Handbook to the Mennonite Hymnary

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 Hymn 14.

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-one years from 1825 to 1866 and professor and lecturer at Yale Divinity School from 1866 till his death in 1881. Always interested in sacred music, he rendered a great service to the church by the hymns he wrote as well as his compilations of hymns.

MUSIC. DUKE STREET. For comments on this tune see Hymn 341.

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.

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 of the tune is obscure, and its composer is unknown. It appeared in various collections under the name “Frankfurt” and “Crasselius.” In a volume published in Glasgow, 1762, entitled, The Psalm-Singer’s Delightful Pocket Companion, it was used in long meter and named “Winchester.” It should not be confused with “Winchester Old” (191).

HOSPITAL SUNDAY

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 of the melody is in triple time. Bach thought enough of the tune to use it in his Christmas Oratorio.

TEMPERANCE SUNDAY

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 earnest witness of the Evangelical Faith.” The Dictionary notes a number of his hymns but makes no mention of musical compositions.

LABOR DAY

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.

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 Hymn Society, 1927-28. Besides the present hymn, he wrote another beginning with the line, “Come, O Lord, like morning sunlight.” Both are serviceable hymns, and it is singular that neither found its way into the Presbyterian Hymnal, 1933.

MUSIC. BROOKFIELD. This tune first appeared in the Congregational Church Hymnal, London, 1887, edited by Dr. E. J. Hopkins (See 43). The book contained the best hymn tunes for congregational singing then available.

The composer, Thomas Bishop Southgate, 1814-68, received his musical education under Sir John Goss and Samuel S. Wesley. For many years he was organist at St. Anne’s Church, London.

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. Gaskell, a woman of brilliance and unusual literary gifts was encouraged by her husband to engage in literary work to distract her mind from the grief caused by the death of their little son. She turned out to be a popular writer, publishing works of fiction and the life of Charlotte Brontë. A memorial to her bears testimony to her genius, and to the “tenderness and fidelity” with which she adorned the minister’s home. Gaskell, a pioneer in social reform, wrote this hymn sometime before 1860.

MUSIC. ABRIDGE is also known as “ST. STEPHEN” (See 266 and 590).

For comments on the tune see Hymn 266.

HARVEST AND THANKSGIVING

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:

Matthias Claudius, son of a Lutheran pastor in Germany, became distinguished in journalism and literature. He studied theology with a view of entering the ministry; but through the influence of the rationalistic teachings in Germany at the time, he lost interest in religion and decided to take up journalism. Later, stricken with a critical illness, he realized the spiritual emptiness of the life he had been living, and again turned to his childhood faith. In the lyrics he wrote, though not composed as church hymns, there may be observed a transition from the spiritual impoverishment of the rationalistic period to a new type of religious poetry giving expression to a turning once more to the rugged faith of evangelicalism.

The hymn was translated by Jane Campbell, 1817-78, a successful teacher of music to children. She published a Handbook for Singers in which are found the musical exercises the author used in her work with London children. The original hymn is in 17 four-line verses.

MUSIC. WIR PFLÜGEN appeared in Lieder für Volksschulen, a collection of melodies for public schools, published, 1800, in Hannover. It was set to an arrangement of verses 3-10 of Claudius’ song, with the chorus sung by peasants, altered to suit the melody. The hymn has ever since been extraordinarily popular throughout Germany. “The tune, in spite of its wide compass, has become one of the best known and favored of all hymn tunes, and fully deserves its popularity.”

376. Thank the Lord

Based on Jeremiah 33:11,

The author, Gottlob Nath. Fischer, was born at Graba, near Saalfeld. At the time of his death he was head master of the cathedral school and counselor of the consistory at Halberstadt.

The translation was made by C. E. Krehbiel, Mennonite minister and editor who was born at Summerfield, Ill., the son of Rev. Christian and Susanna Ruth Krehbiel. After completing his education at the Presbyterian Theological Seminary, Bloomfield, N. J., 1898-99, and in Berlin University, Germany, 1899-1901, Krehbiel became a member of the business firm, The Herald Publishing Co., Newton, Kansas, serving in the editorial and business offices for a period of 20 years. He served as editor of Der Christlicher Bundesbote, 1930-46, and as president of the General Conference of Mennonites for the two trienniums, 1935-41. Krehbiel was also a member of the committee that compiled the Hymnary.

MUSIC. RINGE RECHT. For comments on this tune see Hymn 563.

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. Elvey, see Hymn 118.

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 swinging rhythm when sung at a fairly lively tempo.

