Handbook to the Mennonite Hymnary

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.

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.

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 10:37, “He that loveth father or mother more than me is not worthy of me,” she decided to leave home and did so, mailing a letter in the neighboring village to her parents explaining her intention to go to Herrnhag to join the Moravian colony at that place. However, she was detained at Frankfurt and returned to her home. Her parents now granted her wish to join the Moravians and the rest of her life was spent as a useful and influential member of the Brotherhood, first at Herrnhag and later at Herrnhut, where she received spiritual instruction from Zinzendorf himself. On August 8, 1776, she wrote “Weil ich Jesu Schäflein bin,” a poem of seven stanzas, in honor of Sister Christine Petersen’s thirty-sixth birthday. Our hymn is a selection of three stanzas from this poem.

The German version of the poem is as follows:

No information concerning the translator, William F. Stevenson, has been traced.

MUSIC. WEIL ICH JESU SCHÄFLEIN BIN is a popular melody, from the Gesangbuch mit Noten where it appears anonymously. It also appears with the same words and translation in the United Lutheran Common Service Book, 1918, where the tune is credited to Dölker’s Geistliche Lieder, 1876.

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. Rheinhardt, Munich, 1922.

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.

433. From yon distant heaven

A popular song for children which appeared originally in the author’s Noch 50 Fabeln für Kinder, nebst einem ernsthaften Anhang, 1857.

Wilhelm Hey was born in Laucha, near Gotha, where he later became minister of the local parish. He received his education at Jena and Göttingen Universities and became a well-known writer, minister, and teacher. His stories for children and young people were widely read. As a minister he was especially helpful to the poor and sick in the parishes he served, and took much interest in the distribution of Bibles where needed.

The translation was made by John R. Thierstein, Ph.D., Professor of German and French, Bethel College, North Newton, Kansas. Dr. Thierstein was born in Bowil, Bern, Switzerland. In addition to his work as college professor, he served the church for a time as editor of The Mennonite, and at the time of his death he was chairman of the Board of Publications of the General Conference of Mennonites, a position he held for some years. In the latter capacity it became his duty to see the Mennonite Hymnary, 1940, through the press, a responsibility he discharged with efficiency and enthusiasm.

MUSIC. AUS DEM HIMMEL FERNE. For comments on this tune see Hymn 421.

434. Lo! the heavens are breaking

A spring song, setting forth the love and goodness of God.

Both words and melody are anonymous.

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.

MISSIONS

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:

Percy Dearmer, prominent figure in the Church of England, was educated at Oxford, served important posts as minister, and in 1919 became Professor of Ecclesiastical Art in King’s College, London. He was editor of two epoch-making hymn books in England—The English Hymnal and Songs of Praise—and wrote an unexcelled handbook to the latter, entitled Songs of Praise Discussed. He is the author of a number of religious books.

MUSIC. EINTRACHT is a melody from the Gesangbuch mit Noten, arranged for unison or two-part singing by Prof. W. H. Hohmann, head of the Music Department of Bethel College.

Walter H. Hohmann, born at Halstead, Kansas, received his education at Bethel College and Bush Conservatory of Music, Chicago, the latter granting him the degree of Bachelor of Music in 1922, and Master of Music in 1928. After teaching several years at Freeman Junior College, and one year at Nebraska State Teachers College, he joined the Bethel College faculty in 1923. In recognition of his long years of service, Bethel College gave him the honorary degree of Doctor of Music, in 1947. He has composed a number of songs and served as co-editor of the Mennonite Hymnary, 1940. He is the author of a booklet, Outlines in Hymnology with Emphasis on Mennonite Hymnology, 1941.

BOOK III
Gospel Songs

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 that up to become the minister of the Prospect Street Presbyterian Church, Hull, England. He came to an untimely death through an accident. Seventeen of his hymns appeared in W. Reid’s Praise Book, 1872. Among these was the present hymn, the author’s most widely known work.

MUSIC. REVIVE US AGAIN is well suited to the text, though it is also used with Horatio Bonar’s hymn:

The composer, John Jenkins Husband, 1760-1825, born in Plymouth, England, was clerk at Surrey Chapel. In 1809, he came to the United States and settled in Philadelphia, where he taught music and served as clerk of St. Paul’s Protestant Episcopal Church. Husband is the composer, also, of several anthems.

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.

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 for a time and then became president of Lebanon Valley College, a post he was compelled to resign on account of illness. Regaining his health, he went into the publishing business. He prepared The Church Hymnal for the United Brethren in Christ in 1935. His publications include Practical Church Music, The Singing Church, 1937, and other volumes on sacred music.

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 being that the child may “be made a faithful, honored and zealous minister of the everlasting gospel.” The son was given many educational advantages and made good use of them. He was admitted to college at 14 and graduated from Princeton Theological Seminary when only 20 years of age. After serving for a year as chaplain to the seamen in the port of Savannah, he returned north to accept the pastorate of a Dutch Reformed Church and later served churches in Philadelphia, Brooklyn, and elsewhere. A man of fine literary taste and good scholarship, he was offered, but declined, the Provostship of the University of Pennsylvania and the Chancellorship of New York University. He preferred to be a preacher of the Gospel. To his son and sons-in-law, he gave this dying charge: “My sons, preach the Gospel. Tell dying sinners of a Saviour. All the rest is but folly.” He went to Florence, Italy, for his health and died there on a Sunday night after having preached in the Scottish Church in the morning on the text, “Be of good cheer: thy sins be forgiven thee.” The following poem, found in his portfolio, was written on the Saturday before his death:

His body was brought to New York for burial. Among the directions he had left for his funeral was this: “Sing my own hymn, ‘It is not death to die,’ to a cheerful tune.” The request was carried out. The hymn referred to is a translation he had made of a poem by the distinguished Swiss preacher, César Malan.

