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239. There is a place of quiet rest

239. There is a place of quiet rest

The heart of the message of this popular devotional hymn, according to a statement made by the author to the present writer, is in the second stanza, “There is a place of comfort sweet, near to the heart of God.” Cleland B. McAfee was a distinguished preacher, author, and teacher in the Presbyterian Church. He was accustomed to write an original hymn for the communion service in his church. It was in 1901, during his pastorate in Chicago, that a great sorrow came into his life occasioned by the

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240. Come unto Me, ye weary

240. Come unto Me, ye weary

Based on some of the precious promises of Christ, especially Matt. 11:28: “Come unto me, all ye that labor and are heavy-laden and I will give you rest.” It may be compared with Bonar’s hymn, “I heard the voice of Jesus say” ( 142 ) on the same text. The author gives the story of the hymn as follows: I was ill and depressed at the time, and it was almost to idle away the hours that I wrote the hymn. I had been ill for many weeks, and felt weary and faint, and the hymn really expresses the langui

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241. When in the madd’ning maze of things

241. When in the madd’ning maze of things

Preëminently an experienced person’s meditation on trust in God. The hymn is taken from a poem of 22 stanzas entitled, “The Eternal Goodness,” written apparently without any thought of their being sung. In the first line the editors substituted the initial word “when” for the original “yet.” For comments on John Greenleaf Whittier see Hymn 173 . MUSIC. ES IST EIN BORN. For comments on this tune see Hymn 99 ....

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242. Thy way is in the deep, O Lord

242. Thy way is in the deep, O Lord

Based on Psalm 77:19: “Thy way is in the sea, and thy path in the great waters.” James Martineau, English Unitarian, was a man of letters, a philosopher, a theologian, and the most eloquent and distinguished preacher of his church in his time. He served churches in Liverpool and London and was Professor of Mental and Moral Philosophy in Manchester New College. He edited Hymns for the Christian Church and Home , 1840, a book widely used among Unitarians in England. MUSIC. GRÄFENBERG , sung somewh

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243. Come, ye disconsolate

243. Come, ye disconsolate

A hymn of consolation by an author whose life was far from exemplary. It may be the hymn should on this account have been omitted; but something in his heart enabled the author, through his lyrics, to touch the heart of humanity, and his songs have been widely used and admired in spite of the strange chapters and romantic incidents in his life. Thomas Moore, Irish poet, was born in Dublin, studied at Trinity College, and then moved to London and began the study of law. He held a government posit

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244. I look to Thee in every need

244. I look to Thee in every need

A hymn, much-needed, to express the effect of religious faith and trust upon mental and bodily health. The idea, so essential to the Gospel, has been too largely neglected in most Protestant Churches. The hymn is representative of the fine literary and devotional quality of the author’s poetry. Though an American hymn, it was introduced into the church’s worship in England before it was used in this country. For comments on Samuel Longfellow see Hymn 28 . MUSIC. O JESU appeared in J. B. Reimanns

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245. My God and Father, while I stray

245. My God and Father, while I stray

A hymn written by one who had disciplined herself to accept with patience and resignation the bitter cross of ill health which was laid upon her. She writes of her experience: Oh, many struggles and apparently fruitless ones it has cost me to become resigned to the appointments of my Heavenly Father. But the struggle is now over. He knows, and he alone, what it is, day after day, hour after hour, to fight against bodily feelings of almost overpowering weakness, languor, and exhaustion; to resolv

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246. Give to the winds thy fears

246. Give to the winds thy fears

A hymn of comfort to the afflicted and courage to the dying. It is a part of Paul Gerhardt’s poem, “ Befiehl du deine Wege ” ( 558 ). These are stanzas 9, 10, 12, 13, unaltered, of Wesley’s translation, which contains 16 four-line stanzas. Gerhardt passed through the agonies of the Thirty Years’ War, and suffered, in addition, the loss of his wife and four children. He gives expression in this hymn to his own deep feelings of trust and assurance. His words have helped many anxious souls maintain

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247. Day by day the manna fell

247. Day by day the manna fell

A hymn of confidence that God will supply daily strength for daily needs, based on Exodus 16:12-21 and the petition in the Lord’s Prayer, “Give us this day our daily bread.” The hymn suggests a Jewish story quoted by W. F. Tillett in The Hymns and Hymn Writers of the Church : The pupils of Rabbi Ben Jochai once asked him with regard to the manna sent to the Israelite host in the wilderness: “Why did not the Lord furnish enough manna to Israel for a year all at one time?” “I will answer you with

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248. One thought I have, my ample creed

248. One thought I have, my ample creed

Several of Hosmer’s hymns express his “thought of God,” this being one of the finest. It relates all of life and its needs to the thought of God. For comments on Frederick L. Hosmer see Hymn 72 . MUSIC. PRAETORIUS is from Harmoniae Hymnorum Scholae Gorlicensis , Görlitz, 1599. It is supposed to have been written by M. Praetorius, for it appeared in his Musae Sionae , Pt. VI, 1609, and hence its name. Michael Praetorius, 1571-1621, was born in Kreuzburg, Thuringia. He was educated at the Universi

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249. Father, to Thee we look in all our sorrow

249. Father, to Thee we look in all our sorrow

A hymn of comfort written in 1881 on the death of a member of the author’s congregation. The hymn was published in Hosmer’s Thought of God , 1st series, 1885. The last lines are particularly striking: “Yet shalt thou praise Him when these darkened furrows, Where now He ploweth, wave with golden grain.” MUSIC. STRENGTH AND STAY. For comments on J. B. Dykes, the composer of this tune, see Hymn 1 ....

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250. My Jesus, as Thou wilt

250. My Jesus, as Thou wilt

Based on Mark 14:36: “Abba, Father, all things are possible unto Thee; take away this cup from me: nevertheless not what I will, but what thou wilt.” The hymn was originally published in eleven stanzas in his Heilige Flammen , 1704. We give here five stanzas of the original, our hymn being the usual selection of 1, 3, and 5. Mein Jesu, wie du willt, So lass mich allzeit wollen; Wenn Trübsal, Angst und Leid Mich hier betreffen sollen, So gib, dass allezeit Dein Wille werd’ erfüllt, Ich leb’ und s

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251. Father, whate’er of earthly bliss

251. Father, whate’er of earthly bliss

Based on I Tim. 6:6-8: “But godliness with contentment is great gain. For we brought nothing into this world, and it is certain we can carry nothing out. And having food and raiment let us be therewith content.” Anne Steele was the first woman writer of English hymns. Her father was a timber merchant who for 30 years was deacon and occasional preacher in the Baptist Church in Hampshire, England, and then for 30 years more he was pastor, without salary, of the same church. On the day before Miss

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252. Thy way, not mine, O Lord

252. Thy way, not mine, O Lord

An admirable hymn of submission, faith, and love, based on Matt. 26:39: “Not as I will, but as Thou wilt.” It was published in 7 stanzas in the author’s Hymns of Faith and Hope , 1st series, 1857 under the title, “Thy way, not Mine.” The omitted stanza (No. 6) reads: Choose Thou for me my friends, My sickness or my health: Choose Thou my cares for me, My poverty or my wealth. For comments on Horatius Bonar see Hymn 129 . MUSIC. O LEIDE, LEIDE GERN is from the Gesangbuch mit Noten , where it appe

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253. Lord, it belongs not to my care

253. Lord, it belongs not to my care

A hymn of love, trust, and hope, based on Phil. 1:21: “For me to live is Christ, and to die is gain.” Richard Baxter, English Presbyterian, was born in Shropshire, England. He took holy orders in the Church of England, but withdrew from this church to become one of the outstanding Nonconformists of his time. Though he never attended university, he published over 250 volumes, among them several classics, The Reformed Pastor and The Saints’ Everlasting Rest . A fearless man and willing to suffer f

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254. Holy Father, cheer our way

254. Holy Father, cheer our way

Based on Zech. 14:7: “But it shall come to pass, at evening time it shall be light.” The hymn was written in 1869 for the author’s congregation, to be sung at evening prayer. It appeared in Church Hymns , 1871, published by the Society for Propagating Christian Knowledge, London. Richard Hayes Robinson, a clergyman of the Church of England, was born in London. He was educated at King’s College, London, and served as minister in various churches. On the day of his second wedding, he was taken ill

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255. O Lord, how happy should we be

255. O Lord, how happy should we be

Based on I Peter 5:7: “Casting all your care upon Him; for He careth for you,” and on the Scripture lesson in Matthew 6:24-34. The original poem was in five stanzas. The hymn was written out of experiences of sickness, pain, and trial. Joseph Anstice, a friend of Gladstone during student days at Oxford, was appointed Professor of Classical Literature at King’s College, London, at the age of 22. Within three years his health failed, and he died at the age of 28, whereupon Gladstone, who had been

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256. Peace, perfect peace

256. Peace, perfect peace

This hymn on perfect peace is based on Isaiah 26:3: “Thou wilt keep him in perfect peace whose mind is stayed on Thee: because he trusteth in Thee.” The origin of the hymn was furnished Dr. Julian by Rev. S. Bickersteth, a son of the author: This hymn was written by Bishop Edward Henry Bickersteth while he was spending his summer holiday in Harrogate in the year 1875. On a Sunday morning in August the Vicar of Harrogate, Canon Gibbon, happened to preach from the text, “Thou wilt keep him in perf

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257. God is the refuge of His saints

257. God is the refuge of His saints

Based on Psalm 46:1-5: “God is our refuge and our strength; a very present help in time of trouble,” etc., and was entitled by Watts, “The Church’s Safety and Triumph.” It is interesting to compare this free rendering of the Psalm with that of the Scotch Psalter , 1650, ( 588 ), where the thought of the psalm and the stately King James version combine to make up the greatest metrical form of the psalm. Martin Luther’s version of the same Psalm is found in his great hymn “ Ein feste Burg ist unse

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258. Awake, our souls! away, our fears

258. Awake, our souls! away, our fears

A free rendering of Isaiah 40:28-31. The hymn is from Watts’ Hymns and Spiritual Songs , 1707, where it is headed, “The Christian Race.” MUSIC. SAMSON. This tune is an adaptation, a very considerable one, from Chorus 31: “Then round about the starry throne,” in Handel’s oratorio, Samson . The tune is taken from various parts of the chorus. For comments on Handel see Hymn 70 ....

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259. There is no sorrow, Lord, too light

259. There is no sorrow, Lord, too light

Another of the “songs in the night,” written by one who, like Charlotte Elliott (See 245 ), was an invalid the greater part of her life and suffered much pain. Jane Fox was born in Cornwall, England. In 1836 she married Thomas D. Crewdson, a Manchester manufacturer. Always delicate, she became a confirmed invalid, but her sufferings served to deepen her spiritual life. She was a woman of fine intellectual power and poetic gifts and through her writings testified gloriously to the all-sufficiency

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260. Hark, hark, my soul! angelic songs are swelling

260. Hark, hark, my soul! angelic songs are swelling

A lovely song of the journey of life—the Christian’s pilgrimage to heaven, the heart’s true home. “The Pilgrims of the Night” was the title given this hymn by its author, F. W. Faber, the warm-hearted Roman Catholic hymn writer. The phrases of the poem are wrapped in mystery and loveliness. Their meaning is not always clear but the rhythm and musical ring of the hymn are effective and its popularity is genuine and wide-spread. For comments on F. W. Faber see Hymn 44 . MUSIC. PILGRIMS was written

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261. Forever, with the Lord!

261. Forever, with the Lord!

From Montgomery’s poem of twenty-two 4-line stanzas, in two parts, published in the Amethyst , 1835. It is based on I Thess. 4:17: “Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.” Canon Farrar once said, “I can scarcely ever join in singing ‘Forever with the Lord’ without tears.” The hymn voices the aspirations of multitudes of Christians. In time of sorrow and death it points to the life

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262. Jerusalem the golden

262. Jerusalem the golden

“And the city was pure gold” Rev. 21:21. This hymn is from a Latin manuscript of 3,000 lines entitled “ De Contemptu Mundi ” (On Contempt of the World), written by Bernard of Cluny while he was a monk at the famous monastery of Cluny, France, c. 1145. Practically nothing is known of him except his authorship of this poem. Two other hymns, “Brief life is here our portion,” and “For thee, O dear, dear country,” not in the Hymnary , are taken from the same poem. The original was not written as a hy

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263. Jerusalem the golden

263. Jerusalem the golden

For comments on this hymn see No. 262 . MUSIC. URBS BEATA (The City Beautiful) was composed in 1887 for these words. The composer found words for the refrain by repeating lines 1, 6, 7, and 8 of the first stanza. It makes a first-rate choir number. To keep up the proper tempo it should be sung with two beats to the measure. When the tune is used for congregational singing, the high notes in the refrain are intended to be sung by the sopranos in the choir. The composer, George LeJeune, 1842-1904,

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264. One sweetly solemn thought

264. One sweetly solemn thought

A poem in contemplation of heaven, written in 1852, entitled, “Nearer Home,” with no thought of its being used as a hymn. In fact its original irregular rhythm hardly permitted it to be sung. The words have been changed to fit the short-meter tune, and have become popular as a hymn. Upon reading the story of how the hymn was instrumental in the conversion of two gamblers in China, who, after betting and drinking and card playing, decided upon a change of life and consecrated themselves to Christ

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265. Sunset and evening star

265. Sunset and evening star

A song of immortality, written in ten minutes in the author’s eighty-first year. It is always printed at the end of Tennyson’s poems. Tennyson once said: “I can hardly understand how any great, imaginative man, who has lived, suffered, thought and wrought, can doubt of the soul’s continuous progress in the after life.” The poem was written on an October day in 1889, as the poet was crossing from Aldworth to Farringford. Tennyson’s son wrote in his Memoir of his father, concerning its origin: Bef

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266. Blest be the everlasting God

266. Blest be the everlasting God

A paraphrase of I Peter 1:3-5. The original by Watts was published in his Hymns and Spiritual Songs , 1707, from which it was taken over unchanged into the Scottish Paraphrases of 1745 and of 1751. In the final 1781 edition, the third stanza was omitted and the fourth altered from There’s an inheritance divine Reserved against that day; ’Tis incorrupted, undefiled, And cannot waste away. The improvements are attributed to William Cameron, 1751-1811, who, as a young licentiate, was entrusted with

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267. Forward through the ages

267. Forward through the ages

A hymn expressing the unity of God’s people in their labor for the Kingdom through the ages. “The goodly fellowship of the prophets” is set forth here with power and poetic beauty. For comments on Frederick L. Hosmer see Hymn 72 . MUSIC. ONWARD , with its strong rhythm and moving power, lends itself well for processional use, resembling in this respect the tune “St. Gertrude” ( 225 ), for which the present hymn was written. No information is at hand concerning the composer, J. W. Barrington....

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268. Thy Kingdom come, on bended knee

268. Thy Kingdom come, on bended knee

One of the few hymns written on the petition, “Thy Kingdom come,” in the Lord’s Prayer. Canon Percy Dearmer speaks of this as “one of the noblest hymns in the language.” It is a fervent prayer for the day when there shall be more justice, knowledge, peace, and righteousness on the earth. The hymn was written June 21, 1891, for the commencement of the Meadville Theological School, Pennsylvania. MUSIC. IRISH , also called “Dublin,” appeared first in Hymns and Sacred Poems , published in Dublin in

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269. Come, Kingdom of our God

269. Come, Kingdom of our God

A prayer for the coming of the Kingdom of God on earth, based on the petition in the Lord’s Prayer, “Thy Kingdom come, thy will be done.” Rev. John Johns, English Presbyterian minister, was known for many years in Liverpool as the “minister to the poor.” He was a man of fine poetic gifts and published several volumes of poetry but is remembered for his life of service among the poor. MUSIC. ST. THOMAS is one of the oldest and best tunes of the church. It has good rhythm, graceful form, and a str

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270. Thy Kingdom come, O Lord

270. Thy Kingdom come, O Lord

Another hymn on the petition, “Thy Kingdom come,” in the Lord’s Prayer, setting forth its coming in relation to the unity of nations. Compare Hosmer’s other hymn on the Kingdom ( 268 ) where the emphasis is on righteousness and justice. This is an appropriate hymn for use in gatherings concerned with Christian unity and world friendship. For comments on Frederick L. Hosmer see Hymn 72 . MUSIC. INVITATION. For comments on the composer of this tune see Hymn 112 ....

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271. Thy Kingdom come, O God

271. Thy Kingdom come, O God

Another of the few hymns that have been written on the petition in the Lord’s Prayer, “Thy Kingdom come.” See Hymns 268 , 269 , 270 . Lewis Hensley had a distinguished career at Trinity College, Cambridge, England, as student and then six years as fellow and tutor. He became a minister in the Church of England and for a time was Rural Dean. MUSIC. ST. CECILIA was composed for Dr. Bonar’s hymn, “Thy way, not mine, O Lord” ( 252 ), appearing with these words in The Merton Tune Book , Oxford, 1863.

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272. Before Jehovah’s awful throne

272. Before Jehovah’s awful throne

A paraphrase of Psalm 100, revised by John Wesley. The original text by Watts began: Sing to the Lord with joyful voice; Let every land his name adore; The British Isles shall sound the noise Across the ocean to the shore. Wesley, considering this an unpromising initial stanza, omitted it, and changed the second stanza, lines 1 and 2, from Nations attend before his throne With solemn fear, with sacred joy to Before Jehovah’s awful throne Ye nations bow with sacred joy. Wesley severely condemned

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273. The Church’s one foundation

273. The Church’s one foundation

A truly great hymn, honoring the church of Christ and longing for its prosperity. The author, then a young curate of 27 years in the Church of England, was so stirred by the attacks made on the church in his time that he determined to write a series of twelve hymns on the Apostles’ Creed. This one is based on the article, “I believe in the holy Catholic Church, the communion of saints.” The controversy which then raged in England concerning the nature of the inspiration of the Scriptures is refl

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274. Glorious things of thee are spoken

274. Glorious things of thee are spoken

Based on Psalm 87:3: “Glorious things are spoken of thee, O city of God,” and other passages, especially Isaiah 33:20, 21, and Exodus 13:22. It is one of our best hymns on the Church and, says Julian, “It ranks with the first hymns in the language.” In ordinary use the omission of the third stanza is desirable. Augustine Smith suggests in Lyric Religion that “the last score should always be repeated, the second time sung broader and fuller, building into a superb climax.” John Newton is remember

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275. I love Thy Kingdom, Lord

275. I love Thy Kingdom, Lord

Based on Psalm 137:5, 6: “If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.” It is rated high among all the hymns on the church and is probably the earliest American hymn in use today. Timothy Dwight, the great president of Yale, was the grandson of Jonathan Edwards and shared in a large measure the intellectual brilliance of the Edwards family. A precocious y

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276. O where are kings and empires now

276. O where are kings and empires now

From a larger poem by Coxe, entitled “Chelsea,” containing ten stanzas of eight lines each. It is a hymn of confidence that the church, built on a solid foundation, will survive all earthly kings and empires and will be able to withstand every earthly foe. Arthur Cleveland Coxe was born at Clifton Springs, N. Y.; graduated from the University of New York and General Theological Seminary; and then became the rector successively of St. John’s Church, Hartford, Conn.; Grace Church, Baltimore; and C

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277. Christ is made the sure foundation

277. Christ is made the sure foundation

From Part II of an ancient Latin hymn of the 6th or 7th century beginning: “ Urbs beata Hierusalem .” The author is not known. The first verse reflects Ephesians 2:20-21: “And are built upon the foundation of the apostles and prophets, Jesus Christ himself being the chief cornerstone; in whom all the building fitly framed together groweth unto an holy temple in the Lord.” The hymn is often used at the dedication of churches, stanzas 3 and 4 being especially appropriate for that purpose. Dr. Neal

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278. Lord of our life, and God of our salvation

278. Lord of our life, and God of our salvation

One of the “songs of the night,” the original of which was written out of the bitter experiences of the Thirty Years’ War in Germany. It tells of the peril to which the Reformed Church was then exposed but expresses confidence that the church, founded upon the Rock, will prevail against evil. Matthäus Apelles von Löwenstern, son of a saddler, had musical and business ability which won him recognition and employment by the Duke of Münsterberg and the Emperors Ferdinand II and his son Ferdinand II

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279. Dear Shepherd of Thy people

279. Dear Shepherd of Thy people

A hymn composed for a prayer meeting. John Newton and William Cowper, the English poet, instituted prayer meetings at Olney where the two labored together in a famous ministry, Newton as minister of the church, and Cowper as his voluntary assistant. The prayer meetings were attended in such large numbers that it became necessary to move the services into a large room. For the first meeting in this new room, each of the men prepared a special hymn, the one by Newton being our hymn, with his first

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280. Again, as evening’s shadow falls

280. Again, as evening’s shadow falls

“Vesper Hymn” is the title which this hymn bears in the author’s volume, Vespers , 1859, a small book of songs prepared for use in evening services. In a letter dated Feb. 11, 1890, Longfellow wrote, “My two favorites among my hymns are the vesper hymn, ‘Again, as evening’s shadow falls,’ and the one beginning, ‘I look to Thee in every need’” ( 244 ). For comments on Samuel Longfellow see Hymn 28 . MUSIC. GERMANY. For comments on this tune see Hymn 222 ....