NEW YEAR

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 about 30 years. Lahee, a versatile composer, won many prizes for his glees, madrigals, and part songs.

The tune is very effective but too difficult for ordinary congregational singing. It was included in the Hymnary for use by singing groups preparing for special celebrations of New Year.

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:

For comments on Frances R. Havergal see Hymn 126.

MUSIC. CRUCIFIX, of anonymous composition, was taken from the Hymns of the Spirit, Boston: Beacon Press, 1938, where it is used as a second tune to Miss Havergal’s hymn.

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 pass for his.

MUSIC. HOLY CROSS. The source of this tune is not clear. It is ascribed in various hymnals to Thomas Hastings, to Mendelssohn, to John Stainer, and to Mozart. James Love, who was well informed on English hymn tunes, says that it was adapted from an anonymous organ “Andante” which was said to be based on a theme by Mozart. The tune, in 3-4 time, appears in the Methodist Hymnal, 1935, the arrangement credited to James C. Wade, an organist and conductor of choral groups, born in Staffordshire, England, 1847.

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:

Text from Daniel, H. A., Thesaurus hymnologicus, 5 vols.; Lipsiae: 1855-1856, IV, 319.

The translation was made by Francis Pott, M. A., Curate of Ticehurst, Sussex, and one of the editors of Hymns Ancient and Modern, London, 1861. The original form of Pott’s translation appeared first in a hymnal compiled by him, Hymns Fitted to the Order of Common Prayer, etc., London, 1864. It reads as follows:

When the hymn was selected for Hymns Ancient and Modern, the translation was altered into its present form. The last stanza is omitted in the Hymnary. The English and Latin are published in Hymns, Ancient and Modern, Historical Edition, London, Clowes, 1909.

MUSIC. TALLIS, also called “Tallis’ Ordinal,” is from The Whole Psalter translated into English Metre, which contayneth an hundreth and fifty Psalmes, a work by Matthew Parker, Archbishop of Canterbury, printed about 1561. At the end of the book are nine tunes in four parts by Thomas Tallis. This is the last of the nine and is set to the version of Veni Creator Spiritus, which appears in the English Prayer Book Ordinal. The tune was evidently derived by Tallis from a 15th-century English carol tune, “This endris Nyght”—for it is an adaptation to common time of the first two lines of this carol melody.

For comments on Thomas Tallis, see Hymn 33.

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 with his sermons. None of them were published during his life time.

For further comments on Doddridge see Hymn 56.

MUSIC. GERMANY. For this tune see Hymn 222.

WINTER

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.

SPRING

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 new song into my mouth.”

Thomas Hornblower Gill, born in Birmingham, England, was brought up a Unitarian, but, unsatisfied with the Unitarian view of the person of Christ, he withdrew from that church and joined the Evangelical party in the Church of England. One of the major influences leading him to this decision was his study of the hymns of Isaac Watts. He saw “the contrast between their native force and fulness and their shrunken and dwindled presentation in the mutilated version in Unitarian hymnbooks.” Gill published a number of books of poems which R. W. Dale, in compiling a hymnbook for his congregation at Carr’s Lane, Birmingham, found “a very mine of wealth.”

MUSIC. KING’S LANGLEY, “a delightfully gay tune,” is an arrangement of a traditional English May-day carol. It appeared in the English Hymnal of 1906. The arrangement is by Miss L. E. Broadwood, an English lady of considerable musical talent.

SUMMER

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 English organist, serving Trinity Church, Windsor, for 34 years. He succeeded Sir George Elvey as conductor of the Windsor and Eton Choral Society.

AUTUMN

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.

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

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.”

SCHOOLS AND COLLEGES

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 became a prominent member of the Christian Social movement. For a time he was Professor of Pastoral and Liturgical Theology in King’s College, London. An able musician, he wrote many carols and hymns and published a book, The Place of Music in Public Worship. The present hymn appeared in the St. Nicholas Cole Abbey Hymnal Appendix, 1897, and in the Church Monthly, 1898, with music by the author.

MUSIC. ST. LO is a unique melody, constructed on three phrases of three measures each. It is a simple, diatonic tune, moving within the pitch range of a sixth, with the third phrase a repetition of the first. It should be sung in a quiet manner, and is well adapted for unison singing. The tune, an old Breton melody, appeared in School Worship, London, 1926, from whence it was introduced into the Presbyterian Hymnal of 1935 and from thence to the Hymnary.

