Handbook to the Mennonite Hymnary

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 III. He wrote about 30 hymns and set them to melodies of his own composition. His hymn, named “Sapphic Ode. For Spiritual and Temporal Peace,” in 1644, is as follows:

The English version by Pusey is not a translation of the German but rather a free paraphrase. Philip Pusey, brother of Edward Pusey, the famous leader in the Oxford Movement, was educated at Oxford. After graduating he settled on his estate and devoted himself largely to agriculture. He wrote extensively on agricultural subjects and was one of the founders of the Royal Agriculture Society. Later he became a member of Parliament. He wrote this hymn to portray the state of the Church of England at the time, which he described as being “assailed from without, enfeebled and detracted from within, but on the eve of a great awakening.”

MUSIC. INTEGER VITAE. For comments on this tune see Hymn 59.

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, third, and seventh stanzas omitted.

For further comments on John Newton see Hymn 274.

MUSIC. DURHAM appeared in Ravenscroft’s Psalter, 1621, set to Psalms 28 and 76, and marked as a “Northern Tune.” The Scottish Psalter of 1635 includes it among the Common Tunes.

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.

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 educated at Christ’s Hospital and then entered the Royal Navy. While on a survey of the coast of Newfoundland, he decided to devote himself to missionary work in that colony. He did this and served 32 years under the Society for Propagating the Gospel. He became Dean of Nova Scotia at Halifax. In 1854, he published Songs of the Church which, he said, were “written amid the various scenes of missionary life, and are intended for the private and domestic use of Christians in new countries deprived of all public worship.”

For comments on Henry W. Baker, reviser of the hymn see Hymn 143.

MUSIC. QUAM DILECTA was composed for this hymn in Hymns Ancient and Modern, 1861.

The composer, Henry L. Jenner, 1820-98, was a curate in the Anglican Church. After serving various churches in England, he was consecrated first Bishop of Dunedin, New Zealand, 1866. He was one of the Cambridge group which revived interest in ecclesiology, ancient hymnology, plainsong, etc.

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 courtesy, and popular with rich and poor alike; who labored in the church with great success and honor until his death.” He wrote numerous hymns. Was our hymn written by a son brought up with his father’s noble conception of the church?

MUSIC. MENDON. For comments on this tune see Hymn 211.

THE LORD’S DAY

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 collections of hymns.

MUSIC. ENDSLEIGH is credited to Salvatore Ferretti, 1817-74, concerning whom no information has been traced. The arrangement was made by James Turle, 1802-82, an English teacher of music, a distinguished organist, and composer of hymn tunes, chants, and anthems. For sixty-three years he was connected with Westminster Abbey in London. He was endowed, it is said, with unusually large hands so that he could easily span an octave and a half with one hand. His sole musical interest was in serving the church.

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.

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 12.

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 gossiping style, imitated later by Boswell when he wrote the Life of Samuel Johnson. Mason wrote four volumes of poetry and won recognition from Johnson as one of the British poets.

The present hymn, by which the author is best remembered, is found at the end of Volume I of the Works of William Mason, M. A., Precentor of York and Rector of Aston, 1811.

Our author is not to be confused with his contemporary of the same name, 1719-91, who succeeded Toplady in the editorship of The Gospel Magazine and who was also a minister and hymn writer.

MUSIC. ELLERS. For comments on this tune and its composer, Edward J. Hopkins, see Hymn 43.

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.

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 on Mary Lathbury see Hymn 31.

MUSIC. BREAD OF LIFE is a popular American tune, sincere and simple in style, written for this hymn and indissolubly associated with it.

For comments on the composer, William F. Sherwin, see Hymn 31.

THE HOLY SCRIPTURES

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 living witness to the power of the Word. His definition of a minister shows the high ideal he had of the preacher of the Word, and, incidentally, is an accurate description of his own life:

A man pure, holy, and spotless in his life; a man of much prayer; in character meek, lowly, and infinitely compassionate; of tenderest love to all; full of sympathy for every pain and sorrow, and devoting his days and nights to lightening the burdens of humanity; utterly patient of insult and enmity; utterly fearless in speaking the truth and rebuking sin; ever ready to answer every call, to go wherever bidden in order to do good; wholly without thought of self; making himself the servant of all; patient, gentle, and untiring in dealing with the souls he would save; bearing with ignorance, wilfulness, slowness, cowardice in those of whom he expects most; sacrificing all, even life itself, if need be, to save some.

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

MUSIC. MUNICH, “one of the most beautiful and perfectly constructed of tunes,” is of German origin and is known in Germany as “Königsberg Choral.” It appeared first in Lobsingende Harffe, 1682. The composer is unknown. Mendelssohn used the tune as the basis for his fine chorale, “Cast thy burden on the Lord,” in his oratorio, Elijah.

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 1863 issued The New Sunday School Hymn Book which contained twenty-seven of his own hymns, including this one.

MUSIC. FOREST GREEN is an arrangement of an English folk song called, “The Ploughboy’s Dream.” R. Vaughan Williams, 1872-, who arranged the tune is England’s leading living composer. He has collected and edited for publication many folksongs and carols, written several symphonies for the orchestra, and has composed numerous choral works.

Some good hymnals use this tune as the setting for Phillips Brooks’ popular Christmas carol, “O little town of Bethlehem.”

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 composer and teacher of music, Lowell Mason. The psalm tune “Burford” (228) is also named “Uxbridge” in some books.

For comments on Mason see Hymn 12.

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.

THE MINISTRY

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.

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.

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. For comments on this tune see Hymn 22.