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281. We love the place, O God

281. We love the place, O God

Based on Psalm 26:8: “Lord, I have loved the habitation of thy house, and the place where thine honor dwelleth.” The hymn was written by William Bullock, then a young sailor-missionary, for the dedication of a mission chapel at Trinity Bay, Newfoundland, in 1827. Seventy years later, when a new church located on the same site was dedicated, this hymn as revised by H. W. Baker, was once more sung. The sermon preached by Bullock at the opening of the chapel was read to the people. Wm. Bullock was

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282. Unto Thy temple, Lord, we come

282. Unto Thy temple, Lord, we come

A hymn describing the church as the home of “rich and poor, bond and free, great and small.” It is suitable for the general worship service and especially for the dedication of a church. Information concerning the author, Robert Collyer, has not been traced. Julian’s Dictionary notes a William Collyer, 1782-1854, eminent English evangelical preacher who was ordained for a small church of ten communicant members. He is described as a man of “amiable disposition, polished manners, Christian courte

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283. The dawn of God’s dear Sabbath

283. The dawn of God’s dear Sabbath

A hymn on the Sabbath, picturing the day as a time when weary souls may turn from daily toil to refresh themselves with the water of life drawn from the wells of salvation. Ada Cross was born in England, November 21, 1844, the daughter of Henry Cambridge. She married an Australian, the Rev. George F. Cross, and spent most of her life in Australia where her husband was minister of the Anglican Church in Coleraine, Victoria. She was interested in the liturgy of the Church and issued several collec

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284. Safely through another week

284. Safely through another week

This hymn was composed by Newton for use on Saturday evening. To give it wider usefulness, the verses were slightly changed to make them suitable for the Sunday morning service. For comments on John Newton see Hymn 274 . MUSIC. SABBATH was written for this hymn in 1824. For comments on the composer, Lowell Mason, see Hymn 12 ....

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285. O day of rest and gladness

285. O day of rest and gladness

A hymn which serves to keep vividly before us the meaning and value of the Lord’s Day. It appears as the opening hymn in the author’s The Holy Year , 1862, where it is entitled “Sunday.” It is based on Psalm 118:24: “This is the day which the Lord hath made; we will rejoice and be glad in it.” For comments on Christopher Wordsworth see Hymn 174 . MUSIC. MENDEBRAS was written for this hymn in 1839. It is an arrangement by Lowell Mason of a German folk song. For comments on Lowell Mason see Hymn 1

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286. Again returns the day of holy rest

286. Again returns the day of holy rest

The author of this Lord’s Day hymn was the Rev. William Mason, an English Episcopalian, born at Kingston-on-Hull. He graduated with honors from St. John’s College, Cambridge; received ordination, served as one of the chaplains of King George III, and at the time of death he had been for 32 years the Precentor and Canon of York. A man of high literary attainments, and a friend of Thomas Gray, he edited that poet’s works in 1775 and later wrote the memoirs of Gray. The latter was done in the gossi

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287. This is the day of light

287. This is the day of light

A worshipful Sabbath day hymn, breathing the spirit of rest, light, and peace, written in 1867. For comments on the author, John Ellerton, see Hymn 43 . MUSIC. FRANCONIA. For comments on this tune see Hymn 205 ....

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288. Break Thou the bread of life

288. Break Thou the bread of life

This gem, entitled, “Study Song,” was written for the Chautauqua Literary and Scientific Circle and for Bible Study groups, but it also has a wider use. Dr. G. Campbell Morgan used this hymn every Sunday for many years immediately before the sermon. It is not a communion hymn although it is often used for that purpose. The breaking of bread refers to the feeding of the multitude beside the Sea of Galilee and not to the Last Supper; and the “bread of life” is the teaching of Jesus. For comments o

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289. O Word of God Incarnate

289. O Word of God Incarnate

A hymn addressed to Christ, the Word of God Incarnate, setting forth in a succession of beautiful figures—a lantern, the golden casket, a banner, a beam, chart and compass—the value of the written word, and the duty of the Church to carry the light of God’s word, both as incarnate and written, to the nations. It was written in 1867, headed by the text Prov. 6:23: “For the commandment is a lamp; and the law is light; and reproofs of instruction are the way of life.” The author himself was a livin

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290. Thy Word is like a garden, Lord

290. Thy Word is like a garden, Lord

The metaphors used in this hymn to describe the Word of God are very suggestive: “a garden,” “a deep, deep mine,” “a starry host.” Edwin Hodder was born in England but migrated at 19 years of age to New Zealand where he was one of a pioneer group of idealists who introduced progressive sociological ideas for which that country is noted. He returned to England where he was engaged in the civil service from 1861 until his retirement in 1897. Hodder wrote biographies and devotional works, and in 18

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291. The heavens declare Thy glory, Lord

291. The heavens declare Thy glory, Lord

Here is an unusual rendering of Psalm 19, which Watts entitled, “The Books of Nature and of Scripture.” In the Psalm itself we find the Book of Nature in the first half and the Book of Scripture in the second half of the psalm. Instead of following this order, Watts sets the one over in couplets against the other, so that the first two lines of each stanza have to do with nature, the last two with Scripture. For comments on Isaac Watts, see Hymn 11 . MUSIC. UXBRIDGE. This tune is by the American

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292. Lord, Thy word abideth

292. Lord, Thy word abideth

A hymn on the Scriptures, written for Hymns Ancient and Modern , 1861. For comments on Henry W. Baker see Hymn 143 . MUSIC. RAVENSHAW is from Ein Neu Gesangbüchlein , 1531, the earliest German hymn book of the Bohemian Brethren, edited by Michael Weisse. The melody is older and was associated with a Latin hymn, Ave Hierarchia, coelestis et pia . The present arrangement is by William H. Monk. For comments on Monk see Hymn 40 . For a note on the Bohemian Brethren and Michael Weisse see Hymn 544 ..

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293. Shine Thou upon us, Lord

293. Shine Thou upon us, Lord

A hymn for teachers. For comments on John Ellerton, see Hymn 42 . MUSIC. BROUGHTON. For comments on the composer of this melody, Thomas Hastings, see Hymn 120 ....

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294. O still in accents sweet and strong

294. O still in accents sweet and strong

The author’s title of this hymn is, “Behold the Fields are White.” For comments on Samuel Longfellow see Hymn 28 . MUSIC. BELMONT. For comments on this tune see Hymn 197 ....

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295. Pour out Thy Spirit from on high

295. Pour out Thy Spirit from on high

Written in 1833 for the Rev. J. Birchell, clergyman in the Church of England, who published it in his Selection of Hymns . It was printed in the same year in Edward Bickersteth’s Christian Psalmody . For comments on Bickersteth see Hymn 256 . The hymn’s original title was, “For a Meeting of Clergy.” It is not intended to be sung by a body of people as a prayer for ministers but as a prayer hymn to be sung by ministers themselves. For comments on James Montgomery see Hymn 62 . MUSIC. MELCOMBE. Fo

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296. Lord, speak to me, that I may speak

296. Lord, speak to me, that I may speak

“A Worker’s Prayer” is Miss Havergal’s title of this hymn and the text associated with it is Rom. 14:7: “None of us liveth to himself and no one dieth to himself.” It was composed April 28, 1872, at Winterdyne. For comments on Frances Havergal see Hymn 126 . MUSIC. CANONBURY , a favorite tune found in nearly all hymn books, is from Robert Schumann’s Nachtstücke , Op. 23. Robert Schumann, 1810-56, greatest of the early German Romantics, was born in Zwickau, Saxony. He wrote symphonies and chamber

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297. Thou who Thyself didst sanctify

297. Thou who Thyself didst sanctify

An appropriate hymn for use in ordination to the Christian ministry or dedication to other forms of Christian service. George Rawson, an English Congregational layman, was born at Leeds where he practiced law many years. He had a considerable knowledge of music and was a gifted hymn writer. He rendered valuable assistance to his own denomination as well as to the Baptists in the preparation of hymn books for use in the church. A shy, retiring man, of sincere piety, he at first published his hymn

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298. Gracious Savior, gentle Shepherd

298. Gracious Savior, gentle Shepherd

A hymn for the children’s consecration service, evolved by John Keble from three hymns—“Shepherd in thy bosom, folded,” “Loving Shepherd of Thy sheep” ( 429 ), and “Infant sorrow, infant weakness,” written by Jane Eliza Leeson. Keble took the main ideas of these hymns and rewrote them into a hymn of five stanzas, two of which are omitted here. Jane Eliza Leeson was born in London and died there. She had rare gifts in writing for children, and published several books of hymns— Infant Hymnings , a

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299. All hidden lie the future ways

299. All hidden lie the future ways

A lyrical phrasing of the emotions that arise in the hearts of parents as they contemplate the faring forth of little children into the hidden future. For comments on the author, Frederick L. Hosmer, see Hymn 72 . MUSIC. NUN SICH DER TAG GEENDET HAT is a tune set to various hymns in the Gesangbuch mit Noten . For comments on the composer, Aaron Williams, see Hymn 269 ....

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300. A little child the Savior came

300. A little child the Savior came

A Scotch Presbyterian minister, William Robertson, contributed this hymn to the Church of Scotland’s Hymns for Public Worship in 1861. The author, keenly interested in hymnody and Scotch psalmody, was a member of the Hymnal Committee of the Church of Scotland in 1851, 1853, and 1857. MUSIC. ALSTONE was composed by C. E. Willing, 1830-1904, for the children’s hymn, “We are but little children weak,” in Hymns Ancient and Modern , Appendix, 1868. Willing was chorister of Westminster Abbey and held

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301. Come, Father, Son, and Holy Ghost

301. Come, Father, Son, and Holy Ghost

The original poem of six stanzas is from Hymns and Sacred Poems , 1749, where it was entitled, “At the Baptism of Adults.” Wesley’s second line of the first stanza read “Honor the means injoin’d by Thee,” which was changed to “ordained by Thee” for the Collection of 1780. The awkward expression, “Effectuate now the sacred sign,” Wesley’s second line of stanza 3, was changed to “Effectual make the sacred sign,” by the editors of the hymn book in 1849. For comments on Charles Wesley see Hymn 6 . M

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302. I’m not ashamed to own my Lord

302. I’m not ashamed to own my Lord

This hymn is based on II Timothy 1:8-12. James Moffatt writes that when Henry Drummond was on his death bed, Nov. 7, 1897, his friend, Dr. Hugh Barbour, played several hymn tunes to him without gaining any response. Then he tried the Old Scots melody of “Martyrdom” to which Drummond beat time with his hand and joined in the words, “I’m not ashamed to own my Lord.” When the hymn was done, he said, “There’s nothing to beat that, Hugh.” For comments on Isaac Watts see Hymn 11 . MUSIC. DEDHAM. The t

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303. Here, O my Lord, I see Thee face to face

303. Here, O my Lord, I see Thee face to face

Entitled by the author, “This Do in Remembrance of Me.” It is a famous communion hymn, emphasizing, in keeping with the Reformed tradition, the thought that Christ Himself presides at His Table. All His followers are therefore welcome. Three members of the Bonar family became eminent ministers in the Free Church of Scotland (Presbyterian)—Andrew in Glasgow; John in Greenock; and Horatius in Edinburgh. Horatius was accustomed to visit his brother John once a year at the communion service. Hymns w

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304. Bread of the world, in mercy broken

304. Bread of the world, in mercy broken

“A quiet communion hymn full of loveliness and warm reality of faith.”—Reeves. This popular communion hymn by Bishop Heber was published posthumously with the title, “Before the Sacrifice.” For comments on Reginald Heber see Hymn 1 . MUSIC. EUCHARISTIC HYMN , a tune “beautiful in its simplicity,” has always been associated with this hymn by Heber. The composer, John Sebastian Bach Hodges, 1830-1915, son of the illustrious organist, Edward Hodges, was born in Bristol, England, but came to America

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305. According to Thy gracious word

305. According to Thy gracious word

One of the best-loved and most useful of communion hymns, profound, yet simple. It appeared first in Montgomery’s Christian Psalmist , 1825, and has since passed into the hymn books of all denominations of evangelical Christians. The words of Luke 22:19 furnish the scriptural basis of the hymn: “This do in remembrance of me.” For comments on James Montgomery see Hymn 62 . MUSIC. ST. JOHN , more properly called “St. John’s, Westminster,” was composed by James Turle, 1802-82. For comments on James

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306. Bread of the world, in mercy broken

306. Bread of the world, in mercy broken

The Church Hymnary , London, 1927, has the following practical note at the bottom of the page where this hymn appears: As this hymn consists of one verse only, it is suggested that it be sung twice over: once by the choir alone, and again by choir and people in unison. It may also be used as a short motet for unaccompanied singing by the choir. For further comments on this hymn see No. 304 . MUSIC. RENDEZ À DIEU was composed or adapted by L. Bourgeois for the French Genevan Psalter , where it wa

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307. Come, risen Lord, and deign to be our guest

307. Come, risen Lord, and deign to be our guest

Based on the account of the supper at Emmaus, Luke 24:28-31: And they drew nigh unto the village, whither they went: and he made as though he would have gone further. But they constrained him saying, Abide with us: for it is toward evening, and the day is far spent. And he went in to tarry with them. And it came to pass, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight. It st

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308. I hunger and I thirst

308. I hunger and I thirst

A simple, tender, communion hymn which ought to have a wider use. John Samuel Bewley Monsell was educated at Trinity College, Dublin; labored for a number of years in the church in Ireland; and then became vicar of Egham in the Diocese of Worcester, England, and finally rector of St. Nicholas, Guildford. His home life at Guildford is described as having been “full of the beauty of holiness, with genial brightness and gaity playing like sunshine over all the troubles of life.” His life came to a

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309. Author of life divine

309. Author of life divine

This fine communion hymn is from Hymns on the Lord’s Supper , 1745, by John and Charles Wesley. It is attributed in many hymnals to Charles, but there is no conclusive evidence to show which of the two brothers wrote it. The thought of the hymn is said to be in full accord with John’s teaching concerning the Holy Communion. For comments on Charles Wesley see Hymn 6 . MUSIC. WESLEY. The original source of this tune has not been traced. In the English Hymnal it is set to the words, “Behold a littl

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310. By Christ redeemed, in Christ restored

310. By Christ redeemed, in Christ restored

Written in 1857 and published first in a Baptist book, Psalms and Hymns , 1858. Julian comments: “It is a hymn of more than usual excellence and has attained to a greater position in modern hymnals than any other of the author’s numerous compositions.” The refrain, “Until He come,” is reminiscent of I Cor. 11:26: “For as oft as ye eat this bread and drink this cup, ye do shew forth the Lord’s death, till he come.” For comments on George Rawson see Hymn 297 . MUSIC. IN MEMORIAM. For comments on t

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311. Bread of heaven, on Thee we feed

311. Bread of heaven, on Thee we feed

The hymn appeared in the author’s Star of the East , 1821, as “Bread of heaven, on Thee I feed.” The first person singular was altered to the plural throughout, and other changes made, improving the original. For comments on Josiah Conder see Hymn 247 . MUSIC. ALETTA is by the American composer of popular church and Sunday school music, William B. Bradbury, 1816-68. For further comments on Bradbury see Hymn 103 . Conder’s hymn may also be sung to “ Nicht so traurig ” ( 538 )....

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312. O perfect Love, all human thought transcending

312. O perfect Love, all human thought transcending

A singularly appropriate hymn for a Christian wedding. The author, Dorothy Gurney, born near London in 1858, was the daughter of Rev. Frederick Blomfield, a minister of the Anglican Church. She married a minister’s son, Gerald Gurney, and with her husband, united with the Roman Catholic Church in 1919. Mrs. Gurney has given the following account of the writing of this popular hymn for holy matrimony: We were all singing hymns one Sunday evening and had just finished “O Strength and Stay,” the tu

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313. Safe in the arms of Jesus

313. Safe in the arms of Jesus

Written April 30, 1868, at the request of W. H. Doane, composer of the tune to which it was to be sung. The hymn and tune were published first in Songs of Devotion for Christian Associations , 1870. It is a tender lyric which has given peace and satisfaction to many who have faced death and especially to mothers who have lost children. Fanny Crosby, born in Putnam County, N. Y., became blind when six weeks old as the result of an application of a warm poultice to her eyes. She was educated in th

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314. Asleep in Jesus....

314. Asleep in Jesus....

Written by Margaret Mackay, wife of a distinguished officer in the English army. She composed numerous hymns and poems, but none is so widely known as this tender lyric so often used as a funeral hymn, which she entitled, “Burial of the Dead.” The hymn was suggested by an inscription she saw on a tombstone in the burying ground of Pennycross Chapel, a rural spot in Devonshire: “Sleeping in Jesus.” One stanza, the fifth, has been omitted. It reads: Asleep in Jesus: time nor space Debars this prec

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315. Now the laborer’s task is o’er

315. Now the laborer’s task is o’er

Written for Church Hymns , 1871, by John Ellerton, distinguished hymnist of the Church of England. His biographer has written concerning this hymn: We now come to the loveliest and most loved of Mr. Ellerton’s hymns. It has been sung and will continue to be sung at the graveside of princes, divines, statesmen, poets, artists, authors, as well as many a Christian labourer of humble life. For comments on John Ellerton see Hymn 42 . MUSIC. REQUIESCAT was written for this hymn. It appeared first in

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316. O Lord of life, where’er they be

316. O Lord of life, where’er they be

This hymn, a source of comfort and courage to many mourners, was composed by Hosmer in 1888 for the Easter service in his own church in Cleveland, Ohio. The note of triumph runs throughout the hymn, each stanza ending with a jubilant “Allelujah.” It was written to be sung with Palestrina’s tune, “Victory.” For comments on Frederick Hosmer see Hymn 72 . MUSIC. VICTORY. For comments on this tune see Hymn 116 ....

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317. For all the saints

317. For all the saints

The original, in eleven stanzas, was published in 1864 in Hymns for Saints’ Days , by a layman, Lord Nelson. One of the omitted stanzas reads: For the Apostles’ glorious company Who, bearing forth the Cross o’er land and sea, Shook all the mighty world, we sing to Thee. For comments on William How see Hymn 144 . MUSIC. SARUM. The tune was composed for the Sarum Hymnal , 1869, for these words by Bishop How. It is also known as “St. Philip” and “For All the Saints.” For comments on the composer, J

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318. We cannot think of them as dead

318. We cannot think of them as dead

Written in 1876 after the death by drowning of a young member of the church of which the author was minister. For comments on the author, Frederick L. Hosmer, see Hymn 72 . MUSIC. ST. FLAVIAN is from the English Psalter of 1562 which was printed by John Day in London. The present is the first half, with some alterations, of the tune set to Psalm 132 ....

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319. Come, let us join our friends above

319. Come, let us join our friends above

The first of a group of Funeral Hymns , published in 1759. It sets forth the assurance that friends gone before are not lost to those who mourn, For all the servants of the King In earth and heaven are one. This hymn, one of Wesley’s greatest, has had wide use throughout the English speaking world in times of sorrow and loss of loved ones. It is an exposition of the words of the ancient Creed, “I believe in the communion of saints.” The third and fourth verses, containing the idea of One Church,

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320. In Christ there is no East or West

320. In Christ there is no East or West

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

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321. Jesus, Lord, we look to Thee

321. Jesus, Lord, we look to Thee

Four simple, lovely stanzas setting forth the unity of believers in Christ. For comments on Charles Wesley see Hymn 6 . MUSIC. MÜDE BIN ICH, GEH ZUR RUH. For comments on this tune see Hymn 254 ....

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322. All praise to our redeeming Lord

322. All praise to our redeeming Lord

A favorite and appropriate hymn for use at religious reunions and conference gatherings. Wesley entitled it, “At meeting of Friends.” MUSIC. ARMENIA was composed by Sylvanus Billings Pond, 1792-1871, Albany, N. Y., a piano manufacturer. Billings wrote many fine tunes and in 1841 issued the United States Psalmody , in which this tune appeared....