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:

Lawrence Tuttiett, son of a surgeon in the English Royal Navy, at first intended to follow his father into the medical profession, but, after studying at Christ’s Hospital and King’s College, London, he decided to become a minister. He was ordained in 1848 and devoted his life to the Episcopal Church, ministering in various parishes in England and Scotland. His publications include Hymns for Churchmen, 1854; Hymns for Children of the Church, 1862; and Gems of Thought on the Sunday Services, 1864. The present hymn appeared in the last-named publication.

Music. CANONBURY. For comments on this tune see Hymn 296.

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 College. A student of hymnology, he compiled several hymnals and books of sacred songs.

The hymn is appropriately used for commencement programs at Christian colleges. On such occasions it is often sung to the familiar tune “Azmon” (397).

MUSIC. PATTEN was written for this hymn for use in The Methodist Hymnal, 1905. The composer, Peter C. Lutkin, 1858-1931, the youngest of six children, was born of Danish parents, at Thompsonville, Wis., March 27, 1858. He was only a lad when both his parents died, shortly after the family had moved to Chicago. His ability at the organ and his success as boy soloist at the Protestant Episcopal Cathedral in Chicago opened to him attractive opportunities for the study of music, and he advanced rapidly. After teaching piano at Northwestern University for several years, he left for Europe to study music in Berlin, Paris, and Vienna, returning after four years to Chicago where he held various positions as organist and choirmaster. In 1896, he organized the Northwestern University School of Music and was given the title of “Dean.” An authority in the field of church music and hymnology, Dean Lutkin did much through his teaching and writing to raise the standards of music throughout all the churches.

YOUTH

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 laboring at the oars of a boat without making much headway. She wrote:

If then, quitting the labors at the oars, we humbly believe that God’s Spirit still leads us aright, we shall pass the point of danger and helplessness. Some little act of kindness may be as the upturned sail which that spirit waits to fill, in spite of past and future.

The message of the hymn is for our time. Many in our day labor at the oars, in their own strength, only to find themselves worn and discouraged. Progress comes by lifting the sails and permitting the invisible power of God to carry life forward.

MUSIC. HARDY NORSEMEN is an anonymous Norse melody, the origin of which has not been traced. It is a popular tune among the Dutch Mennonites where it is often sung at their young people’s gatherings.

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 greatly moved by the scene where the dying thief turned to Jesus and said, “Remember me when Thou contest into Thy Kingdom.” “As Anton Lang, playing the part of Christ, said, ‘Today, shalt thou be with me in paradise,’” the author writes, “Immortality suddenly became as real to me as the sunlight at that moment driving the clouds from the mountains, and I knew that nothing, nothing could ever shake my faith in that vision.”

The hymn was written for the tune “Beacon Hill.” The combination of words and tune was adopted as one of the school songs of Boston University School of Theology, whose students have carried it all over the world. It was incorporated into the Methodist Hymnal of 1935, from whence it came into the Hymnary.

Earl Bowman Marlatt, son of a Methodist minister, was born at Columbus, Indiana. He graduated from De Pauw University and then studied at Boston University, Harvard, Oxford, and the University of Berlin, becoming Professor of Philosophy at Boston University in 1923 and later Professor of Religious Education in that institution.

MUSIC. BEACON HILL received its name from Beacon Hill, Boston, where Marlatt resided when he wrote the words for this tune. The composer, Harry Silvernale Mason, born in 1881, was a student at Boston University when he wrote the tune. He is now serving as instructor in Fine Arts in Religion at Auburn Theological Seminary, Auburn, N. Y.

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:

It was written by an Englishwoman, Marianne Hearn (nom de plume, Marianne Farningham), who, in early life, was a teacher in the primary schools, and later became a successful writer of articles for various periodicals, including The Christian Herald, published by James Clarke and Co. For a time she edited the London Sunday School Times. Miss Hearn published a half dozen or more volumes of poetry and an autobiography, A Working Woman’s Life.

MUSIC. JUST AS I AM. For comments on the composer, Joseph Barnby, see Hymn 21.

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 Sunday school teacher for 27 years. While visiting a poor chimney sweeper, he contracted small pox and died of that disease. He published several volumes of religious works, including One Hundred Original Hymns for the Young, 1850, in which the present hymn is found.

MUSIC. LILLE is an old French melody, the origin of which has not been traced.

(Correction: second last soprano note in the first score should be on B, not A as in the earlier editions of the Hymnary.)

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 appeared in a popular Sunday school book, Oriola, published in 1859 by W. B. Bradbury.

For comments on the composer, W. B. Bradbury, see Hymn 103.

396. O Son of man, our hero