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 music but is known best for his amazingly fine piano works and songs. His wife, Clara Wieck Schumann, one of the greatest piano players the world has produced, was devoted to him, as were also his children. Schumann became mentally ill, attempted unsuccessfully to drown himself in the Rhine, and was cared for in a hospital for two years before his death. He had a gift for journalism and wrote books and magazine articles on music.

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 hymns, a considerable collection, anonymously, but later had to acknowledge his identity. About 50 of his hymns are still in use.

(The name is misspelled “Dawson” in the Hymnary.)

MUSIC. DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing in the Scottish Psalter, The CL Psalms of David, &, Edinburgh, 1615, where it is named “French Tune.” Its first appearance in an English Psalter is in Ravencroft’s Whole Book of Psalms, 1621, where it is called “Dundy.” It is one of the best known of the psalm tunes and its smooth, flowing melody has enjoyed great popularity.

For comments on the Scottish Psalter see Hymn 575.

CONSECRATION OF CHILDREN

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, and Hymns and Scenes of Childhood—specially for children. Very little is known of her life, except that she was a prominent figure in the Catholic Apostolic Church and that some of her hymns were supposedly “prophetical utterances,” prompted by the Holy Spirit, at public services, which she “delivered slowly with short pauses between the verses.” Late in life she united with the Roman Catholic Church.

For comments on John Keble, see Hymn 22.

MUSIC. MANNHEIM is from the source mentioned in the note on Hymn 174. The present form of the melody is much altered from the original.

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.

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 various responsible positions as organist and choral conductor in England.

BAPTISM

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

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.

MUSIC. SO LANGE JESUS BLEIBT DER HERR is a familiar melody, of unknown origin, from the Gesangbuch mit Noten.

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 tune is attributed to William Gardiner, 1770-1853, an Englishman of whom nothing much of importance is known except that he published Sacred Melodies in 1812, a collection of excellent tunes, which was expanded to six volumes published in 1815.

THE LORD’S SUPPER

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 were still not permitted to be sung in the church, but an original poem was invariably read after the communion. This hymn was written by Horatius Bonar at the request of his brother John for the occasion of such a visit in October, 1855. It has become a widely used communion hymn in all churches.

For further comments on Horatius Bonar see Hymn 129.

MUSIC. LANGRAN, known in England as “St. Agnes,” is named after the composer, James Langran, 1835-1909, London organist and composer, who wrote this music for “Abide with me” (40). It was published separately in 1861 and two years later appeared in Psalms and Hymns adapted to the services of the Church of England, with accompanying tunes selected and revised by John Foster.

The hymn is also sung to “Ellers” (See 43 or 286).

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 when eight years old. He received his education at Columbia University and General Theological Seminary, New York City, and became a noted minister in the Protestant Episcopal Church. He had excellent musical knowledge and founded in Baltimore the earliest choir school in the United States. He also did much work on the various revisions of the Episcopal hymnal.

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 Turle see Hymn 283.

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 was set to Psalm 118. In the Scottish Psalter of 1564, the tune was again used to John Craig’s version of the same Psalm. It is described in Songs of Praise Discussed as being “in some ways the finest of all the early psalm tunes ... perfectly proportioned ... a tune which gives the true ‘spinal thrill’; of its kind it is unsurpassed.”

For comments on L. Bourgeois see Hymn 34.

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 stresses the doctrine that Christ Himself is the celebrant at the Lord’s Supper.

George Wallace Briggs is a Cambridge scholar, an outstanding preacher, educator, writer, and editor in the Anglican church. He has composed a number of hymns (See 570) and hymn tunes.

MUSIC. BIRMINGHAM is from F. Cunningham’s A Selection of Psalm Tunes, 2d ed., 1834, where it is set to the words, “Come, gracious Spirit, heavenly dove.” Cunningham published an earlier collection of psalm tunes in 1826.

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 tragic end when he fell from the roof of the church while it was being rebuilt. He composed about 300 hymns and is the author of many other poetic works.

MUSIC. MAINZ (MARIA JUNG UND ZART) originally appeared in a Catholic book, Ausserlesene Catholische, Geistliche Kirchengesänge von Pfingsten, biss zum Advent, Cologne, 1632. It was slightly changed and printed in its present form in Psalteriolum Harmonicum Sacrarum Cantilenarum, 1642.

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 little child.” The tune should not be confused with Lowell Mason’s of the same name (See 332).

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 the composer of this tune, Frederick Charles Maker, 1844-1927, see Hymn 112.

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).

MARRIAGE

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 tune to which was an especial favorite of my sister’s, when someone remarked what a pity it was that the words should be unsuitable for a wedding. My sister, turning suddenly to me, said: “What is the use of a sister who composes poetry if she cannot write me new words to this tune?” I picked up a hymn-book and said: “Well, if no one will disturb me, I will go into the library and see what I can do.” After about fifteen minutes I came back with the hymn, “O perfect Love,” and there and then we all sang it to the tune of “Strength and Stay.” It went perfectly, and my sister was delighted, saying that it must be sung at her wedding. For two or three years it was sung privately at many London weddings, and then it found its way into the hymnals. The writing of it was no effort whatever after the initial idea had come to me of the twofold aspect of perfect union, love and life; and I have always felt that God helped me to write it.

It is the most popular wedding hymn extant.

For comments on John Ellerton, who added the third stanza, see Hymn 42.

MUSIC. PERFECT LOVE is from an anthem composed by Joseph Barnby for the marriage of Princess Louise of Wales to the Duke of Fife, July 27, 1889. The anthem has been sung at many subsequent royal weddings.

For comments on Joseph Barnby see Hymn 21.

BURIAL OF THE DEAD

313. Safe in the arms of Jesus