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323. How sweet, how heavenly is the sight

323. How sweet, how heavenly is the sight

A beautiful hymn of Christian love, suggesting lines by Alice Carey: He who loves best his fellowman Is loving God the holiest way he can. It appeared in the author’s Walworth Hymns , 1792, entitled, “The Grace of Christian Love.” Joseph Swain, English Baptist minister and hymn writer, lost his parents early in life and was apprenticed to an engraver. He led a careless, frivolous life until his conversion at the age of twenty-two, when he became a fervent Christian. He qualified for the Baptist

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324. The morning light is breaking

324. The morning light is breaking

A great missionary hymn, though a little too optimistic. It was written in 1832 while the author was a student in Andover Theological Seminary. After reading an inspiring account by Adoniram Judson of his great missionary work in Burma, Smith put his enthusiasm for missions into these verses, now sung in all the churches. Rev. Samuel F. Smith, Harvard graduate in the class with Oliver Wendell Holmes, became the foremost American Baptist hymn writer of the 19th century. He is the author of numero

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325. Far and near the fields are teeming

325. Far and near the fields are teeming

A popular missionary hymn based on Luke 10:2: “The harvest truly is great, but the laborers are few: pray ye therefore the Lord of the harvest, that he would send forth laborers into his harvest.” No information has been found concerning the author, J. O. Thompson, or the composer of the tune, J. B. O. Clemm. The song appeared in The Epworth Hymnal , edited by John H. Vincent, afterward a Bishop, and published by Phillips and Hunt, Methodist Publishers, New York, in 1885. It was copyrighted by t

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326. Father, whose will is life and good

326. Father, whose will is life and good

A prayer for the sick, and for physicians engaged in medical missionary work. The hymn first appeared in A Missionary Hymn Book , 1922, published by the Society for the Promotion of Christian Knowledge, in London. The author, Rev. Hardwicke Drummond Rawnsley, was an influential minister and educator in the Church of England. He spent much of his life in the Lake District in northern England, and, being a man of public spirit and a lover of nature, he championed the rights of the people in securi

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327. Christ for the world we sing

327. Christ for the world we sing

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

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328. O Zion, haste, thy mission high fulfilling

328. O Zion, haste, thy mission high fulfilling

One of the strongest and most useful missionary hymns in the English language. Mary Ann Faulkner was born in London but came to this country as a girl and became the wife of John Thomson, Librarian of the Free Library, in Philadelphia. A member of the Protestant Episcopal Church, her hymns, about forty in all, were published in The Churchman , New York, and in The Living Age , Chicago. Of the origin of this missionary hymn, Mrs. Thomson has written: I wrote the greater part of the hymn, “O Zion,

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329. Word of Life, most pure, most strong

329. Word of Life, most pure, most strong

One of the best and most useful hymns for foreign missions. The original poem has six stanzas, our hymn comprising the last three, translated by Catherine Winkworth. The German text is found at No. 551 , the hymn there being a free translation by Percy Dearmer. For comments on Catherine Winkworth see Hymn 236 . Jonathan F. Bahnmaier was born at Oberstenfeld where his father, J. C. Bahnmaier, was town preacher. He received his education at Tübingen and became assistant, in 1798, to his father. La

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330. O Spirit of the living God

330. O Spirit of the living God

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

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331. Fling out the banner! let it float

331. Fling out the banner! let it float

A stirring missionary hymn entitled, “Missions, Home and Foreign.” It is based on Psalm 60:4: “Thou hast given a banner to them that fear thee, that it may be displayed because of the truth.” The hymn was written in response to a request from the young women at St. Mary’s Hall, Burlington, N. J., a girls’ college founded by Bishop Doane, to be sung at a flag raising. The author, writing what has become a widely known hymn, gave the occasion a far wider significance than the girls had foreseen. B

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332. Hail to the brightness of Zion’s glad morning

332. Hail to the brightness of Zion’s glad morning

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

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333. From Greenland’s icy mountains

333. From Greenland’s icy mountains

One of the most famous missionary hymns ever written. An interesting story is attached to its origin, a detailed account of which was written by Thomas Edgeworth on the fly-leaf of a facsimile of the original manuscript as follows: On Whitsunday, 1819, the late Dr. Shipley, Dean of St. Asaph, and Vicar of Wrexham, preached a sermon in Wrexham Church in aid of the Society for the Propagation of the Gospel in Foreign Parts. That day was also fixed upon for the commencement of the Sunday evening le

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334. We have heard the joyful sound

334. We have heard the joyful sound

A missionary hymn written for the anniversary of a Sunday school in Baltimore in which the author had been a worker for many years. Priscilla Jane Owens, of Scottish and Welsh descent, was born and died in Baltimore where she was a public school teacher and an untiring worker in the Sunday school. Most of her hymns were written for children’s services. MUSIC. JESUS SAVES was composed by William J. Kirkpatrick, 1838-1921, a native of Duncannon, Pa. He was a regimental musician during the Civil Wa

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335. We’ve a story to tell to the nations

335. We’ve a story to tell to the nations

A popular missionary hymn, breathing the spirit of Christ’s great commission: “Go ye therefore, and make disciples of all nations, baptizing them into the name of the Father and of the Son and of the Holy Spirit: teaching them to observe all things whatsoever I commanded you: and lo, I am with you always, even unto the end of the world.” The message of the hymn, in which lies the hope of the nations, is summarized in the chorus. The words and music are by the same person, Henry Ernest Nichol, wh

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336. On the mountain top appearing

336. On the mountain top appearing

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

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337. Ye Christian heralds, go proclaim

337. Ye Christian heralds, go proclaim

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

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338. How are Thy servants blest

338. How are Thy servants blest

A hymn of the Christian traveller, particularly descriptive of the experience of many Christian missionaries. It is known as the “Traveller’s Hymn” and has been found useful as a part of the daily devotions by Christians journeying in foreign lands. It appeared in ten stanzas in the Spectator for September 20, 1712, at the end of an article on “Greatness,” with special reference to the greatness and awesomeness of the sea. The hymn was “made by a gentleman upon the conclusion of his travels.” Re

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339. See how great a flame aspires

339. See how great a flame aspires

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

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340. The whole wide world for Jesus

340. The whole wide world for Jesus

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

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341. Jesus shall reign where’er the sun

341. Jesus shall reign where’er the sun

Founded on the last part of Psalm 72, this is the earliest of the great English hymns on missions. It is sung by all Christian congregations in the homelands and has probably been translated into a greater number of languages and dialects than any other English hymn. Watts did not hesitate to use the name of Jesus in interpreting the Psalm. On this point, he wrote in the preface to his Psalms: Where the original runs in the form of prophecy concerning Christ and his salvation, I have given an hi

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342. Lord of light, whose name outshineth

342. Lord of light, whose name outshineth

Based on the petition, “Thy will be done on earth as it is in heaven.” The hymn was written for the Congregational Hymnary (England), 1916. A note by the author explains his purpose in the hymn: The hymn was written to declare that in doing God’s will, active co-operation is as much needed as humble resignation. Charlotte Elliott, in her hymn, “My God and Father, while I stray,” had expressed the latter thought beautifully. My hope was to supplement her hymn as best I could. (Miss Elliott’s hymn

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343. O beautiful for spacious skies

343. O beautiful for spacious skies

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

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344. My country, ’tis of thee

344. My country, ’tis of thee

The best loved of our patriotic hymns, widely used, and deeply imbedded in the American soul. His Harvard classmate, Oliver Wendell Holmes, saluted Smith in a poem written for their class reunion on the 30th anniversary of their graduation as follows: And there’s a nice youngster of excellent pith— Fate tried to conceal him by naming him Smith: But he shouted a song for the brave and the free— Just read on his medal, “My country,” “of thee.” The inspiration for this hymn came from the reading of

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345. Judge Eternal, throned in splendor

345. Judge Eternal, throned in splendor

A prayer for the nation. The hymn was written with the English Empire in mind, but its message and concern for the removal of national evils are such as to make it appropriate for use nearly everywhere. Henry Scott Holland had a distinguished career at Oxford and attained to numerous positions of responsibility in the Church of England. He was Professor of Divinity at Oxford and later Canon of St. Paul’s Cathedral. The two chief interests of his fruitful life were social reform and missionary wo

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346. Once to every man and nation

346. Once to every man and nation

A powerful hymn of national righteousness, taken from Lowell’s poem called “The Present Crisis,” 1845, the crisis being the war with Mexico which the author held to be unjust and would only result in enlarging the area of slavery. To make the meter of the poem regular enough to be sung, some alteration was inevitable. James Russell Lowell graduated from Harvard in 1838 and was admitted to the bar two years later. He succeeded Longfellow as Professor of Modern Languages and Literature in Harvard,

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347. God of our fathers, whose Almighty hand

347. God of our fathers, whose Almighty hand

A hymn of broadminded patriotism, called forth by the “Centennial” Fourth of July celebration in 1876, held at Brandon, Vt. It was published in various papers at the time and included in the Hymnal of the Protestant Episcopal Church in 1894. Since then it has appeared in a number of other church hymnals. The hymn was written by Daniel C. Roberts, a graduate of Kenyon College, and a clergyman in the Episcopal Church. MUSIC. NATIONAL HYMN was used at the Columbian celebration service at St. Thomas

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348. God bless our native land

348. God bless our native land

The first two stanzas are a free translation of Stanzas 1 and 3 of the following patriotic song for Saxony: Gott segne Sachsenland, Wo fest die Treue stand In Sturm und Nacht! Ew’ge Gerechtigkeit, Hoch überm Meer der Zeit, Die jedem Sturm gebeut, Schütz uns mit Macht! Blühe, du Rautenkranz In schöner Tage Glanz Freudig empor! Heil, Friedrich August, dir! Heil, guter König, dir! Dich, Vater, preisen wir Liebend im Chor! Was treue Herzen flehn Steigt zu des Himmels Höh’n Aus Nacht zum Licht. Der u

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349. Great God of nations, now to Thee

349. Great God of nations, now to Thee

Entitled “Thanksgiving Hymn,” this poem was written in 1828 when the author was only eighteen years old. It was published in the Presbyterian Psalms and Hymns , 1829, Princeton, N. J. There have been many alterations of the lines. Alfred Alexander Woodhull, son of a Presbyterian minister, graduated from Princeton at 18 years of age, and then took a medical course at the University of Pennsylvania. He began the practice of medicine at Marietta, Pennsylvania, then moved to Princeton where within a

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350. O God, we pray for all mankind

350. O God, we pray for all mankind

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

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351. God the All-Merciful

351. God the All-Merciful

A touching cry for peace, based on the Russian national hymn by Chorley. This paraphrase was written by John Ellerton, in 1870, during the Franco-Prussian War. It was published in Church Hymns in 1871. Henry F. Chorley, an English man of letters, received his education at the Royal Institution, Liverpool. He was a literary and music critic and a friend and great admirer of Charles Dickens. For 34 years he was on the editorial staff of the Athenaeum , published in London. MUSIC. RUSSIAN HYMN was

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352. O God of love, O King of peace

352. O God of love, O King of peace

An ardent prayer for universal peace. This noble hymn was contributed by the author to Hymns Ancient and Modern , London, 1861, a notable book of which Baker was chief editor. For comments on the author, Henry W. Baker, see Hymn 143 . MUSIC. QUEBEC. For comments on this tune and its composer see Hymn 171 ....

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353. Let there be light, Lord God of hosts

353. Let there be light, Lord God of hosts

A good peace hymn. The author, William Merrill Vories, was born in Leavenworth, Kansas. He is the founder of an independent mission in the province of Omi, Japan. Vories published the present poem February, 1909, in the Advocate of Peace . Since that time, it has found a place in a number of hymn books. The copyright, appropriately enough, is held by the American Peace Society. MUSIC. PENTECOST , a dignified tune, simple in structure, was first used with the hymn, “Veni Creator,” and appeared in

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354. Father eternal, Ruler of creation

354. Father eternal, Ruler of creation

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

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355. Not alone for mighty empire

355. Not alone for mighty empire

A hymn of thanksgiving and of the higher patriotism, glorying not in empire nor in battleship and fortress but in the things of the spirit which have made America great. It was first printed in The Continent , a Presbyterian paper, now defunct, published in Chicago. Concerning the origin of the hymn, Dr. Merrill wrote in a letter dated April 18, 1947: The occasion for the writing of this hymn was a Union Thanksgiving Service in Chicago, where Jenkin Lloyd Jones made a prayer, in which he thanked

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356. Thy Kingdom come! O Lord, we daily cry

356. Thy Kingdom come! O Lord, we daily cry

One of our few hymns on the petition, “Thy Kingdom come.” It is an earnest prayer for social righteousness and peace. The hymn was written by Henry Warburton Hawkes, an English Unitarian. No further information is at hand concerning the author. MUSIC. FFIGYSBREN. For comments on this tune see Hymn 183 ....

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357. Peace in our time, O Lord

357. Peace in our time, O Lord

A beautiful prayer for the peace which is “based upon Thy will and built in righteousness.” The author, having learned that a new hymnary was to be published, and aware of the Mennonite position on war and peace, sent this hymn from England for inclusion in this book with the request that it be used with the tune “Diademata.” For comments on the author, John Oxenham, see Hymn 320 . MUSIC. DIADEMATA. For comments on this tune and its composer, George J. Elvey, see Hymn 118 ....

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358. O happy home, where Thou art loved the dearest

358. O happy home, where Thou art loved the dearest

O selig Haus, wo man dich aufgenommen, Du wahrer Seelenfreund, Herr Jesu Christ; Wo unter allen Gästen, die da kommen, Du der gefeiertste und liebste bist; Wo aller Herzen dir entgegenschlagen Und aller Augen freudig auf dich sehn; Wo aller Lippen dein Gebot erfragen Und alle deines Winks gewärtig stehn! O selig Haus, wo Mann und Weib in einer , In deiner Liebe eines Geistes sind, Als beide eines Heils gewürdigt, keiner Im Glaubensgrunde anders ist gesinnt; Wo beide unzertrennbar an dir hangen I

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359. Thou gracious God, whose mercy lends

359. Thou gracious God, whose mercy lends

Written by Oliver Wendell Holmes in 1869 to be read or sung at the annual meeting of the 1829 college class of Harvard University, of which he was a member. The famous class included in its membership J. Freeman Clarke, founder of the Disciples, and Samuel F. Smith, author of “America.” The forty years of retrospect, mingled with sunshine and shadow, are touched here with tenderness and grace. For comments on Oliver W. Holmes see Hymn 172 . MUSIC. ES KAM DIE GNADENVOLLE appears in the Gesangbuch

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360. There is beauty all around

360. There is beauty all around

A tender lyric in praise of the home where love dwells. Especially fine are the lines, All the earth is filled with love When there’s love at home, for it recognizes the wide influence of the home, the primary social institution where the first lessons of the Christian life are learned. A nation’s peace and prosperity is rooted in the quality of life found in its homes. The words and music are by John Hugh McNaughton, who was born 1829, in Caledonia, N. Y., of Scottish parentage. His lyrics have

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361. Happy the home when God is there

361. Happy the home when God is there

One of the strongest hymns on the Christian home. It first appeared in Selections of Hymns and Poetry , Boston, 1846, compiled by Mrs. Herbert Mayo, where it was entitled, “The Happy Home.” For comments on the author, Henry Ware, Jr., see Hymn 13 . MUSIC. ST. AGNES. For comments on this tune see Hymn 155 ....

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362. Bless the four corners of this house

362. Bless the four corners of this house

A poem for use in the dedication of a Christian home, first printed in House and Garden magazine about thirty years ago. Since then it has become widely known both here and abroad. Its first use as a hymn was in the Methodist Hymnal of 1935, edited by Dr. Robert McCutchan. The author, Arthur Guiterman, was a writer, poet, and speaker. He was born in Vienna, Austria, November 20, 1871, of American parents, his mother being a native of Ohio. Most of his education was received in New York City, his

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363. Lord of life and King of glory

363. Lord of life and King of glory

A mother’s prayer, written by Miss Burke in December, 1903, and published the following February in The Treasury , where it was headed, “Prize Hymn for Mothers’ Union Service.” It was included in The English Hymnal , 1906. Miss Christian Burke was born in London. She contributed poems to various periodicals and in 1896 published a collection of her poetic writings, with the title, The Flowering of the Almond Tree . MUSIC. The tune was found in St. Basil’s Hymnal , published by the Basilian Fathe

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364. Motherhood, sublime, eternal

364. Motherhood, sublime, eternal

Suitable for Mother’s Day. The hymn and tune are found in Hymns of the Spirit , published in Boston, 1937. Julian Stearns Cutler, born at Thomaston, Maine, graduated from Tufts Theological School, Tufts College, Mass., in 1885, and served Universalist churches in Marblehead, Melrose, and Orange, Mass., 1896-1904; in Little Falls, N. Y., 1904-10; and in Pawtucket, R. I., 1910-26. He wrote a good deal of occasional verse published in newspapers, especially in the Boston Transcript , and his collec

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365. God be with you till we meet again

365. God be with you till we meet again

Written for the purpose of a Christian good-by. The author, Jeremiah E. Rankin, was pastor of the First Congregational Church in Washington, D. C., when he wrote this hymn. Later, in 1889, he became president of Howard University, a Negro institution in the same city. He was always a friend of the colored people and did what he could for their advancement. He has given us the origin of the hymn as follows: Written in 1882 as a Christian good-by, it was called forth by no person or occasion, but

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366. Uplift the song of praise

366. Uplift the song of praise

A hymn of praise for God’s leading of our forefathers. The author traced his own descent from the Pilgrim Fathers, one of his ancestors, James Hosmer, having come to Concord in 1635. In writing the hymn, he had the Pilgrims in mind, but his words are fully as applicable to other immigrant groups such as the Mennonites who came at different times from Europe to settle here in “lands untrod.” For comments on Frederick L. Hosmer see Hymn 72 . MUSIC, LEONI (Yigdal). For comments on this tune see Hym

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367. O God, beneath Thy guiding hand

367. O God, beneath Thy guiding hand

Written for the 200th anniversary of the founding of New Haven, Conn., celebrated April 25, 1833, in Center Church where the author was pastor. Dr. Bacon delivered the main historical address on this occasion and used the theme of the sermon for the basis of this hymn. Leonard Bacon, son of missionaries to the Indians at the then frontier trading post of Detroit, graduated from Yale and Andover Theological Seminary. He was minister of the Center Congregational Church, New Haven, for the forty-on

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368. In pleasant lands have fall’n the lines

368. In pleasant lands have fall’n the lines

A fine memorial hymn. The author, James Flint, was born in Reading, Mass. After graduating from Harvard, he served as pastor of the Unitarian Church at East Bridgewater, Mass., 1806-1821, and at the East Church, Salem, Mass., from 1821 until his death in 1855. His hymns were published in his Collection of Hymns for the Christian Church and Home , 1840, the present being the single one which survives today. MUSIC. WAREHAM. For comments on this tune see Hymn 208 ....

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369. Eternal One, Thou living God

369. Eternal One, Thou living God

A hymn of the Church Universal, the great company of faithful souls of every age and land. The God who led our fathers, still leads His people into new truth and sets before them new goals. For comments on Samuel Longfellow see Hymn 28 . MUSIC. WINCHESTER NEW. This tune is also used extensively with Milman’s hymn, “Ride on! Ride on in majesty” ( 101 ). It was set to the hymn, “ Wer nur den lieben Gott lässt walten ,” in the Musikalisches Handbuch , printed in Hamburg, 1690. The earlier history o

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370. Thou to whom the sick and dying

370. Thou to whom the sick and dying

A hospital hymn written in 1870 under the text, “And they brought unto Him all sick people ... and He healed them” (Matt. 4:24). It was first published in Hymns for the Church Service , 1871, by W. H. Hutton. Later it was revised for the author’s Hymns and Sacred Lyrics , 1874. For comments on Godfrey Thring, see Hymn 89 . MUSIC. WALTHAM. The tune appears with its original name, “Gott des Himmels und der Erden,” at Hymn 573 , which see for comments on the tune and the composer. The original form

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371. Now to heav’n our pray’r ascending

371. Now to heav’n our pray’r ascending

A crusading hymn full of assurance that the cause of right, though delayed by its foes, will surely succeed in God’s own time. For comments on the author, William E. Hickson, see Hymn 348 . MUSIC. GOD SPEED THE RIGHT is attributed to Ernst Moritz Arndt, 1769-1860, a German preacher, editor, professor of history, and writer of sacred and secular songs. Julian speaks of him as a “man of learning, a true patriot, a distinguished poet ... a man of deep religious feeling, and a true-hearted and earne

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372. Jesus, Thou divine Companion

372. Jesus, Thou divine Companion

A fine hymn on the dignity of labor, holding up the ideal of Christian service. For comments on the author, Henry van Dyke, see Hymn 10 . MUSIC. HYFRYDOL. For comments on this Welsh tune see Hymn 69 ....

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373. O Son of Man, Thou madest known

373. O Son of Man, Thou madest known

A hymn on the sacredness of work, connecting Jesus with the labor of mankind. The emphasis on the social aspect of religion in terms of our common life is a dominant note in twentieth-century hymnody. The author, Milton S. Littlefield, was born in New York City; educated at Johns Hopkins and Union Theological Seminary; and became an honored and prominent Presbyterian minister. Recognized as an authority in the field of hymnology, he edited two hymn books and was elected president of the American

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374. Though lowly here our lot may be

374. Though lowly here our lot may be

A hymn on the dignity of all work which is done through faith and trust in Christ. The author, William Gaskell, studied at Glasgow University and Manchester College, York, and became a Unitarian minister. His one and only charge was Cross Street Chapel, Manchester. He became Professor of English History and Literature in Manchester New College and was an influential leader in the community in the promotion of education and culture. His denomination bestowed upon him its highest honors. Mrs. Gask

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375. We plow the fields, and scatter

375. We plow the fields, and scatter

This is one of the finest harvest hymns. In 1783 Claudius wrote a sketch called, “Paul Erdman’s Feast,” in which there is an interesting picture of a harvest thanksgiving celebration in the home of a North German farmer. The farm folk gather at the house of Erdman and as they do so they sing: Wir pflügen und wir streuen Den Samen auf das Land, Doch Wachstum und Gedeihen Steht nicht in unserer Hand. Alle gute Gabe Kommt oben her, von Gott Vom schönen blauen Himmel herab. Matthias Claudius, son of

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376. Thank the Lord

376. Thank the Lord

Based on Jeremiah 33:11, Give thanks to the Lord of hosts, For the Lord is good, For his kindness endures forever. (Am. Trans.) Dankt dem Herrn! mit frohen Gaben Füllet er das ganze Land! Alles, Alles, was wir haben, Kommt aus seiner Vaterhand. Dankt dem Herrn! er giebt uns Leben Giebt uns Nahrung und Gedeihn. O wer wollt ihn nicht erheben Und sich seiner Güte freun! Dankt dem Herrn! vergisz, O Seele, Deines guten Vaters nie! Werd ihm ähnlich und erzähle Seine Wunder spät und früh. The author, G

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377. Come, ye thankful people, come

377. Come, ye thankful people, come

A popular and widely used hymn at harvest festivals, especially in England. It was first published under the title “After Harvest,” in 1844. In 1867, it was revised by the author, the form here being this revised version. For comments on Henry Alford see Hymn 152 . MUSIC. ST. GEORGE’S WINDSOR has long been associated with these words, to which it is well suited in every way. Originally, however, the tune was set to the hymn “Hark! the song of jubilee.” For comments on the composer, George J. Elv

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378. To Thee, O Lord, our hearts we raise

378. To Thee, O Lord, our hearts we raise

A popular thanksgiving hymn, written in the author’s most facile and musical style. The hymn was published in St. Raphael’s Hymns for the Service of the Church , Bristol, 1864. For comments on the author, William Chatterdon Dix, see Hymn 78 . MUSIC. ST. GALL is from Katolisches Gesangbuch zum Gebrauch bei dem öffentlichen Gottesdienste , 1863, the revised edition of the old hymn book used in the Benedictine Monastery founded in 614 A.D. by the Irish monk, St. Gall. It is a fine tune with a good

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379. Ring out, wild bells

379. Ring out, wild bells

From Sec. 106 of the poem “In Memoriam” (See 149 ). After tracing his grief through successive Christmas celebrations, the poet bursts into this song of confident faith in God at the opening of the new year. The poet turns from the past and rises above his private grief to sing of the future and its hopes for mankind. For comments on Alfred Tennyson see Hymn 149 . MUSIC. WILD BELLS was written for this poem by Henry Lahee, 1826-1912, organist at the Holy Trinity Church, Brompton, England, for ab

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380. Another year is dawning

380. Another year is dawning

A prayer for the New Year, hailing its advent as another opportunity for progress, service, and training in close fellowship with God. The poem was written in five stanzas of four lines each as the text of a New Year’s card and distributed by Miss Havergal among friends under the title, “A Happy New Year! Ever Such May It Be!” The omitted fifth stanza reads: Another year is dawning Dear Father, let it be On earth, or else in heaven Another year for Thee. For comments on Frances R. Havergal see H

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381. Another year of setting suns

381. Another year of setting suns

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

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382. The year is gone beyond recall

382. The year is gone beyond recall

From a Latin hymn, Lapsus est annus , found in a Breviary of Meaux, 1713 and 1734. It was used for compline after the first vespers of the Festival of the Circumcision, which is the last office sung on December 31. The original reads as follows: Lapsus est annus: redit annus alter: Vita sic mutis fugit acta pennis: Tu, Deus, cursum moderaris, unus Arbiter, aevi. Gens tuis plaudit cumulata donis: Te simul votis Dominum precatur, Servet intactum fidei verendae Patriae munus. Supplices poscunt alim

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383. Great God, we sing that mighty hand

383. Great God, we sing that mighty hand

A New Year’s hymn from the posthumous edition of Doddridge’s Hymns founded on various texts in the Holy Scriptures , 1745, where it is headed, “Help obtained from God. Acts 26:22. For the New Year.” It is based on Acts 26:22: “Having therefore obtained help of God, I continue unto this day, witnessing both to small and great, saying none other things than those which the prophets and Moses did say should come.” Most of Doddridge’s hymns were composed for use in his own congregation in connection

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384. ’Tis winter now

384. ’Tis winter now

A “delicately etched winter hymn” which appeared in Hymns of the Spirit , 1864, by Samuel Longfellow and Samuel Johnson. For comments on the author, Samuel Longfellow, see Hymn 28 . MUSIC. MELROSE. For comments on the composer, Frederick C. Maker, see Hymn 112 . This combination of hymn and tune was made by the editors of the Hymnary ....

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385. The glory of the spring, how sweet

385. The glory of the spring, how sweet

Based on Psalm 104:30: “... thou renewest the face of the earth,” and Ephesians 4:23: “... be renewed in the spirit of your mind.” It is an exquisite lyric, expressing not only the glory of the springtime with its newborn life, but depicting also, with rare beauty and power, the renewal of life which God works in the soul—a new birth of faith and love, prayer and song. The author himself wrote that, as a result of the study of the New Testament, “truth upon truth brake upon my gaze and God put a

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386. Summer suns are glowing

386. Summer suns are glowing

One of the most welcome of the hymns of the changing year. It was written for Church Hymns , 1871. The author wrote a hymn for each of the four seasons, another appearing at No. 387 . For comments on W. W. How see Hymn 144 . MUSIC. RUTH , composed by Samuel Smith, privately printed in 1865, was set to the present hymn in 1874 by Arthur Sullivan when he was editing the music for Church Hymns . Samuel Smith, 1821-1917 (not to be confused with the author of “My country, ’tis of thee”), was an Engli

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387. The year is swiftly waning

387. The year is swiftly waning

A hymn for the autumn season. Like No. 386 , it was written for the author’s Church Hymns , 1871. MUSIC. WAS KANN ES SCHÖN’RES GEBEN is from the Gesangbuch mit Noten where it appears anonymously, set to a hymn by Philipp Spitta, “Was kann es schön’res geben.”...

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388. Father of men, in whom are one

388. Father of men, in whom are one

A deeply sympathetic Christian hymn, written for the Friendly Societies of the Church of England, but may appropriately be used for many occasions of a more general character. It is especially useful in the life of a college campus. The author, Henry Cary Shuttleworth, was educated at Oxford for the Anglican ministry. He was a minor canon in St. Paul’s Cathedral, 1876-84, and rector of St. Nicholas Cole Abbey, London, from 1883. Concerned for the poor and down-trodden of London, Shuttleworth bec

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389. O grant us light that we may know

389. O grant us light that we may know

A prayer for the light from God to illuminate the mind in its search for truth. The author wrote many of his hymns on returning from visiting the sick and bereaved, expressing in them thoughts of consolation for families in sorrow and trouble. That this hymn may have had a similar origin is indicated by the omitted Stanzas 4 and 5, which are as follows: O grant us light, in grief and pain, To lift our burdened hearts above, And count the very cross a gain, And bless our Father’s hidden love. O g

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390. Almighty Lord, with one accord

390. Almighty Lord, with one accord

“A College Hymn” was the title given this poem, first printed in The New York Evangelist , February 27, 1896. It was included in The College Hymnal , New York, the same year and in the Methodist Hymnal of 1905. The author, Melancthon Woolsey Stryker, a prominent Presbyterian minister, was educated at Hamilton College, New York, and Auburn Theological Seminary. After serving churches in Auburn and Ithaca, New York; Holyoke, Mass.; and Chicago, Ill., he became president of his Alma Mater, Hamilton

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391. I feel the winds of God today

391. I feel the winds of God today

For many years the authorship of this hymn was unknown since the writer preferred to remain anonymous. It finally came to light that the lines were penned by Miss Jessie Adams, a member of the Society of Friends in England. She was a progressive teacher and a leader of the local Adult School at Frimley, England, where she long resided. Miss Adams wrote the hymn after a long period of service as teacher in which she felt a considerable measure of disappointment and failure, as if tugging and labo

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392. “Are ye able,” said the Master

392. “Are ye able,” said the Master

Written for a consecration service at Boston University School of Religious Education, in 1926, where the author was Professor of Religious Education. It is based on Jesus’ question of James and John, and their answer: “Are ye able to drink of the cup that I shall drink of and to be baptized with the baptism that I am baptized with? They say unto Him, Lord, we are able” (Matt. 20:22). The second verse came to the author’s mind as a result of seeing the Passion Play at Oberammergau, where he was

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393. Just as I am, Thine own to be

393. Just as I am, Thine own to be

A young people’s consecration hymn, contributed to The Voice of Praise , 1887, published by the Sunday School Union of London. Verses 5 and 6, omitted here, read as follows: With many dreams of fame and gold, Success and joy to make me bold, But dearer still my faith to hold, For my whole life I come. And for Thy sake to win renown, And then to take the victor’s crown, And at Thy feet to cast it down, O Master, Lord, I come. It was written by an Englishwoman, Marianne Hearn ( nom de plume , Mari

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394. Savior, while my heart is tender

394. Savior, while my heart is tender

A hymn of dedication to Christian service, suitable for use with young people’s groups. The author, John Burton, usually called “the younger” to distinguish him from another English hymn writer of the same name, was born and died in Stratford, England. From his 15th to 25th year he suffered greatly from ill health but recovered sufficiently to spend the next 50 years in business as a cooper and basket-maker in his home town. A devout Congregationalist, he served as deacon in his church and as a

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395. Savior, like a shepherd lead us

395. Savior, like a shepherd lead us

Published anonymously in the author’s Hymns for the Young , 1836. Dorothy Ann Thrupp was born and reared in London where she spent all her life. She had a special gift for writing hymns suited to the worship experiences of children. A modest person, always avoiding personal publicity. Miss Thrupp did not always receive full credit for her work. This hymn is sometimes wrongly credited to H. F. Lyte. MUSIC. BRADBURY was written for this hymn and derives its name from the composer. It first appeare

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396. O Son of man, our hero

396. O Son of man, our hero

A hymn deeply sympathetic with the aspirations and needs of young Christians, and appealing to the heroism of youth. Frank Fletcher was Head Master of Charterhouse School, Godalming, England, the first layman elected to such a position. He wrote these words in 1921, while on a motor drive between London and Charterhouse. After having been sung for some time in Charterhouse School, the poem was sent to a church newspaper, The Challenge , and from thence it found its way into the hymnals of Englan

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397. Lord in the fulness of my might

397. Lord in the fulness of my might

A consecration hymn for young people, much used in schools and colleges. It was written by Gill in 1855 and published in his Golden Chain of Praise , 1869, under the title, “Early Love. ‘How good it is to close with Christ betimes!’ Oliver Cromwell.” The original poem has eight stanzas. For comments on Thomas Hornblower Gill see Hymn 385 . MUSIC. AZMON. For comments on this tune see Hymn 12 ....

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398. Shepherd of eager youth

398. Shepherd of eager youth

A hymn to Christ, based on a Greek poem attributed to Clement of Alexandria, beginning with the line Στόμιον πώλων ἀδαῶν. The poem is one of two which Clement attached to his book, The Tutor . Some say it is the earliest Christian hymn extant. (But see comments on Hymn 34 ). Titus Flavius Clemens, known as St. Clement of Alexandria, c. 170- c. 220, remains something of an enigmatic figure in church history. It is not known where or exactly when he was born. He was a pagan philosopher in his youn

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399. Lead on, O King Eternal

399. Lead on, O King Eternal

Written upon request of the author’s classmates at Andover Theological Seminary, as a hymn for their graduation in 1887. It has come into wide use as a processional and a recessional on baccalaureate and other occasions. Ernest W. Shurtleff, graduate of Harvard University and Andover Theological Seminary, held Congregational pastorates in Massachusetts and at Minneapolis, Minn. He then went to Frankfurt, Germany, where he did his finest work as founder and pastor of the American Church at that p

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400. Give of your best to the Master

400. Give of your best to the Master

A challenge to youth to give heart and strength to the service of the Master. The author, Howard B. Grose, was born in Millerton, N. Y. After graduating from the University of Rochester, he served successively as pastor of the First Baptist Church, Poughkeepsie, N. Y., the First Baptist Church, Pittsburgh, Pa.; president of the University of South Dakota; and teacher of history in the University of Chicago. In 1910 he became editor of the Baptist magazine, Missions . He was a leader in the Chris

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401. Father in heav’n who lovest all

401. Father in heav’n who lovest all

“The Children’s Hymn,” in Kipling’s Puck of Pook’s Hill , published in 1906. It was written for boys, but is suitable also for adults. Permission to use the hymn in the Hymnary was granted by Mrs. Kipling on condition that all eight stanzas, unaltered, be used. Rudyard Kipling, famous English writer, was born in Bombay, India, and died in Sussex, England. After receiving his education in England, he returned to India to engage in journalism and became widely known for his short stories, novels,

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402. Lord, through changing days, unchanging

402. Lord, through changing days, unchanging

This hymn was written originally for the hymn book of the Hill School, of Pottstown, Pa., from which the author graduated as a boy in 1900, and where he afterward taught for a year. The motto of the school is “Whatsoever things are true” (Phil. 4:8). The hymn is built around that theme. W. Russell Bowie was born in Richmond, Va. After taking an A.B. and an A.M. at Harvard and teaching for a year at the Hill School, he spent most of three years at the Theological Seminary of Virginia, near Alexan

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403. A gladsome hymn of praise we sing

403. A gladsome hymn of praise we sing

Written by the pastor of the Lewin’s Mead Unitarian Church, Bristol, England, for use in a Sunday school anniversary, 1876, in his church. The hymn is suitable for adults as well as for children. Ambrose N. Blatchford, born in Devonshire, England, was educated at Tavistock Grammar School and Manchester New College, London. After serving as assistant minister at Lewin’s Mead Unitarian Church for ten years, he took full charge in 1876 and continued until his retirement in 1915, an unusual record o

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404. Children of Jerusalem

404. Children of Jerusalem

A children’s hymn of praise, based on Matthew 21:15-16: And when the chief priests and scribes saw the wonderful things that he did, and the children crying in the temple, and saying, Hosanna to the son of David; they were sore displeased, and said unto him, Hearest thou what these say? And Jesus saith unto them, Yea; have ye not read, Out of the mouth of babes and sucklings thou hast perfected praise? The hymn was written by Rev. John Henley, an English Methodist minister, known widely for his

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405. Around the throne of God in heaven

405. Around the throne of God in heaven

The author of this hymn was born on the Isle of Wight, the daughter of Rev. Edward H. Houlditch, a minister in the Church of England. In 1843 she married S. Saville Shepherd. The hymn, originally in five stanzas, is one of 64 hymns written by Mrs. Shepherd and published in 1836 under the title, Hymns Adapted to the Comprehension of Young Minds . MUSIC. GLORY was published in England in Curwen’s Tune Book to the Hymns and Chants for Sunday Schools , 1842, with these words. The combination of hymn

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406. A little seed lay fast asleep

406. A little seed lay fast asleep

A song of growth under God’s daily care. The lyric is a poetic description of the development of a seed from its first awakening to life under the touch of God’s sunshine, to the tall, fair plant with its golden ear of corn. No biographical information is at hand concerning the author, Clara Writer. MUSIC. KING’S LANGLEY. For comments on this tune see Hymn 385 ....

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407. See the shining dewdrops

407. See the shining dewdrops

No information is at hand concerning the origin of this children’s poem on the theme, “God is good.” MUSIC. The melody appeared anonymously in Kleiner Liederschatz , a small but useful book of songs for use in German schools and homes. The book was compiled and edited by several Kansas teachers and school friends who preferred to withhold their names. It was first published in 1901, Newton, Kansas. The arrangement was made especially for the Hymnary , by E. Shippen Barnes, in 1939. For comments

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408. God sees the little sparrow fall

408. God sees the little sparrow fall

A hymn of God’s love, based on Jesus’ teaching that God notes the fall of the sparrow and arrays the flowers in beauty and loveliness. No information has been traced concerning the author, Maria Straub, or her contemporary, S. W. Straub, 1842-99, who composed the music....

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409. Birds are singing, woods are ringing

409. Birds are singing, woods are ringing

A joyous song of praise. No information has been found concerning L. F. Cole, author of the words. MUSIC. The tune, BIRDS ARE SINGING , is anonymous....

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410. All things bright and beautiful

410. All things bright and beautiful

A nature song. It was written, as were Hymns 104 , “There is a green hill far away,” and 412 , “Once in royal David’s city,” to illustrate the Apostle’s Creed, the present being a comment on the phrase, “Maker of heaven and earth.” It is based on Gen. 1:31: “And God saw everything that He had made, and, behold, it was very good.” One of her stanzas, The rich man in his castle The poor man at his gate; God made them high and lowly And ordered their estate is omitted in most hymn books because it

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411. The happy Christmas comes once more

411. The happy Christmas comes once more

A charmingly fresh Christmas hymn written by the greatest of Danish hymn writers. An omitted stanza reads: O let us go with quiet mind, The gentle Babe with shepherds find, To gaze on him who gladdens them, The loveliest flower of Jesse’s stem. Nikolai F. S. Grundtvig was born in Udby, Denmark, 1783, the son of a Lutheran pastor. He lived in a day when rationalistic “new theology” had dried up the stream of spirituality in the church. The church worship had lost its evangelical glow, and the ser

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412. Once in royal David’s city

412. Once in royal David’s city

One of a series of children’s songs written by Mrs. Alexander to illustrate the Apostles’ Creed, this being a comment on the second clause, “And in Jesus Christ his only Son, our Lord, who was conceived by the Holy Ghost, born of the Virgin Mary.” Others in the series are “There is a green hill far away” ( No. 104 ) and “All things bright and beautiful” ( No. 410 ). MUSIC. IRBY was written for this hymn to be sung by voices in unison, with harmonized accompaniment. It has become one of the best-

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413. Come hither, ye children

413. Come hither, ye children

A popular Christmas song which all children love to sing. Christian Schmidt was born in Dinkelsbühl, the oldest son of the city clerk. In 1791, he was ordained to the ministry and given the headship of the school and made school inspector in Thannhausen at Mindel. His was a singularly fruitful ministry in which he devoted most of his talent to the benefit of the young people. He was in the habit of using the hours from four until eight in the morning in writing for young people, this being the o

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414. Away in a manger

414. Away in a manger

A beautiful Christmas carol which has long been ascribed to Martin Luther. However, many of our best hymnologists—among them Percy Dearmer, James Moffatt, and Robert McCutchan—hold that it has never been traced to any of Luther’s works, and that it does not resemble anything that Luther ever wrote. The words must, therefore, be classed “anonymous” until more information is forthcoming. MUSIC. The music, too, is of unknown origin. The name of the composer, Carl Mueller, to whom it is attributed,

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415. Joy dawned again on Easter Day

415. Joy dawned again on Easter Day

The Latin original of this hymn comprises stanzas 9, 10, and 11 of Aurora lucis rutilat , one of the most ancient Easter hymns in existence. It is found in the earliest monastic hymnaries of the sixth to the ninth centuries with a wide diffusion in continental as well as Anglo-Saxon and Celtic sources. Its authorship is unknown. The Latin text may be found in Analecta Hymnica Medii Aevi , v. 51, p. 89; A. S. Walpole, Early Latin Hymns , Cambridge University Press, 1922, p. 356; or Hymns Ancient

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Aurora lucis rutilat

Aurora lucis rutilat

Claro paschali gaudio Sol mundo nitet radio, Cum Christum iam apostoli Visu cernunt corporeo. Ostensa sibi vulnera In Christi carne fulgida Resurexisse Dominum Voce fatentur publica. Rex Christe clementissime, Tu corda nostra posside, Ut tibi laudes debitas Reddamus omni tempore. Quaesumus, auctor omnium, In hoc paschali gaudio Ab omni mortis impetu Tuum defendas populum. Gloria tibi, Domine, Qui surrexisti a mortuis, Cum Patre et sancto Spiritu In sempiterna saecula. The full hymn was used at f

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416. Hushed was the evening hymn

416. Hushed was the evening hymn

Based on the incident of the call of Samuel in I Samuel 3. The verses were published in The Evening Hymn , 1857, a small volume consisting of an original hymn and an original prayer for every evening of the month, by Burns when he was minister of the Hampstead Presbyterian Church, London. The hymn lends itself well to dramatization. James Drummond Burns received his training for the ministry at the University of Edinburgh. When the Disruption took place in the Scottish Church, he followed his te

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417. In our work and our play

417. In our work and our play

A beautiful prayer of consecration. The author, Whitefield Glanville Wills, an Englishman, was born in Bristol. He published a small collection, Hymns for Occasional Use in 1881. The present hymn, entitled “Children of God,” was contributed by him to School Hymns , England, 1891. MUSIC. ROSSLYN is an English melody taken from the Supplement to the Primitive Methodist Hymnal , 1912. The composer is not known....

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418. The wise may bring their learning

418. The wise may bring their learning

A hymn setting forth the important lesson that children, however poor, may bring useful gifts to the King. It appeared anonymously in The Book of Praise for Children , published in England, 1881. MUSIC. ELLON is a perfectly adapted tune for these words, though it was written originally for another hymn. The tune is popular with children and is sung with interest also by adults. The composer, George F. Root, 1820-95, an American musician, studied music in Boston and then became a teacher and orga

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419. Tell me the stories of Jesus

419. Tell me the stories of Jesus

A hymn for children on the life of Christ. It first appeared in The Sunday School Hymnary , published in England, 1885. It was written by William Henry Parker, a member of the General Baptist Church in England, a layman, interested especially in Sunday school work. He was a machinist by trade, working nearly all his life in a large lace-making plant in Nottingham. For many years he composed hymns for anniversary festivals in the Sunday school. These were published in 1882 in a volume entitled, T

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420. Jesus bids us shine

420. Jesus bids us shine

A hymn for small children, which first appeared, anonymously, in The Little Corporal , Chicago. The author, Susan Warner, sister of Anna B. Warner (see Hymn 201 ), was the daughter of a reputable attorney in New York State. Her father fell into undeserved misfortune which left the daughters as the breadwinners of the household. This burden they fulfilled by writing stories and books. Susan’s first book, The Wide, Wide World , published in 1865 under the pseudonym of “Elizabeth Wetherall,” became

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421. Here we come with gladness

421. Here we come with gladness

Intended to be sung as a collection march. The author, Julia Harriette Johnston, born at Salineville, Ohio, was educated at Gettysburg and Peoria, Illinois, High School. She was much interested in missions and Sunday-school work and frequently contributed articles to magazines, on those subjects. Among her publications were The School of the Master , Bright Threads , and the Life of Adoniram Judson . MUSIC. AUS DEM HIMMEL FERNE is a traditional German melody of unknown authorship. It appeared in

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422. We thank Thee, O our Father

422. We thank Thee, O our Father

A prayer of thanksgiving, especially for the flowers which, growing in the most unlikely places, make the world so bright and fair and reveal the power and love of God. Julian attributes the hymn to Catherine Mary McSorley but gives no information concerning her. The hymn appeared in the Appendix of the Irish Church Hymnal , 1891, and was published in Church Hymns , England, 1903. MUSIC. ENDSLEIGH. For comments on this tune see Hymn 283 ....

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423. Father, we thank Thee for the night

423. Father, we thank Thee for the night

A morning prayer. The words were written by Rebecca J. Weston, about 1890, but no information concerning her has been traced. This seems to be her only hymn. It appeared in a music-book, The Tonic Sol-fa Course , published by the Oliver Ditson Company. The editor of that book was the Rev. D. Batchellor, who composed the tune. The hymn was included in Songs of Praise , London, 1933....

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424. Savior, teach me, day by day

424. Savior, teach me, day by day

“Love’s sweet lesson” has never been presented more beautifully to the young than in this lyric from Miss Leeson’s Hymns and Scenes of Childhood , 1842, where it is entitled “Obedience.” The Scriptural basis is I John 4:19: “We love him because he first loved us.” For comments on the author, Jane Eliza Leeson, see Hymn 298 . MUSIC. POSEN is a short, vigorous tune which children, as well as adults, love to sing. The bass is no less interesting than the melody. The composer, George C. Strattner, 1

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425. Jesus, tender Shepherd, hear me

425. Jesus, tender Shepherd, hear me

A beautiful evening prayer, written by the author for her own children. Mrs. Mary Duncan was the daughter of Rev. Robert Lundie, minister at Kelso, England. In 1836, she married the Rev. William Wallace Duncan, minister of the Scottish parish of Cleish. Between July and December of 1839, the year before her death, she wrote a number of hymns for her small children. These were published in a Memoir by her mother and later issued separately—twenty-three in all—as Rhymes for My Children , 1842. Mrs

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426. Praise Him! Praise Him!

426. Praise Him! Praise Him!

A simple song, of unknown origin, which tiny tots love to sing. The truth the song enforces—“God is love”—is one the child will carry into adulthood and into eternity. The tune is an arrangement by Hubert P. Main, 1839-1925, American composer of popular Sunday school and evangelistic music, and editor of many hymn books. For sixty years, Main was connected with the Bigelow and Main publishing house in Chicago, now out of business. His private library of song and hymn books, consisting of over 7,

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427. I think when I read that sweet story

427. I think when I read that sweet story

A hymn that has gone all over the world and has been learned by a countless number of children of many nations and races. Concerning its origin, Mrs. Luke has written: I went one day on some missionary business to the little town of Wellington, five miles from Taunton, in a stage coach. It was a beautiful spring morning, it was an hour’s ride, and there was no other inside passenger. On the back of an old envelope I wrote in pencil the first two of the verses now so well known, in order to teach

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428. Jesus loves me! this I know

428. Jesus loves me! this I know

A hymn beloved by all the children. It was composed about 1860. For comments on the author, Anna Bartlett Warner, see Hymn 201 . MUSIC. JESUS LOVES ME. Bradbury’s tune was composed for this hymn in The Golden Choir , 1861. For comments on William B. Bradbury, see Hymn 103 ....

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429. Loving Shepherd of Thy sheep

429. Loving Shepherd of Thy sheep

From Miss Leeson’s Hymns and Scenes of Childhood , 1842. Based on John 10:27: “My sheep hear my voice, and I know them and they follow me.” For comments on the author, Jane Eliza Leeson, see Hymn 298 . MUSIC. INNOCENTS. For comments on this tune, see Hymn 64 ....

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430. I am Jesus’ little lamb

430. I am Jesus’ little lamb

A song of the Good Shepherd’s care of His lambs, based on Isa. 40:11: “He shall feed his flock like a shepherd: he shall gather the lambs with his arm, and carry them in his bosom.” Henriette Luise von Hayn, born in Idstein, Nassau, early in life gave her heart to Christ and often rose at night to spend hours on her knees in prayer. Influenced by the writings of Zinzendorf, she became interested in joining the “Brotherhood,” against the wishes of her parents. One morning, after reading Matthew 1

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431. Sleep, baby, sleep

431. Sleep, baby, sleep

The author of this lullaby, Ferdinand F. Buermeyer, has not been traced. The words were written in 1876. MUSIC. SCHLAF’, KINDLEIN, SCHLAF’ is a German melody composed by Louise Reichardt, 1788-1826, a German musician, born in Berlin. Her father, Johann Friedrich Reichardt, was a composer of operas and other music, and editor of a number of musical periodicals. Louise was a singing teacher in Hamburg from 1814 until her death. She composed many songs, a collection of which was published by G. Rhe

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432. When He cometh, when He cometh

432. When He cometh, when He cometh

Based on Malachi 3:17: “They shall be mine, saith the Lord of hosts, in that day when I make up my jewels.” The author, William Orcutt Cushing, was a minister of the Christian Church and served congregations of that denomination in various cities in New York State. Towards the close of his life, however, he joined the Methodist church. He is the author of more than 300 hymns of the gospel song type. MUSIC. JEWELS. For comments on the composer of this tune, George F. Root, see Hymn 418 ....

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433. From yon distant heaven

433. From yon distant heaven

Aus dem Himmel ferne, Wo die Englein sind, Schaut doch Gott so gerne Her auf jedes Kind. Höret seine Bitte Treu bei Tag und Nacht, Nimmt’s bei jedem Schritte Väterlich in Acht. Gibt mit Vaterhänden Ihm sein Täglich Brot Hilft an allen Enden Ihm aus Angst und Not. Sagt’s den Kindern allen Dass ein Vater ist, Dem sie wohlgefallen, Der sie nie vergisst. A popular song for children which appeared originally in the author’s Noch 50 Fabeln für Kinder, nebst einem ernsthaften Anhang , 1857. Wilhelm Hey

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434. Lo! the heavens are breaking

434. Lo! the heavens are breaking

A spring song, setting forth the love and goodness of God. Both words and melody are anonymous....

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435. Can a little child like me

435. Can a little child like me

A children’s hymn of thanksgiving. Mary Mapes Dodge, to whom the poem is ascribed, wrote stories and poetry for children. Hans Brinker of the Silver Skates is her best-known work. She was also first editor of St. Nicholas magazine. No information has been traced concerning the composer of the tune, W. K. Basswood. Words and music were taken from The Hymnary , Toronto, 1930, published by the United Church of Canada....

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436. Remember all God’s children

436. Remember all God’s children

A missionary hymn for children, but suitable also for adults. It was written at the request of the Church Missionary Society (London) for their children’s magazine, The Round World . A few months later, January 1, 1930, it was reprinted in Songs of Praise for Boys and Girls . The original is in three stanzas of eight lines each. The first stanza and the first half of the second, omitted in the Hymnary , are as follows: Remember all the people Who live in far-off lands In strange and lovely citie

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437. We praise Thee, O God

437. We praise Thee, O God

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 th

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438. Praise Him! Praise Him!

438. Praise Him! Praise Him!

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....

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439. Come, let us all unite to sing

439. Come, let us all unite to sing

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

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440. There is no name so sweet on earth

440. There is no name so sweet on earth

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 be

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441. Take my heart, O Father, take it

441. Take my heart, O Father, take it

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 Hy

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442. ’Tis the promise of God, full salvation to give

442. ’Tis the promise of God, full salvation to give

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 ear

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443. Come, we that love the Lord

443. Come, we that love the Lord

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 book

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444. I lay my sins on Jesus

444. I lay my sins on Jesus

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 Hymnar

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445. I’ve found a Friend, O such a Friend

445. I’ve found a Friend, O such a Friend

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

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446. I have found a Friend in Jesus

446. I have found a Friend in Jesus

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....

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447. One is kind above all others

447. One is kind above all others

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 , 18

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448. Brightly beams our Father’s mercy

448. Brightly beams our Father’s mercy

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,”

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449. Lead me gently home, Father

449. Lead me gently home, Father

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 ....

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450. I know whom I have believed

450. I know whom I have believed

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 Infan

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451. O Christ, in Thee my soul hath found

451. O Christ, in Thee my soul hath found

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 ....

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452. Low in the grave He lay

452. Low in the grave He lay

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

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453. I know that my Redeemer liveth

453. I know that my Redeemer liveth

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 Christi

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454. O the unsearchable riches of Christ

454. O the unsearchable riches of Christ

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 n

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

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

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 ....

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456. Softly and tenderly Jesus is calling

456. Softly and tenderly Jesus is calling

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

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457. Come, every soul by sin oppressed

457. Come, every soul by sin oppressed

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 prea

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458. Just as I am, without one plea

458. Just as I am, without one plea

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’ Hym

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459. Come, ye sinners, poor and needy

459. Come, ye sinners, poor and needy

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 for

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460. I have a Savior, He’s pleading in glory

460. I have a Savior, He’s pleading in glory

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 uni

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461. A ruler once came to Jesus by night

461. A ruler once came to Jesus by night

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

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462. I hear the Savior say

462. I hear the Savior say

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 t

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463. Amazing grace! how sweet the sound

463. Amazing grace! how sweet the sound

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 acc

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464. Down at the cross where my Savior died

464. Down at the cross where my Savior died

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 ....

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465. O happy day, that fixed my choice

465. O happy day, that fixed my choice

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 Alb

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466. Sinners Jesus will receive

466. Sinners Jesus will receive

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: 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:

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467. The whole world was lost

467. The whole world was lost

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 ....

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468. Jesus, my all, to heaven is gone

468. Jesus, my all, to heaven is gone

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

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469. Lord Jesus, I long to be perfectly whole

469. Lord Jesus, I long to be perfectly whole

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 P

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470. O Thou, in whose presence my soul takes delight

470. O Thou, in whose presence my soul takes delight

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, 1780-185

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471. I do not ask, O Lord, that life may be

471. I do not ask, O Lord, that life may be

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 ....

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472. More love to Thee, O Christ

472. More love to Thee, O Christ

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. Af

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473. What a wonderful Savior

473. What a wonderful Savior

A hymn on the atonement. Words and music are by the Rev. Elisha A. Hoffman. For comments on Hoffman, see Hymn 464 ....

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474. Pass me not, O gentle Savior

474. Pass me not, O gentle Savior

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 ....

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475. I am Thine, O Lord

475. I am Thine, O Lord

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 ....

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476. Are you weary, are you heavy-hearted

476. Are you weary, are you heavy-hearted

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 ....

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477. Yield not to temptation

477. Yield not to temptation

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 th

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478. He leadeth me, O blessed thought

478. He leadeth me, O blessed thought

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

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479. Joys are flowing like a river

479. Joys are flowing like a river

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....

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480. Blessed assurance, Jesus is mine

480. Blessed assurance, Jesus is mine

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 o

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481. Sweet are the promises

481. Sweet are the promises

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 Ma

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482. Will your anchor hold

482. Will your anchor hold

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 ....

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483. Hide me, O my Savior, hide me

483. Hide me, O my Savior, hide me

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

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484. When peace, like a river, attendeth my way

484. When peace, like a river, attendeth my way

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

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485. Take the name of Jesus with you

485. Take the name of Jesus with you

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

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486. When we walk with the Lord

486. When we walk with the Lord

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 Presbyter

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487. My hope is built on nothing less

487. My hope is built on nothing less

“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 185

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488. ’Tis so sweet to trust in Jesus

488. ’Tis so sweet to trust in Jesus

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 ....

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489. What a fellowship, what a joy divine

489. What a fellowship, what a joy divine

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 writi

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490. Jesus, keep me near the cross

490. Jesus, keep me near the cross

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 ....

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491. Nearer the cross

491. Nearer the cross

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 ....

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492. There is a fountain filled with blood

492. There is a fountain filled with blood

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 , 177

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493. I love to tell the story

493. I love to tell the story

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

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494. Sing them over again to me

494. Sing them over again to me

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 t

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495. Tell me the old, old story

495. Tell me the old, old story

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 ....

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496. There is a Name I love to hear

496. There is a Name I love to hear

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, Bex

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497. Rescue the perishing

497. Rescue the perishing

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 harrowin

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498. O scatter seeds of loving deeds

498. O scatter seeds of loving deeds

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....

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499. Judge me, God of my salvation

499. Judge me, God of my salvation

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....

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500. I can hear my Savior calling

500. I can hear my Savior calling

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....

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501. And must I be to judgment brought

501. And must I be to judgment brought

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

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502. Savior, lead me lest I stray

502. Savior, lead me lest I stray

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,

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503. My days are gliding swiftly by

503. My days are gliding swiftly by

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-hold

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504. There’s a land that is fairer than day

504. There’s a land that is fairer than day

“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 occas

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505. Open now Thy gates of beauty

505. Open now Thy gates of beauty

Tut mir auf die schöne Pforte, Führt in Gottes Haus mich ein! Ach, wie wird an diesem Orte Meine Seele fröhlich sein! Hier ist Gottes Angesicht, Hier ist lauter Trost und Licht. Herr, ich bin zu dir gekommen; Komme du nun auch zu mir! Wo du Wohnung hast genommen Ist der Himmel hell vor mir. Zeuch in meinem Herzen ein, Lass es deinen Himmel sein! Mache mich zum guten Lande, Wenn dein Saatkorn auf mich fällt; Gib mir Licht in dem Verstande, Und was mir wird vorgestellt, Präge du dem Herzen ein; La

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506. God reveals His presence

506. God reveals His presence

Gott ist gegenwärtig! Lasset uns anbeten, Und in Ehrfurcht vor ihn treten. Gott ist in der Mitte; Alles in uns schweige, Und in Ehrfurcht vor ihn beuge. Wer ihn kennt, wer ihn nennt, Schlagt die Augen nieder; Kommt, ergebt euch wieder! Gott ist gegenwärtig, Dem die Cherubinen Tag und Nacht mit Ehrfurcht dienen; Heilig, heilig singen Alle Engelchören, Wenn sie Gott mit Jauchzen ehren. Herr, vernimm unsre Stimm’, Da auch wir Geringen Unsre Opfer bringen. Majestätisch Wesen! Möcht’ ich dich recht p

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507. Jehovah! Jehovah! Jehovah!

507. Jehovah! Jehovah! Jehovah!

Jehova! Jehova! Jehova! Deinem Namen sei Ehre, Macht, und Ruhm! Amen. Amen. Bis einst der Tempel dieser Welt Auf dein Wort in Staub zerfällt, Soll in unsern Hallen, Das Heilig, Heilig, Heilig, erschallen. Halleluja! Halleluja! The original is a one-stanza hymn. The author, Gottlieb Pfeffel, was born at Colmar in Alsace. His literary work consisted primarily of the writing of fables and hymns for instruction in the Colmar schools. At the age of 21 he became totally blind, but carried on, despite

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508. Lo, God is here! let us adore

508. Lo, God is here! let us adore

The most widely used of Tersteegen’s hymns. The German version and another translation are found at No. 506 . For comments on Tersteegen see Hymn 506 . The present translation was made by John Wesley, the founder of Methodism. For comments on Wesley see Hymn 170 . MUSIC. MACH’S MIT MIR GOTT , also called “Schein,” and “Eisenach,” was composed by J. H. Schein, 1586-1630, for the hymn “Mach’s mit mir Gott.” Schein was the son of a Lutheran pastor and became one of the most distinguished musicians

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509. O that I had a thousand voices

509. O that I had a thousand voices

O dass ich tausend Zungen hätte Und einen tausendfachen Mund, So stimmt’ ich damit in die Wette Vom allertiefsten Herzensgrund Ein Loblied nach dem andern an Von dem, was Gott an mir getan! O dass doch meine Stimme schallte Bis dahin, wo die Sonne steht, O dass mein Blut mit Jauchzen wallte, So lang es noch im Laufe geht! Ach wäre jeder Puls ein Dank, Und jeder Odem ein Gesang! Was schweigt ihr denn, ihr meine Kräfte? Auf, auf, braucht allen euren Fleiss Und stehet munter im Geschäfte Zu Gottes,

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510. Heav’n and earth, the sea, the air

510. Heav’n and earth, the sea, the air

Himmel, Erde, Luft und Meer, Aller Welten zahllos Heer Jauchzen Gott, dem Schöpfer, zu; Meine Seele, sing’ auch du! Ihn erhebt das Sonnenlicht, Wann es durch die Wolken bricht. Mondesglanz und Sternenpracht Loben Gott in stiller Nacht. Seht, wie er das Land erquickt Und mit Luft und Segen schmückt! Wälder, Flur und jedes Tier Zeigen Gottes Finger hier.— Seht, wie fleugt der Vögel Schaar In den Lüften frisch und klar! Donner, Blitz, Dampf, Hagel, Wind Seines Willens Diener sind. Seht der Wasserwe

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511. Lord, with glowing heart I’d praise Thee

511. Lord, with glowing heart I’d praise Thee

The author of this hymn, Francis Scott Key, is known to every American child as the man who wrote our national anthem, “The Star Spangled Banner.” Born in Frederick County, Virginia, he was educated at St. John’s College, Annapolis. He practiced law in Washington, D. C., and served as United States District Attorney for three terms, till his death on January 11, 1843. As a member of the Protestant Episcopal Church, he held a lay reader’s license and for many years read the service and visited th

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512. Sing praise to God who reigns above

512. Sing praise to God who reigns above

Sei Lob und Ehr’ dem höchsten Gut, Dem Vater aller Güte, Dem Gott, der alle Wunder tut, Dem Gott, der mein Gemüte Mit seinem reichen Trost erfüllt, Dem Gott, der allen Jammer stillt; Gebt unsrem Gott die Ehre! Es danken dir die Himmelsheer’, O Herrscher aller Thronen; Und die in Lüften, Land und Meer In deinem Schatten wohnen, Die preisen deine Schöpfersmacht, Die Alles also wohl bedacht. Gebt unsrem Gott die Ehre! Was unser Gott geschaffen hat, Das will er auch erhalten, Darüber will er früh un

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513. Praise thou the Lord, O my soul

513. Praise thou the Lord, O my soul

Lobe den Herren, o meine Seele! Ich will ihn loben bis zum Tod; Weil ich noch Stunden auf Erden zähle, Will ich lobsingen meinem Gott. Der Leib und Seel’ gegeben hat, Werde gepriesen früh und spat. Halleluja! Halleluja! Fürsten sind Menschen, vom Weib geboren, Und kehren um zu ihrem Staub; Ihre Anschläge sind auch verloren, Wenn nun das Grab nimmt seinen Raub. Weil denn kein Mensch uns helfen kann, Rufe man Gott um Hilfe an! Halleluja! Halleluja! Selig, ja selig ist der zu nennen, Des Hilfe der

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514. Now thank we all our God

514. Now thank we all our God

Nun danket alle Gott Mit Herzen, Mund und Händen, Der grosse Dinge tut An uns und allen Enden, Der uns von Mutterleib Und Kindesbeinen an Unzählig viel zugut Und noch jetzund getan! Der ewig reiche Gott Woll’ uns bei unserm Leben Ein immer fröhlich Herz Und edlen Frieden geben Und uns in seiner Gnad’ Erhalten fort und fort Und uns aus aller Not Erlösen hier und dort! Lob, Ehr, und Preis sei Gott, Dem Vater und dem Sohne Und dem, der beiden gleich Im höchsten Himmelsthrone, Dem dreieinigen Gott,

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515. Praise to the Lord, the Almighty

515. Praise to the Lord, the Almighty

Lobe den Herren, den mächtigen König der Ehren! Meine geliebete Seele, das ist mein Begehren. Kommet zuhauf! Psalter und Harfe, wacht auf! Lasset die Musikam hören! Lobe den Herren, der alles so herrlich regieret, Der dich auf Adelers Fittichen sicher geführet, Der dich erhält, Wie es dir selber gefällt. Hast du nicht dieses verspüret? Lobe den Herren, der künstlich und fein dich bereitet, Der dir Gesundheit verliehen, dich freundlich geleitet! In wie viel Not Hat nicht der gnädige Gott Ueber di

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516. How great, Almighty, is Thy kindness

516. How great, Almighty, is Thy kindness

Wie gross ist des Allmächt’gen Güte! Ist der ein Mensch, den sie nicht rührt, Der mit verhärtetem Gemüte Den Dank erstickt, der ihm gebührt? Nein, seine Liebe zu ermessen, Sei ewig meine grösste Pflicht; Der Herr hat mein noch nie vergessen, Vergiss, mein Herz, auch seiner nicht! Wer hat mich wunderbar bereitet? Der Gott, der meiner nicht bedarf. Wer hat mit Langmut mich geleitet? Er, dessen Rat ich oft verwarf. Wer stärkt den Frieden im Gewissen? Wer gibt dem Geiste neue Kraft? Wer lässt mich s

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517. O Pow’r of love, all else transcending

517. O Pow’r of love, all else transcending

Ich bete an die Macht der Liebe, Die sich in Jesu offenbart; Ich geb’ mich hin dem freien Triebe, Mit dem ich heiss geliebet ward; Ich will, anstatt an mich zu denken, Ins Meer der Liebe mich versenken. Wie bist du mir so hoch gewogen, Und wie verlangt dein Herz nach mir! Durch Liebe sanft und stark gezogen, Neigt sich mein Alles auch zu dir. Du, teure Liebe, gutes Wesen, Du hast mich, ich hab’ dich erlesen! Ich fühl’s, du bist’s, ich muss dich haben; Ich fühl’s, ich muss für dich nur sein; Nich

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518. Lord, who can be with Thee compared

518. Lord, who can be with Thee compared

Herr! Dir ist Niemand zu vergleichen! Kein Lob kann deine Gröss erreichen, Kein noch so feuriger Verstand. Pracht, Majestät und Ruhm umgeben, Dich, aller Wesen Quell’ and Leben; Licht ist dein strahlenvoll Gewand. In hohen, unermess’nen Fernen, Wohin kein sterblich Auge schaut, Hast du, weit über allen Sternen, Dir deinen hohen Sitz erbaut. Als du allmächtig sprachst: “Es werde!” Da gründetest du fest die Erde, Vor Alters war die Tief ihr Kleid. Auf allen Bergen standen Wasser Du schalt’st sie,

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519. Holy God, we praise Thy name

519. Holy God, we praise Thy name

Grosser Gott, wir loben dich! Herr, wir preisen deine Stärke! Vor dir neigt die Erde sich Und bewundert deine Werke. Wie du warst vor aller Zeit, So bleibst du in Ewigkeit! Alles, was dich preisen kann, Cherubim und Seraphinen, Stimmen dir ein Loblied an; Alle Engel, die dir dienen, Rufen dir in selger Ruh: Heilig, heilig, heilig zu. Heiliger Gott Zebaoth! Heil’ger Herr der Himmelsheere! Starker Helfer in der Not! Himmel, Erde, Luft und Meere Sind erfüllt mit deinem Ruhm; Alles ist dein Eigentum

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520. Holy Lord, holy Lord

520. Holy Lord, holy Lord

The notes of thanksgiving and praise are dominant. The origin of the hymn has not been traced. MUSIC. FAHRE FORT , attributed erroneously in the Hymnary to Johann E. Schmidt, is of anonymous origin. It appeared in Freylinghausen’s Gesangbuch , Halle, 1704, with the well-known hymn, “Fahre fort, fahre fort,” by Johann E. Schmidt, 1669-1745. The tune derived its name from this hymn....

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521. All glory be to God on High

521. All glory be to God on High

Allein Gott in der Höh’ sei Ehr’ Und Dank für seine Gnade, Darum dass nun und nimmermehr Uns rühren kann kein Schade. Ein Wohlgefall’n Gott an uns hat, Nun ist gross’ Fried’ ohn’ Unterlass, All’ Fehd’ hat nun ein Ende. Wir loben, preis’n, anbeten dich Für deine Ehr’; wir danken, Dass du, Gott Vater, ewiglich Regierst ohn’ alles Wanken. Ganz ungemess’n ist deine Macht, Fort g’schieht, was dein Will’ hat bedacht; Wohl uns des feinen Herren! O Jesu Christ, Sohn eingebor’n Deines himmlischen Vaters,

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522. Wake, awake, for night is flying

522. Wake, awake, for night is flying

Wachet auf! ruft uns die Stimme Der Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heisst diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohlauf, der Bräut’gam kömmt, Steht auf, die Lampen nehmt! Halleluja! Macht euch bereit zu der Hochzeit, Ihr müsset ihm entgegengehn! Ihr müsset ihm entgegengehn! Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen, Sie wacht und stehet eilend auf. Ihr Freund kommt vom Himmel prächtig, Vo

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523. Lift up your heads, ye mighty gates

523. Lift up your heads, ye mighty gates

Macht hoch die Tür, die Tor’ macht weit, Es kommt der Herr der Herrlichkeit, Ein König aller Königreich’, Ein Heiland aller Welt zugleich, Der Heil und Leben mit sich bringt; Derhalben jauchzt, mit Freuden singt; Gelobet sei mein Gott, Mein Schöpfer, reich von Rat! Er ist gerecht, ein Helfer wert, Sanftmütigkeit ist sein Gefährt, Sein Königskron’ ist Heiligkeit, Sein Zepter ist Barmherzigkeit. All unsre Not zum End’ er bringt, Derhalben jauchzt, mit Freuden singt: Gelobet sei mein Gott, Mein Hei

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524. O Son of God, we wait for Thee

524. O Son of God, we wait for Thee

Wir warten dein, O Gottes Sohn, Und lieben dein Erscheinen; Wir wissen dich auf deinem Thron, Und nennen uns die deinen. Wer an dich glaubt Erhebt sein Haupt, Und siehet dir entgegen, Du kommst uns ja zum Segen. Wir warten deiner mit Geduld In unsern Leidenstagen; Wir trösten uns, dass du die Schuld Für uns am Kreuz getragen. So können wir Nun gern mit dir Uns auch zum Kreuz bequemen, Bis du’s hinweg wirst nehmen. Wir warten dein; du hast uns ja Das Herz schon hingenommen. Du bist zwar unserm Ge

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525. All my heart this night rejoices

525. All my heart this night rejoices

Fröhlich soll mein Herze springen Dieser Zeit, da vor Freud’ Alle Engel singen. Hört, hört, wie mit vollen Chören Alle Luft laute ruft: Christus ist geboren! Heute geht aus seiner Kammer Gottes Held, der die Welt Reisst aus allem Jammer. Gott wird Mensch dir, Mensch, zugute. Gottes Kind, das verbind’t Sich mit unserm Blute. Sollt’ uns Gott nun können hassen, Der uns gibt, was er liebt Ueber alle Massen? Gott gibt, unserm Leid zu wehren, Seinen Sohn aus dem Thron Seiner Macht und Ehren. Sollte vo

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526. A great and mighty wonder

526. A great and mighty wonder

This is one of a half dozen or more hymns in our book that have come down from the ancient Eastern or Greek Church. (Other hymns from this period are Nos. 34 , 113 , 115 , 143 , and 398 .) St. Germanus was born and died in Constantinople. He lived to be a hundred years old. He became an influential leader in the church, and served, for a time, as Patriarch, or Bishop of Constantinople. For this translation, we are indebted to John M. Neale, English hymnologist and classical scholar. Neale posses

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527. From heaven above to earth I come

527. From heaven above to earth I come

Vom Himmel hoch, da komm’ ich her, Ich bring’ euch gute neue Mär, Der guten Mär bring’ ich so viel, Davon ich sing’n und sagen will. Euch ist ein Kindlein heut’ gebor’n Von einer Jungfrau auserkor’n, Ein Kindelein, so zart und fein, Das soll eur Freud’ und Wonne sein. Es ist der Herr Christ, unser Gott, Der will euch führ’n aus aller Not, Er will eu’r Heiland selber sein, Von allen Sünden machen rein. Er bringt euch alle Seligkeit, Die Gott der Vater hat bereit, Dass ihr mit uns im Himmelreich S

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528. For Thy mercy and Thy grace

528. For Thy mercy and Thy grace

Originally in seven stanzas, this hymn was first published, 1843, in the Church of England Magazine , under the title, “A Hymn for the Commencement of the Year.” It is a first-rate quality hymn for the New Year. The author, Henry Downton, was born in Pulverbatch, Shropshire, England. In 1840, he graduated from Cambridge where his father was sub-librarian of Trinity College. After serving as curate of St. John’s Chatham, Downton became English chaplain at Geneva in 1857, returning to England in 1

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529. How brightly shines the Morning Star

529. How brightly shines the Morning Star

Wie schön leuchtet der Morgenstern Voll Gnad’ und Wahrheit von dem Herrn, Die süsse Wurzel Jesse! Du Sohn Davids aus Jakobs Stamm, Mein König und mein Bräutigam, Hast mir mein Herz besessen, Lieblich, freundlich, Schön und herrlich, gross und ehrlich, Reich von Gaben, Hoch und sehr prächtig erhaben! Ei meine Perl’, du werte Kron’, Wahr’r Gottes- und Mariensohn, Ein hochgeborner König! Mein Herz heisst dich ein Lilium, Dein süsses Evangelium Ist lauter Milch und Honig. Ei mein Blümlein, Hosianna,

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530. As with gladness men of old

530. As with gladness men of old

A popular Epiphany hymn, written on Epiphany Day, about 1858, while the author was sick in bed. After reading the Gospel of the day, Dix started writing this hymn and finished it by evening. For comments on William Chatterdon Dix, see Hymn 78 . MUSIC. DIX is an abridgement of a melody written by Conrad Kocher and first published in his Stimmen aus dem Reiche Gottes , Stuttgart, 1838. For comments on Kocher see Hymn 51 ....

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531. Out of the depths I cry to Thee

531. Out of the depths I cry to Thee

Aus tiefer Not schrei’ ich zu dir, Herr Gott, erhör mein Rufen; Dein’ gnädig’ Ohren kehr zu mir Und meiner Bitt sei offen! Denn so du willst das sehen an, Was Sünd’ und Unrecht ist getan, Wer kann, Herr, von dir bleiben? Bei dir gilt nichts denn Gnad’ und Gunst, Die Sünde zu vergeben; Es ist doch unser Tun umsonst Auch in dem besten Leben Vor dir niemand sich rühmen kann, Des muss dich fürchten jederman Und deiner Gnade leben. Darum auf Gott will hoffen ich, Auf mein Verdienst nicht bauen; Auf i

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532. Out of the depths I cry to Thee

532. Out of the depths I cry to Thee

For comments on this hymn see No. 531 . MUSIC. AUS TIEFER NOT became popular in our churches through its inclusion in the Gesangbuch mit Noten . The tune is credited to J. M. Biermann, an American writer of tunes of the gospel hymn type. He was musical editor of Hosianna , Cleveland, 1876, published by the Evangelical Church. The composer seems to have borrowed from the tune “Macht Hoch die Tür,” No. 523 . Hosianna contains about 35 of his tunes and arrangements....

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533. Jesus, I never can forget

533. Jesus, I never can forget

Ein Lämmlein geht und trägt die Schuld Der Welt und ihrer Kinder; Es geht und träget in Geduld Die Sünden aller Sünder; Es geht dahin, wird matt und krank, Ergibt sich auf die Würgebank, Verzeiht sich aller Freuden; Es nimmet an Schmach, Hohn und Spott, Angst, Wunden, Striemen, Kreuz und Tod Und spricht: Ich will’s gern leiden. Mein Lebetage will ich dich Aus meinem Sinn nicht lassen; Dich will ich stets, gleich wie du mich, Mit Liebesarmen fassen. Du sollst sein meines Herzens Licht, Und wenn m

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534. Ah, dearest Jesus, how hast Thou offended

534. Ah, dearest Jesus, how hast Thou offended

Herzliebster Jesu, was hast du verbrochen, Dass man ein solch scharf Urteil hat gesprochen? Was ist die Schuld? in was für Missentaten Bist du geraten? Du wirst gegeisselt und mit Dorn’n gekrönet, Ins Angesicht geschlagen und verhöhnet, Du wirst mit Essig und mit Gall’ getränket, Ans Kreuz gehenket. Was ist doch wohl die Ursach’ solcher Plagen? Ach, meine Sünden haben dich geschlagen! Ich, ach Herr Jesu! habe dies verschuldet, Was du erduldet. Wie wunderbarlich ist doch diese Strafe! Der gute Hi

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535. Christ, the Life of all the living

535. Christ, the Life of all the living

Jesu, meines Lebens Leben, Jesu, meines Todes Tod, Der du dich für mich gegeben In die tiefste Seelennot, In das äusserste Verderben, Nur dass ich nicht möchte sterben; Tausend-, tausendmal sei dir, Liebster Jesu, Dank dafür! Du, ach, du hast ausgestanden Lästerreden, Spott und Hohn, Speichel, Schläge, Strick’ und Bande, Du gerechter Gottessohn, Mich Elenden zu erretten Von des Teufels Sündenketten! Tausend-, tausendmal sei dir, Liebster Jesu, Dank dafür! Du hast lassen Wunden schlagen, Dich erb

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536. Jesus, Refuge of the weary

536. Jesus, Refuge of the weary

The original hymn is in Italian, entitled, Laude al Crucifisso Iesù, sommo conforto, Tu se’ tutto el mio amore; El mio beato porto, E santo redentore. O gran bontà, Dolce pietà, Felice quel che teco unito sta! O quante volte offeso T’ha l’alma e’l cor meschino! E tu sei in croce esteso Per salvar me tapino. O gran bontà etc. Iesù, qual forza ha spinto L’immensa tua bontade? Dhe! qual amor t’ha vinto Patir tal crudeltade? O gran bontà etc. A te fui sempre ingrato, E mai non fui fervente; E tu per

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537. Man of Sorrows, now my soul shall greet Thee

537. Man of Sorrows, now my soul shall greet Thee

Marter Gottes, wer kann dein vergessen Der in dir sein Wohlsein findt? Unser Herze wünscht sich unterdessen Stets noch mehr zum Dank entzündt. Unsre Seele soll sich daran nähren, Unsre Ohren nie was Lieb’res hören; Alle Tage kommt er mir Schöner in dem Bilde für. Tausend Dank, du unser treues Herze! Leib und Geist bet’ drüber an, Dass du unter Martern, Angst und Schmerze Hast genug für uns getan. Lass dich jedes um so heisser lieben, Als es noch im Glauben sich muss üben, Bis es einst als deine

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538. Dark the day on Calvary’s Cross

538. Dark the day on Calvary’s Cross

A Scottish hymn composed by Lauchlan MacLean Watt who was born in Scotland and educated in the Edinburgh University. Watt entered the ministry of the Scottish Presbyterian Church and attained the charge of Glasgow Cathedral in 1923, remaining until his resignation in 1934. In 1933 he was Moderator of the General Assembly of the Church of Scotland. He is the author of numerous books and served on the Committee for the Revision of the Church Hymnary , Edinburgh, 1927. MUSIC. NICHT SO TRAURIG , als

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539. O sacred Head, now wounded

539. O sacred Head, now wounded

O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn, O Haupt, zum Spott gebunden Mit einer Dornenkron’, O Haupt, sonst schön gezieret Mit höchster Ehr’ und Zier, Jetzt aber höchst schimpfieret: Gegrüsset sei’st du mir! Du edles Angesichte, Davor sonst schrickt und scheut Das grosse Weltgewichte, Wie bist du so bespeit! Wie bist du so erbleichet! Wer hat dein Augenlicht, Dem sonst kein Licht nicht gleichet, So schändlich zugericht’t? Die Farbe deiner Wangen, Der roten Lippen Pracht Ist him

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540. Lamb of God most holy

540. Lamb of God most holy

O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Allzeit funden geduldig, Wiewohl du warest verachtet: All’ Sünd’ hast du getragen, Sonst müssten wir verzagen. Erbarm dich unser, O Jesu! O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Allzeit funden geduldig, Wiewohl du warest verachtet: All’ Sünd’ hast du getragen, Sonst müssten wir verzagen. Gib uns dein’n Frieden, o Jesu! Based on John 1:29: “Behold the Lamb of God, which taketh away the sin of the world.” The hymn, c

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541. Jesus Christ my sure defense

541. Jesus Christ my sure defense

Jesus, meine Zuversicht Und mein Heiland, ist im Leben; Dieses weiss ich, sollt’ ich nicht Darum mich zufrieden geben. Was die lange Todesnacht Mir auch für Gedanken macht? Jesus, er, mein Heiland, lebt; Ich werd’ auch das Leben schauen, Sein, wo mein Erlöser schwebt; Warum sollte mir denn grauen? Lässet auch ein Haupt sein Glied, Welches es nicht nach sich zieht? Ich bin durch der Hoffnung Band Zu genau mit ihm verbunden; Meine starke Glaubenshand Wird in ihn gelegt befunden, Dass mich auch kei

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542. Welcome, Thou Victor in the strife

542. Welcome, Thou Victor in the strife

Willkommen, Held im Streite, Aus deiner Grabes Kluft! Wir triumphieren heute Um deine leere Gruft! Der Feind’ wird Schau getragen, Und heisst nunmehr ein Spott; Wir aber können sagen: Mit uns ist unser Gott! Der Fried’ ist uns erstritten, Und jeder Schrecken flieht; In der Gerechten Hütten Erschallt das Siegeslied. Teil’ uns des Sieges Beute, Den Trost nun reichlich aus; Ach komm, und bring’ noch heute Dein Heil in Herz und Haus! In deines Grabes Staube Liegt unsre Schuld bedeckt; Des tröstet si

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543. Jesus lives! thy terrors now

543. Jesus lives! thy terrors now

Jesus lebt, mit ihm auch ich, Tod, we sind nun deine Schrecken? Jesus lebt und wird auch mich Von den Toten auferwecken. Er verklärt mich in sein Licht: Dies ist meine Zuversicht. Jesus lebt. Ihm ist das Reich Ueber alle Welt gegeben. Mit ihm werd’ ich auch zugleich Ewig herrschen, ewig leben. Gott erfüllt, was er verspricht: Dies ist meine Zuversicht. Jesus lebt! wer nun verzagt, Sündigt an des Mittlers Ehre. Gnade hat er zugesagt, Dass der Sünder sich bekehre. Gott verstösst in Christo nicht;

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544. Christ the Lord is risen again!

544. Christ the Lord is risen again!

Christus ist erstanden Von des Todes Banden, Des freuet sich der Engel Schaar, Singend im Himmel immerdar, Hallelujah! Der für uns sein Leben In Tod hat gegeben, Der ist nun unser Osterlamm, Des wir uns freuen allesammt; Hallelujah! Der am Kreuz gehangen, Kein’n Trost konnt’ erlangen, Der lebet nun in Herrlichkeit, Uns zu vertreten stets bereit! Hallelujah! Der, so ganz verschwiegen Zur Hölle gestiegen, Den wohlgerüst’ten Starken band: Der wird nur in der Höh’ erkannt. Hallelujah! Der da lag beg

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545. Lo, the day of days is here

545. Lo, the day of days is here

A joyous Easter song in which the springtime awakening in nature symbolizes the newness of spiritual life. For comments on Frederick L. Hosmer see Hymn 72 . MUSIC. SALZBURG appeared in the 19th edition of Crüger’s Praxis Pietatis Melica , 1678, a work which contained the main stream of Lutheran hymnody in the middle of the 17th century. The tune was set to the hymn, “Alle Menschen müssen sterben.” The composer, Jacob Hintze, 1622-1702, was born in Bernau, Brandenburg. He became court musician to

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546. O Holy Spirit, enter in

546. O Holy Spirit, enter in

O heil’ger Geist, kehr bei uns ein Und lass uns deine Wohnung sein, O komm, du Herzenssonne! Du Himmelslicht, lass deinen Schein Bei uns und in uns kräftig sein Zu steter Freud’ und Wonne, Dass wir in dir Recht zu leben uns ergeben Und mit Beten Oft deshalben vor dich treten. Gib Kraft und Nachdruck deinem Wort, Lass es wie Feuer immerfort In unsern Herzen brennen, Dass wir Gott Vater, seinen Sohn, Dich, beider Geist, in einem Thron Für wahren Gott bekennen. Bleibe, treibe Und behüte das Gemüte,

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547. O Spirit of Life, O Spirit of God

547. O Spirit of Life, O Spirit of God

O heiliger Geist, o heiliger Gott, Du Tröster wert in aller Not, Du bist gesandt vom Himmelsthron Von Gott dem Vater und dem Sohn, O heiliger Geist, o heiliger Gott. O heiliger Geist, o heiliger Gott, Gib uns die Lieb zu deinem Wort, Zünd an in uns der Liebe Flamm, Dass wir uns lieben allesamt, O heiliger Geist, o heiliger Gott. O heiliger Geist, o heiliger Gott, Mehr unsern Glauben immerfort, An Christum niemand glauben kann, Es sei denn durch dein Hilf getan, O heiliger Geist, o heiliger Gott.

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548. Come, O come, Thou quickening Spirit

548. Come, O come, Thou quickening Spirit

Komm, o komm, du Geist des Lebens, Wahrer Gott von Ewigkeit! Deine Kraft sei nicht vergebens, Sie erfüll’ uns jederzeit; So wird Geist und Licht und Schein In dem dunkeln Herzen sein. Gib in unser Herz und Sinnen Weisheit, Rat, Verstand und Zucht, Dass wir anders nichts beginnen, Denn was nur dein Wille sucht! Dein’ Erkenntnis werde gross Und mach uns von Irrtum los! Zeige, Herr, die Wohlfahrtsstege! Das, was wider dich getan, Räume ferner aus dem Wege; Schlecht und recht sei um und an! Wirke Re

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549. A Mighty Fortress is our God

549. A Mighty Fortress is our God

Ein’ feste Burg ist unser Gott, Ein’ gute Wehr und Waffen; Er hilft uns frei aus aller Not, Die uns jetzt hat betroffen. Der alt’ böse Feind, Mit Ernst er’s jetzt meint, Gross’ Macht und viel List Sein’ grausam’ Rüstung ist, Auf Erd’ ist nicht seinsgleichen. Mit unsrer Macht ist nichts getan, Wir sind gar bald verloren; Es streit’t für uns der rechte Mann, Den Gott hat selbst erkoren. Fragst du, wer der ist? Er heisst Jesus Christ, Der Herr Zebaoth, Und ist kein andrer Gott, Das Feld muss er beh

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550. The work is Thine, O Christ our Lord

550. The work is Thine, O Christ our Lord

Die Sach’ ist dein, Herr Jesu Christ, Die Sach’ an der wir steh’n, Und weil es deine Sache ist, Kann sie nicht untergeh’n. Allein das Weizenkorn, bevor Es fruchtbar sprosst zum Licht empor, Muss sterben in der Erde Schoss Zuvor vom eig’nen Wesen los. Durch Sterben los, Vom eig’nen Wesen los. Du gingst, O Jesu, unser Haupt, Durch Leiden himmelan, Und führest Jeden, der da glaubt, Mit dir die gleiche Bahn. Wohlan, so nimm uns allzugleich Zum Teil am Leiden und am Reich; Führ uns durch deines Todes

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551. Spread, still spread, thou mighty word

551. Spread, still spread, thou mighty word

Walte, walte nah und fern, Allgewaltig Wort des Herrn, Wo nur seiner Allmacht Ruf Menschen für den Himmel schuf; Wort vom Vater, der die Welt Schuf und in den Armen hält Und aus seinem Schoss herab Seinen Sohn zum Heil ihr gab; Wort von des Erlösers Huld, Der der Erde schwere Schuld Durch des heil’gen Todes Tat Ewig weggenommen hat; Kräftig Wort von Gottes Geist, Der den Weg zum Himmel weist Und durch seine heil’ge Kraft Wollen und Vollbringen schafft. Auf zur Ernt’ in alle Welt! Weithin wogt da

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552. Deck thyself, my soul, with gladness

552. Deck thyself, my soul, with gladness

Schmücke dich, o liebe Seele, Lass die dunkle Sündenhöhle, Komm ans helle Licht gegangen, Fange herrlich an zu prangen! Denn der Herr, voll Heil und Gnaden, Will dich jetzt zu Gaste laden; Der den Himmel kann verwalten, Will jetzt Herberg’ in dir halten. Eile, wie Verlobte pflegen. Deinem Bräutigam entgegen, Der da mit dem Gnadenhammer Klopft an deine Herzenskammer! Oeffn’ ihm bald des Geistes Pforten, Red ihn an mit schönen Worten: Komm, mein Liebster, lass dich küssen, Lass mich deiner nicht m

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553. Light of Light enlighten me

553. Light of Light enlighten me

Licht vom Licht! erleuchte mich Bei dem neuen Tageslichte! Gnadensonn’, enthülle dich Segnend meinem Angesichte; Lass durch deinen hellen Schein Meinen Sabbath heilig sein! Brunnquell aller Sussigkeit, Lass mir deine Ströme fliessen! Mache Mund und Herz bereit, Dich in Andacht recht zu grüssen. Streu’ das Wort mit Segen ein, Lass es hundertfältig sein. Zünde selbst das Opfer an, Das auf meinen Lippen lieget. Sei mir Weisheit, Licht und Bahn, Dass kein Irrtum mich betrüget, Und kein fremdes Feuer

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553a. Liebster Jesu, wir sind hier

553a. Liebster Jesu, wir sind hier

Liebster Jesu, wir sind hier, Dich und dein Wort anzuhören; Lenke Sinnen und Begier Auf die süssen Himmelslehren, Dass die Herzen von der Erden Ganz zu dir gezogen werden! Unser Wissen und Verstand Ist mit Finsternis umhüllet, Wo nicht deines Geistes Hand Uns mit hellem Licht erfüllet; Gutes wollen, tun und denken, Muss uns deine Gnade schenken. O du Glanz der Herrlichkeit— Licht vom Licht, aus Gott geboren, Mach uns allesamt bereit, Oeffne Herzen, Mund und Ohren! Unser Bitten, Fleh’n und Singen

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554. Come, Thou bright and morning Star

554. Come, Thou bright and morning Star

Morgenglanz der Ewigkeit, Licht vom unerschöpften Lichte, Schick uns diese Morgenzeit Deine Strahlen zu Gesichte Und vertreib durch deine Macht Unsre Nacht! Deiner Güte Morgentau Fall’ auf unser matt Gewissen, Lass die dürre Lebensau Lauter süssen Trost geniessen Und erquick uns, deine Schar, Immerdar! Gib, dass deiner Liebe Glut Unsre kalten Werke töte, Und erweck uns Herz und Mut Bei entstandner Morgenröte, Dass wir, eh’ wir gar vergehn, Recht aufstehn! Ach du Aufgang aus der Höh’, Gib dass au

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555. Evening and morning, sunset and dawning

555. Evening and morning, sunset and dawning

Die güldne Sonne, Voll Freud’ und Wonne, Bringt unsern Grenzen Mit ihrem Glänzen Ein herzerquickendes, liebliches Licht. Mein Haupt und Glieder, Die lagen danieder; Aber nun steh’ ich, Bin munter und fröhlich, Schaue den Himmel mit meinem Gesicht. Mein Auge schauet, Was Gott gebauet Zu seinen Ehren, Und uns zu lehren, Wie sein Vermögen sei mächtig und gross, Und wo die Frommen Einst sollen hinkommen, Wann sie mit Frieden Von hinnen geschieden Aus dieser Erde vergänglichem Schoss. Lasset uns sing

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556. The duteous day now closeth

556. The duteous day now closeth

Nun ruhen alle Wälder, Vieh, Menschen, Städt’ und Felder, Es schläft die ganze Welt. Ihr, aber, meine Sinnen, Auf, auf! ihr sollt beginnen, Was eurem Schöpfer wohlgefällt. Wo bist du, Sonne, blieben? Die Nacht hat dich vertrieben, Die Nacht, des Tages Feind. Fahr him, ein’ andre Sonne, Mein Jesus, meine Wonne, Gar hell in meinem Herzen scheint. Der Tag ist nun vergangen, Die güldnen Sterne prangen Am blauen Himmelssaal. Also werd ich auch stehen, Wann mich wird heissen gehen Mein Gott aus diesem

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557. Now cheer our hearts this eventide

557. Now cheer our hearts this eventide

Ach bleib’ bei uns, Herr Jesu Christ, Weil es nun Abend worden ist; Dein göttlich Wort, das helle Licht, Lass ja bei uns auslöschen nicht! In dieser letzten, bösen Zeit Gib uns des Glaubens Beständigkeit, Dass wir dein Wort und Sakrament Rein b’halten bis an unser End’. Herr Jesu, hilf, dein’ Kirch’ erhalt’! Wir sind sicher, arg, träg’ und kalt; Gib Glück und Heil zu deinem Wort, Dass es erschall’ an jedem Ort. Erhalt’ uns nur bei deinem Wort, Und wehr’ des Teufels Trug und Mord; Gib deiner Kirc

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558. Commit thou all thy griefs

558. Commit thou all thy griefs

Befiehl du deine Wege, Und was dein Herze kränkt, Der allertreusten Pflege Des, der den Himmel lenkt! Der Wolken, Luft und Winden, Gibt Wege, Lauf und Bahn, Der wird auch Wege finden, Da dein Fuss gehen kann. Dem Herren musst du trauen, Wenn dir’s soll wohlergehn; Auf sein Werk musst du schauen, Wenn dein Werk soll bestehn. Mit Sorgen und mit Grämen Und mit selbsteigner Pein Lässt Gott sich gar nichts nehmen, Es muss erbeten sein. Dein’ ew’ge Treu’ und Gnade, O Vater, weiss und sieht, Was gut se

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559. Abide with us, our Savior

559. Abide with us, our Savior

Ach bleib mit deiner Gnade Bei uns, Herr Jesu Christ, Dass uns hinfort nicht schade Des bösen Feindes List! Ach bleib mit deinem Worte Bei uns, Erlöser wert, Dass uns beid’ hier und dorte Sei Güt’ und Heil beschert! Ach bleib mit deinem Glanze Bei uns, du wertes Licht; Dein’ Wahrheit uns umschanze, Damit wir irren nicht! Ach bleib mit deinem Segen Bei uns, du reicher Herr! Dein’ Gnad’ und all’s Vermögen In uns reichlich vermehr! Ach bleib mit deinem Schutze Bei uns, du starker Held, Dass uns der

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560. God is my Light

560. God is my Light

Gott ist mein Licht! Verzage nicht, mein Herz In banger, dunkler Zeit! Die Sonne sinkt, Die Nacht bringt Furcht und Schmerz, Mein Licht strahlt allezeit! Es schimmert an dem Tag der Freuden; Es leuchtet durch die Nacht der Leiden: Gott ist mein Licht! Gott ist mein Heil! O Seele, fürchte nichts! Dein Helfer ist getreu. Er lässt dich nicht, Sein Vaterwort verspricht’s. Er steht dir mächtig bei. Er will mich bis ins Alter tragen, Kein wahres Gut mir je versagen: Gott ist mein Heil! Sein ist die Kr

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561. Take Thou my hand, O Father

561. Take Thou my hand, O Father

So nimm denn meine Hände Und führe mich Bis an mein selig’ Ende Und ewiglich! Ich kann allein nicht gehen, Nicht einen Schritt; Wo du wirst geh’n und stehen, Da nimm mich mit. In Deine Gnade hülle Mein schwaches Herz, Und mach’ es endlich stille In Freud’ und Schmerz; Lass ruh’n zu deinen Füssen Dein schwaches Kind, Es will die Augen schliessen Und folgen blind. Wenn ich auch gar nichts fühle Von deiner Macht, Du bringst mich doch zum Ziele Auch durch die Nacht; So nimm denn meine Hände Und führ

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562. What mercy and divine compassion

562. What mercy and divine compassion

Mir ist Erbarmung widerfahren, Erbarmung, deren ich nicht wert! Das zähl’ ich zu dem Wunderbaren; Mein stolzes Herz hat’s nie begehrt. Nun weiss ich das, und bin erfreut, : Und rühme die Barmherzigkeit: Ich hatte nichts als Zorn verdienet, Und soll bei Gott in Gnaden sein; Gott hat mich mit sich selbst versühnet, Und macht durchs Blut des Sohn’s mich rein, Nicht durch Verdienst der Kreatur,— : Erbarmung ist’s, Erbarmung nur: Das musz ich dir, mein Gott, bekennen, Das rühm’ ich, wenn ein Mensch m

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563. Strive aright when God doth call thee

563. Strive aright when God doth call thee

Ringe recht, wenn Gottes Gnade Dich nun ziehet und bekehrt, Dass dein Geist sich gantz entlade Von der Last, die ihn beschwert. Ringe, denn die Pfort’ ist enge, Und der Lebensweg ist schmal; Hier bleibt alles im Gedränge, Was nicht zielt zum Himmelssaal. Kämpfe bis aufs Blut und Leben, Dring’ hinein in Gottes Reich; Will der Satan widerstreben, Werde weder matt noch weich. Ringe, dass dein Eifer glühe, Und die erste Liebe dich Von der ganzen Welt abziehe, Halbe Liebe hält nicht Stich. Ringe mit

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564. Jesus, priceless Treasure

564. Jesus, priceless Treasure

Jesu, meine Freude, Meines Herzens Weide, Jesu, meine Zier, Ach, wie lang, ach lange Ist dem Herzen bange Und verlangt nach dir! Gotteslamm, mein Bräutigam, Ausser dir soll mir auf Erden Nichts sonst Liebers werden! Unter deinem Schirmen Bin ich vor den Stürmen Aller Feinde frei. Lass den Satan wittern, Lass die Welt erschüttern, Mir steht Jesus bei. Ob es jetzt gleich kracht und blitzt, Obgleich Sünd’ und Hölle schrecken, Jesus will mich decken. Trotz dem alten Drachen, Trotz dem Todesrachen, T

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565. I am the Lord, O hear my voice

565. I am the Lord, O hear my voice

Mir nach! spricht Christus, unser Held, Mir nach, ihr Christen alle! Verleugnet euch, verlasst die Welt, Folgt meinem Ruf und Schalle, Nehmt euer Kreuz und Ungemach Auf euch, folgt meinem Wandel nach! Ich bin das Licht, ich leucht’ euch für Mit heil’gem Tugendleben. Wer zu mir kommt und folget mir, Darf nicht im Finstern schweben. Ich bin der Weg, ich weise wohl, Wie man wahrhaftig wandeln soll. Mein Herz ist voll Demütigkeit, Voll Liebe meine Seele; Mein Mund, der fleusst zu jeder Zeit Von süss

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566. O God, Thou faithful God

566. O God, Thou faithful God

O Gott, du frommer Gott, Du Brunnquell guter Gaben, Ohn’ den nichts ist, was ist, Von dem wir alles haben: Gesunden Leib gib mir, Und dass in solchem Leib Ein’ unverletzte Seel’ Und rein Gewissen bleib’. Gib, dass ich tu’ mit Fleiss, Was mir zu tun gebühret, Wozu mich dein Befehl In meinem Stande führet! Gib, dass ich’s tue bald, Zu der Zeit, da ich soll, Und wenn ich’s tu’, so gib, Dass es gerate wohl! Hilf, dass ich rede stets, Womit ich kann bestehen, Lass kein unnützes Wort Aus meinem Munde

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567. Whate’er my God ordains is right

567. Whate’er my God ordains is right

Was Gott tut, das ist wohlgetan! Es bleibt gerecht sein Wille. Wie er fängt meine Sachen an, Will ich ihm halten stille. Er ist mein Gott, der in der Not Mich wohl weiss zu erhalten; Drum lass’ ich ihn nur walten. Was Gott tut, das ist wohlgetan! Er wird mich nicht betrügen; Er führet mich auf rechter Bahn, Drum lass’ ich mir genügen An seiner Huld, und hab Geduld; Er wird mein Unglück wenden, Es steht in seinen Händen. Was Gott tut, das ist wohlgetan, Er wird mich wohl bedenken; Mein Arzt, der

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568. Lord, Thou hast been Thy people’s rest

568. Lord, Thou hast been Thy people’s rest

A metrical version of the 90th Psalm. For comments on James Montgomery see Hymn 62 . MUSIC. ALLEIN GOTT IN DER HÖH’ SEI EHR’ appeared in Geistliche Lieder , Leipzig, 1539, where it is set to the hymn, “Allein Gott in der Höh sei Ehr,” by Nikolaus Decius. The tune is of pre-Reformation origin. It is an adaptation from an Easter Gloria of anonymous composition, and appears with variants in different collections. Many settings of the tune have been made by Bach and other great composers, the one he

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569. Jehovah, let me now adore Thee

569. Jehovah, let me now adore Thee

Dir, dir Jehova, will ich singen, Denn wo ist doch ein solcher Gott wie du? Dir will ich meine Lieder bringen, Ach gib mir deines Geistes Kraft dazu, Dass ich es tu’ im Namen Jesu Christ, So wie es dir durch ihn gefällig ist. Zeuch mich, o Vater, zu dem Sohne, Damit dein Sohn mich wieder zieh’ zu dir; Dein Geist in meinem Herzen wohne Und meine Sinne und Verstand regier’, Dass ich den Frieden Gottes schmeck’ und fühl’ Und dir darob im Herzen sing’ und spiel’. Verleih mir, Höchster, solche Güte,

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570. The Spirit of the Lord revealed

570. The Spirit of the Lord revealed

A hymn on the Scriptures, setting forth the truth that what the Spirit of God revealed dimly in the Old Testament was fulfilled in the New Testament by the Incarnate Word which is Jesus Christ. George W. Briggs wrote the hymn for Songs of Praise , London, 1931. For comments on Briggs see Hymn 307 . MUSIC. AUS MEINES HERZENS GRUNDE , also known as “Wolder,” is a traditional tune of anonymous origin. It is found in D. Wolder’s Neu Catechismus Gesangbüchlein , Hamburg, 1588, but is doubtless much o

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571. He who would be in God confiding

571. He who would be in God confiding

Wer nur den lieben Gott lässt walten Und hoffet auf ihn allezeit, Den wird er wunderlich erhalten In allem Kreuz und Traurigkeit. Wer Gott, dem Allerhöchsten, traut, Der hat auf keinen Sand gebaut. Was helfen uns die schweren Sorgen? Was hilft uns unser Weh und Ach? Was hilft es, dass wir alle Morgen Beseufzen unser Ungemach? Wir machen unser Kreuz und Leid Nur grösser durch die Traurigkeit. Man halte nur ein wenig stille Und sei nur in sich selbst vergnügt, Wie unsers Gottes Gnadenwille, Wie se

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572. Our Lord, His passion ended

572. Our Lord, His passion ended

A hymn for Whitsuntide. Francis Crawford Burkitt, born in London, is a scholar of wide repute in England, the author of many linguistic and theological works. He holds honorary degrees from the Universities of Edinburgh, Dublin, St. Andrews, and Oxford. Burkitt was, for many years, Professor of Divinity in Cambridge University. The meter of the hymn is unique in that the second quatrain of each stanza changes from the common lambic (- —) to the Trochaic (— -). MUSIC. FORTEM VIRILI PECTORE , of u

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573. God who madest earth and heaven

573. God who madest earth and heaven

Gott des Himmels und der Erden, Vater, Sohn und Heil’ger Geist, Der es Tag und Nacht lässt werden, Sonn’ und Mond uns scheinen heisst, Dessen starke Hand die Welt Und was drinnen ist, erhält. Gott, ich danke dir von Herzen, Dass du mich in dieser Nacht Vor Gefahr, Angst, Not und Schmerzen Hast behütet und bewacht, Dass des bösen Feindes List Mein nicht mächtig worden ist. Lass die Nacht auch meiner Sünden Jetzt mit dieser Nacht vergehn! O Herr Jesu, lass mich finden Deine Wunden offen stehn, Da

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574. Jesus, still lead on

574. Jesus, still lead on

Jesu, geh voran Auf der Lebensbahn, Und wir wollen nicht verweilen, Dir getreulich nachzueilen. Führ uns an der Hand Bis ins Vaterland! Soll’s uns hart ergehn, Lass uns feste stehn Und auch in den schwersten Tagen Niemals über Lasten klagen; Denn durch Trübsal hier Geht der Weg zu dir. Rühret eigner Schmerz Irgend unser Herz, Kümmert uns ein fremdes Leiden, O so gib Geduld zu beiden; Richte unsern Sinn Auf das Ende hin! Ordne unsern Gang, Jesu, lebenslang! Führst du uns durch rauhe Wege, Gib uns

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575. That man hath perfect blessedness

575. That man hath perfect blessedness

Psalm 1. The Tree and the Chaff. The psalm embodies a fundamental teaching of the Old Testament, namely, that true happiness is to be found only in knowing and serving God. MUSIC. DUNFERMLINE is a Scottish tune of unknown origin. The name is that of a town in Scotland. It appeared as one of the twelve “Common Tunes” (tunes not attached to any particular psalms) in The CL Psalms of David, &amp;c. , Edinburgh, 1615. In England the tune was included in Ravencroft’s Whole Book of Psalms , 1621..

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Note on the Scottish Psalter, 1650

Note on the Scottish Psalter, 1650

The origin of the Scottish Psalter , 1650, which is the source of nearly all the metrical psalms in Book Five of the Hymnary , may be briefly summarized as follows: The church in Scotland, at the time of the Reformation, modeled its service after Calvin’s in Geneva. No hymns were permitted to be sung; only the Words of inspired Scripture were allowed for use in worship. For two hundred years after Luther had inspired a rich treasury of “man-made” poems for use in congregational singing, the Calv

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576. Lord, Thou shalt early hear my voice

576. Lord, Thou shalt early hear my voice

Psalm 5:3, 4, 7, 11. A Prayer for Divine Aid. A morning prayer in which the Psalmist confidently looks to God, assured of an answer. He shows a deep concern for ethical purity and sincerity in worship. MUSIC. For comments on WARWICK see Hymn 20 ....

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577. Within Thy tabernacle, Lord

577. Within Thy tabernacle, Lord

Psalm 15. The Friend of God. The psalm speaks of the type of life that brings man into the Divine Presence and makes of him a good citizen. MUSIC. TALLIS’ ORDINAL. For comments on this tune see Hymn 326 ....

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578. God’s law is perfect, and converts

578. God’s law is perfect, and converts

Psalm 19:7-11. God’s Praise in the Moral Universe. The psalm describes God’s revelation to man. God is revealed to us “in the starry heavens above and in the moral law within,” (to use the phrase of Immanuel Kant). The hymn, composed of verses 7-11, deals only with the latter, the law in the heart. MUSIC. ST. ANDREW appeared in The New Harmony of Sion by William Tans’ur, in 1764, where it was set to Psalm 150, and inscribed “Barby Tune, composed in four parts, W.T.” The initials may mean only th

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579. The Lord’s my Shepherd, I’ll not want

579. The Lord’s my Shepherd, I’ll not want

Psalm 23. The Good Shepherd Psalm. It has probably been translated and paraphrased more frequently than any other piece of literature in the world, yet always carries the same joyous and sure faith in the Good Shepherd. A version by James Montgomery is found at No. 62 . MUSIC. MARTYRDOM. For comments on this tune see Hymn 108 ....

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580. Ye gates, lift up your heads on high

580. Ye gates, lift up your heads on high

Psalm 24:7-10. A Marching Chorus and Triumphant Song of Victory. The procession escorting the ark, symbol of God’s presence, has now reached the city gates and Jerusalem is called upon to open wide its gates to its true King. “Raise up your arches, O gates, and open wide your ancient doors, that the King of Glory may enter in.” The full glory of God can come into our lives only as we enlarge the receiving facilities of our hearts and minds. MUSIC. ST. GEORGE’S, EDINBURGH was composed especially

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581. Show me thy ways, O Lord

581. Show me thy ways, O Lord

Psalm 25:4-7. A Prayer to God for Guidance and Forgiveness. MUSIC. ST. BRIDE appeared in Parochial Harmony; consisting of a collection of Psalm tunes in three and four parts, &amp;c. , by William Riley, 1762, where it was set to the new version of Psalm 130 and headed “St. Bridget’s Tune by Mr. Sam’l Howard.” The tune is in strict psalm-tune style and therefore simple in structure. But it has strength and high quality and is deserving of its wide and continuous use. Samuel Howard, 1710-82, L

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582. The Lord’s my light and saving health

582. The Lord’s my light and saving health

Psalm 27:1-5. A Song of Assurance. These verses reflect a confidence that knows no fear in the midst of danger, because of God’s protecting care. MUSIC. ST. MAGNUS , also called “Nottingham,” is a “good solid melody, built on familiar lines.” It appeared, anonymously, in 1709 in a book called The Divine Companion: or David’s Harp new tuned. Being a choice collection of New and Easy Psalms, Hymns and Anthems. In 1762 the tune, bearing its present name and assigned to Jeremiah Clark, appeared in W

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583. Through all the changing scenes of life

583. Through all the changing scenes of life

Psalm 34:1-10, 22. The Goodness of God. A hymn of praise to God for his care and protection in time of great need. Most of our metrical psalms in the Hymnary are from the Scottish Psalter , 1650. (See under Hymn 575 .) But this one is from the revised edition of 1698, of the New Version of the Psalms first published in England in 1696, by the two Irishmen, Tate and Brady. This version partly supplanted in England the older version of Sternhold and Hopkins. Nahum Tate, 1652-1715, son of an Irish

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584. O children, hither do ye come

584. O children, hither do ye come

Psalm 34:11-19. The Goodness of God. The psalmist here becomes a teacher, instructing his listeners in the right paths of life. MUSIC. ARNOLD was first published in The Psalms of David for the Use of Parish Churches. The Music celected, adapted, and composed by Dr. Arnold ... assisted by J. W. Callcott , 1791. The tune was set to Psalm 15, arranged so that the first two lines should be sung as a duet by soprano and alto, repeated as a duet by tenor and bass, and then the third and fourth lines s

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585. I waited for the Lord my God

585. I waited for the Lord my God

Psalm 40:1-5. A Prayer for Speedy Relief from Trouble. After long and patient waiting, the psalmist’s prayer for relief from trouble has been answered, giving occasion for fresh thanksgiving for His mercy. MUSIC. BALLERMA. For comments on this tune see Hymn 57 . Robert Simpson, 1790-1832, who adapted this tune from a melody by F. H. Barthélemon (See Hymn 57 ) was a weaver by trade, but of good education and fine musical taste. He was choir-leader in a Congregational Church in Glasgow, then becam

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586. As pants the hart for cooling streams

586. As pants the hart for cooling streams

Psalm 42:1, 2, 5, 9, 11. Exiled from the House of God. The psalmist, alone among taunting heathen strangers, yearns to return to the place of worship where he may again commune with God. His faith is sorely tried but it does not fail him. He recalls the mercy of God and renews his hope in God. For comments on New Version , Tate and Brady, see Hymn 583 . MUSIC. SPOHR is an adaptation from the solo and chorus, “Though all thy friends forsake thee,” in Calvary , an oratorio by Spohr. Ludwig Spohr,

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587. O send Thy light forth and Thy truth

587. O send Thy light forth and Thy truth

Psalm 43:3-5. Exiled from the House of God (continued). Psalm 43 is clearly a continuation of Psalm 42. The same spirit, language and situation are to be found in both and each ends with the same refrain. Psalm 42 speaks of God as a fountain of living water; Psalm 43, as a guiding light. These vivid metaphors are combined in Psalm 36:9: “For with Thee is the fountain of life; in Thy light do we see light.” MUSIC. FARRANT is adapted from an air in the anthem, “Lord, for thy tender mercies’ sake.”

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588. God is our refuge and our strength

588. God is our refuge and our strength

Psalm 46:1-5. The Mighty God. Psalm 46 has been a source of strength in time of dire distress, sustaining the spirit of the persecuted and dying, in all ages. One should compare this version from the Scottish Psalter with that of Isaac Watts ( No. 257 ), and of Martin Luther in his classic hymn of the Reformation, “Ein feste Burg ist unser Gott” ( No. 549 ). MUSIC. WINCHESTER OLD is from Este’s Psalter which was entitled “ The Whole Booke of Psalmes with their wonted Tunes, as they are song in c

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589. After Thy loving-kindness, Lord

589. After Thy loving-kindness, Lord

Psalm 51:1-3, 10, 17. A Prayer for Pardon. The psalmist prays for pardon and cleansing, confessing the greatness of his sins, and offering the sacrifice of a broken heart. Psalm 51 is the fourth of the seven psalms known from ancient times as the Penitential Psalms. The others are 6, 32, 38, 102, 130, and 143. MUSIC. DUNDEE , also known as “Windsor,” is first found in Damon’s Psalter , which was entitled, The Booke of the Musicke of M. William Damon, late one of her maiestes Musitions: conteinin

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590. Praise waits for Thee in Zion, Lord

590. Praise waits for Thee in Zion, Lord

Psalm 65:1-4. A Liturgy. A hymn of praise and thanksgiving to God for an exceptionally abundant harvest. MUSIC. ST. STEPHEN ( ABRIDGE ). For comments on this tune see Hymn 266 ....

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591. His name forever shall endure

591. His name forever shall endure

Psalm 72:17-19. A Description of the Ideal King. A universal hymn of praise. MUSIC. For comments on the tune, DUNFERMLINE , see Hymn 575 ....

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592. How lovely are Thy dwellings fair

592. How lovely are Thy dwellings fair

Psalm 84:1-7, 12. The Joy of the Godly. One of the Songs of the Sanctuary, expressing the joy and happiness of the pilgrim who, coming from afar, has at last arrived at the sanctuary of his God at Jerusalem. The vale of Baca (v. 6), a waterless, barren valley through which he passed on the journey to Jerusalem, became, to the devoted pilgrim, a place of springs and refreshment. The version here is by John Milton and constitutes an improvement over that in the Scottish Psalter . For comments on M

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593. The Lord doth reign, and clothed is He

593. The Lord doth reign, and clothed is He

Psalm 93. The Ruler of the Universe. A Song of Thanksgiving in which the psalmist celebrates God’s sovereignty, not only over Israel, but over the whole world. MUSIC. IRISH. For comments on this tune see Hymn 268 ....

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594. All people that on earth do dwell

594. All people that on earth do dwell

Psalm 100. The Faithful God. The Psalm was used as a processional hymn to be chanted by the people as they went up to the temple for worship. Sclater, in The Public Worship of God , discussing opening hymns of adoration, says: “There is none better than that grand old Puritan anthem, the 100th Psalm, set to Louis Bourgeois’ noble tune,” and adds that “those who are in perplexity to find hymns which precisely fit into various parts of the service might do a great deal worse than take a look at th

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595. Thou shalt arise, and mercy yet

595. Thou shalt arise, and mercy yet

Psalm 102:13-22. The Everlasting God. One of the Penitential Psalms. (See under Hymn 589 .) Zion is in ruins and her people in exile, but God, who is unchangeable, will yet fulfill His promises to His people and make Jerusalem the center of a world-wide worship. MUSIC. DUKE STREET. For comments on this tune see Hymn 341 ....

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596. O thou my soul bless God the Lord

596. O thou my soul bless God the Lord

Psalm 103:1-5. The Goodness of God. The psalm sets forth with exquisite beauty and tenderness the enduring goodness and mercy of God. It is a song of thanksgiving to God for his many benefits and blessings. It was the custom in Scotland to sing the opening verses of this psalm as a song of thanksgiving and praise after the communicants had received the bread and wine of the Lord’s Supper. The people poured evangelical content into the words, thinking as they sang, of the great redemption through

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597. I love the Lord, because my voice

597. I love the Lord, because my voice

Psalm 116:1-7. Votive Song of the Worshipper. A Song of Thanksgiving to God for favors received and an expression of triumphant faith in the Helper of the poor and needy. MUSIC. ST. ANDREW. For comments on this tune see Hymn 578 ....

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598. Unto the hills around do I lift up

598. Unto the hills around do I lift up

Psalm 121. The Guardian God. A splendid picture of the fatherly goodness of God and His watchful Providence over His people. The version is by John Campbell, Duke of Argyll, who married Princess Louise, the daughter of Queen Victoria. At one time he was the Governor-General of Canada and Commander-in-Chief of Prince Edward Island. He was keeper of the seal of Scotland. Though engaged in many and varied activities, he was an earnest Christian and found pleasure in the study of the Psalms and in m

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599. I joyed when to the house of God

599. I joyed when to the house of God

Psalm 122. A Prayer for Jerusalem. A song of the pilgrims who, having arrived at the gates of Jerusalem, are filled with admiration for the Holy City. They are moved at its beauty and strength, recall its past stories, and pray for its peace and welfare. In the church of Scotland it has been the traditional practice to sing verses 3, 4, and 5 of this hymn immediately before the Benediction which closes the General Assembly. Sung to the stately tune of “St. Paul,” it leaves an indelible impressio

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600. O Lord, Thou art my God and King

600. O Lord, Thou art my God and King

Psalm 145:1-7. A Festal Anthem. A praise song celebrating the greatness and goodness of God as manifested in all creation. The praise of God and of His marvelous works shall go on forever. The psalm has been called the Te Deum of the Old Testament and this version is worthy of its original. MUSIC. DUKE STREET. For comments on this tune see Hymn 341 ....

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601. Holy, holy, holy, Lord God of hosts

601. Holy, holy, holy, Lord God of hosts

Known as the Ter Sanctus or Trisagion . It is an anonymous 2d century reproduction of a Jewish synagogue “Doxology,” based on Isaiah 6:3: And one cried unto another, and said, Holy, holy, holy is the Lord of hosts: the whole earth is full of the glory of God. It is intended to be sung at the beginning of a worship service. MUSIC. SANCTUS. The composer of the tune, Alexander Samuel Cooper, was born in London in 1835. The date of his death is not known. He was an organist and composer of anthems,

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602. Holy, holy, holy. Lord God of hosts

602. Holy, holy, holy. Lord God of hosts

For comments on the words see No. 601 . MUSIC. SANCTUS. No information has been found concerning W. A. C. Cruickshank, composer of the tune....

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603. The Lord is In His holy temple

603. The Lord is In His holy temple

An “Opening Response” or “Invocation Sentence” widely used to introduce services of worship. The words are taken from Habakkuk 2:20. QUAM DILECTA. For comments on George F. Root, the composer of this tune, see Hymn 418 ....

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604. Hear our prayer, O Lord

604. Hear our prayer, O Lord

A response to be sung by choir or congregation or both after public prayer. George Whelpton, 1847-1930, composer of the tune, was born at Redbourne, England, but came to America with his parents when he was a child of four years. He studied music under H. R. Palmer and with a private teacher in Boston. He became a well-known choir director in Buffalo and served as editor of various publications. He died suddenly at Oxford, Ohio....

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605. Thy word have I hid in my heart

605. Thy word have I hid in my heart

A response suitable for use in connection with the reading of the Scriptures. The words are taken from Psalms 119:11, 12. No biographical information regarding the composer, E. D. Beale, has been ascertained....

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606. Gloria Patri

606. Gloria Patri

An ancient canticle which is used in the service to give a trinitarian form to Old Testament unitarianism. The first part, “Glory to the Father, and to the Son, and to the Holy Ghost,” was used very early in the apostolic era of the church, as the common doxology. The second part, “As it was in the beginning, is now, and ever shall be, world without end,” was added by the Western Church during the second and third centuries when the Arian controversy raised the question as to whether the God of

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607. Gloria Patri

607. Gloria Patri

For comments on the words see No. 606 . MUSIC. The tune was composed by Charles Meineke, 1782-1850, a German pianist and organist who came to America in 1810. For a time he was organist at St. Paul’s Church, Baltimore....

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608. Let the words of my mouth

608. Let the words of my mouth

From Psalm 19:14. Prayer, “uttered or unexpressed,” is a spiritual sacrifice. The sentence is used in the Jewish liturgy at the close of silent worship. If sung in a quiet mood, the response is suitable for use by soloist, choir, or congregation, before or after pastoral prayer of the worship service. MUSIC. The music was composed by Adolph Baumbach, 1830-80, teacher of piano and organ and composer of instrumental and choir music. Baumbach was born in Germany about 1830, came to America in 1855,

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609. Father, O hear us

609. Father, O hear us

Anonymous. Suitable for use as a response after prayer, or before a prayer of special petition, as in the case of Elijah in I Kings 18:37: “hear me, O Lord, hear me, that this people may know that thou art the Lord God.” MUSIC. The tune is attributed to Handel but the work from which it is taken has not been identified. For comments on George Frederick Handel see Hymn 73 ....

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610. Our Father, who art in heaven

610. Our Father, who art in heaven

The Lord’s Prayer, as found in Matthew 6:9-13. The prayer which Christ taught the disciples is in its comprehensiveness a pattern of prayer and may well be used in the prayers of the church. MUSIC. The musical setting is from a Gregorian Chant. In singing it, the following general directions for chanting may be found useful: 1. Chants consist of two distinct divisions, one portion is recited, the other portion is sung. 2. The words from the beginning of each line up to the accented word, which i

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611. Bless Thou the gifts our hands have brought

611. Bless Thou the gifts our hands have brought

An offertory hymn to be sung by the choir or congregation or both. For comments on the author, Samuel Longfellow, see Hymn 28 . Concerning the place of the collection in the worship service, Henry Sloan Coffin says in his excellent book on public worship: Whether the collection be made in the middle of the service or near its conclusion, it should be an act of worship. The gifts of the people should be carried up to the holy table, and received and placed upon it by the minister. While they are

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612. All things come of Thee, O Lord

612. All things come of Thee, O Lord

From 1 Chron. 29:14. This is one of the mostly widely used offertory responses, usually sung by a congregation during the consecration of the offering. The setting of the words is significant in its conception of the spirit of sacrifice and worship. David was assembling the material with which Solomon might build the temple. The people and leaders brought their gifts, all voluntarily, with no mention of a tithe or temple tax. Gratitude for what God had done for them stirred their generosity and

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613. May the grace of Christ our Savior

613. May the grace of Christ our Savior

A metrical version of the apostolic benediction in II Cor. 13:14: “The grace of the Lord Jesus Christ, and the love of God, and the communion of the Holy Spirit, be with you all.” The hymn has been translated into several languages. For more than 100 years the weekly meeting of the Presbyterian ministers in New York City closed with the singing of these words. MUSIC. DORRNANCE first appeared in The Choral , 1845, by Isaac B. Woodbury and Benj. F. Baker. For comments on the composer, Isaac B. Woo

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614. The Lord bless you and keep you

614. The Lord bless you and keep you

From the Authorized Version of the Aaronic blessing in Numbers 6:24-26, with order of verses 25 and 26 reversed. MUSIC. The musical setting, the original of which has an elaborate contrapuntal and sevenfold “Amen,” not suitable for congregational use, was written as a farewell to William Smedley, choirmaster at the St. James Protestant Episcopal Church, Chicago. Without Smedley’s knowledge the congregation, all kneeling, sang this with great effect, after the benediction, at the service of farew

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615. Now to the King of heav’n

615. Now to the King of heav’n

This doxology, according to James Moffatt, is made up of lines from a hymn by Doddridge and Watt’s paraphrase of Psalm 148. MUSIC. ST. JOHN. There seems to be no information concerning the composer or source of this tune. It has been traced to the third volume of The Parish Choir , 1851, where it appears anonymously. It should be sung with vigor....

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616. To God the only wise

616. To God the only wise

A paraphrase of the doxology found in Jude vv. 24, 25. For comments on Isaac Watts see Hymn 11 . MUSIC. OLD 134TH ( ST. MICHAEL ) is one of the greatest of short meter tunes, derived from the tune composed by L. Bourgeois for Psalm 101 in the Genevan Psalter of 1551. It has been set to a number of other psalms and hymns and appears at Hymn 128 set to “Ye servants of the Lord” by Doddridge. For comments on Louis Bourgeois see Hymn 34 ....

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617. Now to him who loved us, gave us

617. Now to him who loved us, gave us

From the author’s Sacred Melodies , 1826, where it was followed by a second verse. Samuel Miller Waring, an Englishman, was brought up in the Society of Friends but left it to unite with the Church of England. He published Sacred Melodies in 1826, in which his hymns appear. MUSIC. TRIUMPH appeared first in The Church Hymn and Tune Book , 1852, edited by W. J. Blew and H. J. Gauntlett. For comments on the composer, Henry J. Gauntlett, see Hymn 412 ....

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618. Praise God from whom all blessings flow

618. Praise God from whom all blessings flow

The most famous of all doxologies and the most frequently sung of all hymn stanzas. Bishop Ken wrote three hymns, for morning, evening, and midnight, (See Nos. 25 and 33 ), ending each with this stanza. The words are simple enough so a child can sing them with understanding, yet they are so profound that the wisest and most prudent cannot exhaust their meaning. For comments on Thomas Ken see Hymn 25 . MUSIC. OLD HUNDREDTH. The original form of this tune is found at No. 594 . For comments on Loui

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619. Dresden Amen

619. Dresden Amen

A cadence, or ending, much used in ecclesiastical music in the Royal Chapel of Dresden (common also throughout Saxony). Wagner immortalized it in his Parsifal and the tune also appears in Mendelssohn’s Reformation Symphony , Stanford’s Service in B flat , and elsewhere. The composer, Johann Gottlieb Naumann (or Giovanni Amadeo), 1741-1801, well-known musician in his day, was born at Blasewitz, near Dresden, the son of peasant parents. He was a successful opera composer in Saxony, Italy, Sweden,

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620. Threefold Amen

620. Threefold Amen

The tune is from an unknown Danish source and has wide use in the Lutheran churches of Denmark....

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621. Amen Sequence

621. Amen Sequence

An effective piece for women’s voices, of unknown origin....

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622. Fourfold Amen

622. Fourfold Amen

For comments on the composer, John Stainer, see Hymn 111 ....

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623. Sevenfold Amen

623. Sevenfold Amen

First appeared in A Choir-book for the Office of Holy Communion , 1873, edited by Stainer. For comments on John Stainer see Hymn 111 ....

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NOTE ON THE USE OF “AMEN”

NOTE ON THE USE OF “AMEN”

In the Jewish and early Christian Church, the people said “Amen” after prayers were offered. Cf. I Cor. 14:16. In so doing, they gave a deliberate endorsement to what had been said or sung. The “Amen,” meaning “so be it,” should be sung with conviction, not thoughtlessly or half-heartedly, as if what went before is of doubtful importance. The settings given here are principally for use by the choir after the pastoral prayer or at the close of a service, in churches where such musical elaboration

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General

General

Benson, Louis F., Studies of Familiar Hymns . Series I and II. Westminster Press, 1903 and 1923. An authoritative study. One of the best. Breed, David R., The History and Use of Hymns and Hymn-Tunes . Revell, 1903. Useful but somewhat out of date, especially in its classification of hymns. Brown, Theron, and Butterworth, Hezekiah, The Story of the Hymns and Tunes . American Tract Society, 1906. Based on Butterworth’s Story of the Hymns and Story of the Tunes , with much added material. Gillman,

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English Hymnody

English Hymnody

Benson, Louis F., The English Hymn . Doran, 1915. Best source of information on the development and use of standard English and American hymns. Scholarly. Unfortunately out of print. Brawley, Benjamin, History of the English Hymn . Abingdon Press, 1932. Popular in style. Duffield, Samuel Willoughby, English Hymns . Funk and Wagnalls, 1886. An old standard work giving the origin of hymns to the middle of the 19th century. Marks, Harvey B., The Rise and Growth of English Hymnody . Revell, 1937. An

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American Hymnody

American Hymnody

Foote, Henry Wilder, Three Centuries of American Hymnody . Harvard University Press, 1940. An authoritative and readable account of American hymnody from the publication of the Bay Psalm Book , 1640, to the present day. Ninde, Edward S., The Story of the American Hymn . Abingdon Press, 1921. Popular stories of hymns. Supplements the more scholarly work by Foote....

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Stories of Hymns and Hymn Writers

Stories of Hymns and Hymn Writers

Butterworth, Hezekiah, The Story of the Hymns . American Tract Society. Deals with nearly one hundred hymns, emphasizing those that resulted from unusual religious experiences. Cope, Henry F., One Hundred Hymns You Ought to Know . New York, 1906. Laufer, Calvin W., Hymn Lore . Westminster Press, 1932. Comments on 50 hymns, mostly of American origin. Price, Carl F., One Hundred and One Hymn Stories . Abingdon. —— ——, More Hymn Stories . Abingdon, 1931. Popular but authoritative. Smith, H. Augusti

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The German Chorales

The German Chorales

Bacon and Allen, The Hymns of Martin Luther . London, 1884. Luther’s hymns set to their original melodies. Includes Luther’s prefaces to successive hymn books published during his life time and under his supervision. Collitz, Klara Hechtenberg, Selections from Classical German Literature . Oxford University Press, 1914. Includes biographical notes. Knapp, Albert, Evangelischer Liederschatz . Stuttgart, 1865. More than 3,000 of the great hymns of Germany are included in this work, the most compre

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The Gospel Songs

The Gospel Songs

Gabriel, Chas. H., The Singers and Their Songs . The Rodeheaver Co., 1915. Hall, J. H., Biography of Gospel Song and Hymn Writers . Revell, 1914. Rodeheaver, Homer A., Hymnal Handbook for Standard Hymns and Gospel Songs . The Rodeheaver Co., 1931. Sankey, Ira D., My Life and the Story of the Gospel Hymns . Harper and Brothers, 1907. Showalter, A. J., The Best Gospel Songs and Their Composers . A. J. Showalter Co., 1904. Stebbins, George C., Reminiscences and Gospel Hymn Stories . George H. Doran

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Handbooks to Hymnals

Handbooks to Hymnals

Covert, W. C., and Laufer, C. W., Handbook to the Hymnal . Presbyterian Board of Christian Education, 1935. A Handbook to the current Presbyterian hymnal of 1931. Dearmer, Percy, Songs of Praise Discussed . Oxford University Press, 1933. Based on Moffatt’s Handbook to the Church Hymnary . A companion to the popular English collection, Songs of Praise . Hymns Ancient and Modern , Historical Edition. Clowes, 1909. Hymns and music of the famous English hymnal, with an account of all the hymns and t

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Practical Hymnology

Practical Hymnology

Ashton, Joseph N., Music in Worship . The Pilgrim Press, 1943. A manual for ministers, organists, and choir directors. Clokey, Joseph W., In Every Corner Sing . Morehouse Gorham Co., 1945. A small, practical book, written for amateurs and laymen, on music for the small church. Harper, Earl, Church Music and Worship . Abingdon Press. Lorenz, E. S., The Singing Church . Cokesbury, 1938. Much practical material. The author makes about as good a case as can be made for the use of Gospel songs. Pratt

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Hymn Tunes and Composers

Hymn Tunes and Composers

Dickinson, Edward, Music in the History of the Western Church . Scribners, 1902. A broad survey. Excellent chapters on Luther and Bach. Douglas, Winfred, Church Music in Theory and Practice . Scribners, 1937. Emphasis on liturgical music, written from the point of view of an American Anglo-Catholic. Lightwood, James T., Hymn Tunes and Their Story . Epworth Press, London, 1923. A good account of tunes up to the latter part of the 19th century. Metcalf, Frank J., Stories of Hymn Tunes . Abingdon P

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Mennonite Hymnody

Mennonite Hymnody

Bender, H. S., Two Centuries of American Mennonite Literature . Mennonite Historical Society, Goshen, Ind., 1929. Lists books, hymnbooks, pamphlets, papers and magazines by all branches of Mennonites since the beginning of the 18th century. Hohmann, Walter H., Outlines in Hymnology with Emphasis on Mennonite Hymnology . Mennonite Publication Office, 1941. The Outline, for the most part, follows Breed’s History and Use of Hymns and Hymn-Tunes . Part II consists of a chronological list of Mennonit

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