MUSIC. SWEETEST NAME. The name of the tune is obviously derived from the words for which it was composed. For comments on the composer, Wm. B. Bradbury, see Hymn 103.

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 Hymn 261.

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 early advantages for the development of his musical talents but he made the most of them and became one of the greatest leaders and writers of evangelistic songs. Combining the gift of poet and musician, he succeeded in putting gospel truths in poetic and singable form, usually writing both words and music. In his early career he conducted musical conventions throughout the Middle West, served as director of music for the First Congregational Church in Chicago, and was connected with the music publishing house of Root and Cady in Chicago. Through the influence of D. L. Moody, he gave up his business and professional pursuits and entered the evangelistic field. He assisted Sankey in the editing of the series called Gospel Hymns, in which some of his own celebrated hymns and songs first appeared. His rare gifts as a singer and leader, combined with an impressive personality, made him one of the outstanding leaders in the evangelistic movement. His life came to an early and tragic end December 29, 1876, in a railroad disaster near Ashtabula, Ohio, while he and Mrs. Bliss were returning to Chicago from Rome, Pa., where the two had spent Christmas. A railroad bridge gave way, resulting in a wreck which took the lives of one hundred passengers. Bliss had escaped unhurt, but going back to rescue his wife, he was evidently overcome by the flames which had spread and was not seen again. His premature death at the age of 38 was widely lamented.

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 books by the hundreds of thousands. Lowry had no serious training in music and did not take up composition until middle life. He was concerned mostly with the production of music which was popularly effective.

Watts’ hymn appears in many hymn books with the more dignified tune, “St. Thomas,” by Williams (No. 269).

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 Hymnary of the United Church of Canada. No information regarding the composer or the origin of the hymn has been traced.

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 brethren. Small was interested in hymnology and is the author of a number of hymns and poems.

MUSIC. FRIEND. The tune was written by Stebbins while he and Dr. Pentecost were conducting an evangelistic campaign in Providence, R. I. It was first published in Gospel Hymns No. 3, one of a series of popular books with which the composer’s name was associated as co-editor.

For comments on George Stebbins see Hymn 38.

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.

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:

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, 1817, a collection compiled by her brother, Rev. John Nunn, who also contributed some of his own hymns to the same volume.

MUSIC. CARITAS. No information has been traced concerning Richard W. Beaty, 1799-1883, composer of the tune. The editors of the Hymnary found the tune and words in the Hymnary of the United Church of Canada.

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,” replied the pilot. “Where are the lower lights?” “Gone out, sir.” “Can you make the harbor?” “We must, or perish, sir!” With a strong hand and a brave heart the old pilot turned the wheel. But, alas, in the darkness he missed the channel, and with a crash upon the rocks the boat was shivered, and many a life lost in a watery grave. Brethren, the Master will take care of the great lighthouse; let us keep the lower lights burning.

MUSIC. LOWER LIGHTS. There is awakening power in the tune and congregations love to sing it. It is especially effective when sung by a large number of voices. The chorus lends itself to interesting antiphonal effects in a special song service. Let the whole congregation sing the first phrase, a smaller group the second; the whole congregation again the third phrase, and the smaller group the last.

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

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.

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 Infantry and served for the duration, going with Sherman, as a lieutenant, on his “March to the Sea.” At the close of the war he was promoted to the rank of major. He was the treasurer of a business firm, when, in 1873, he heeded the call of God to enter the evangelistic field where he became associated with D. L. Moody. He was a powerful speaker and lecturer; and frequently, with the assistance of singers like P. P. Bliss, James McGranahan, and George Stebbins, continued evangelistic campaigns begun by Moody, under the latter’s direction. Whittle was a great friend of children and knew how to put evangelical truth in words they understood, supplementing his talks with wall maps, illustrations, and chemical experiments. His daughter, Mary, became the wife of Will L. Moody, son of the evangelist. He was a member of the Congregational Church. His hymns, written after 1877, mostly for McGranahan, reveal true poetic talent, though he made no claim to be a poet. Among his best known hymns are: “I know whom I have believed,” “Dying with Jesus,” “Moment by moment,” “Fierce and wild.” The latter was translated into German by Ernst Gebhardt, translator of “Ich weiss einen Strom.”

MUSIC. The tune is by James W. McGranahan, 1840-1907, who succeeded the lamented P. P. Bliss as song leader in the evangelistic campaigns conducted by Major Whittle. Between 1881 and 1885, Whittle and McGranahan made two successful tours of England, Scotland, and Ireland, and the chief cities of America. McGranahan, born at Adamsville, Pa., received only an elementary-school education. His native musical talent and some assistance from men like Bassini, Webb, Root, and Zerrahn enabled him to make rapid progress in music; and he soon taught music classes of his own. He was gifted with a beautiful tenor voice and an impressive personality to add to his power as a song leader.

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.

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 song, “Where is my wandering boy tonight,” and wrote the tune to “I need Thee every hour,” and edited many successful Sunday school and evangelistic hymn books.

For further comments on Lowry see Hymn 187.

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 Christian Church in Indianapolis, and later college pastor at Hiram. Her early poems bear her maiden name, while the later ones (No. 498, for example) are signed “Jessie B. Pounds.” She is the author of 9 books, 50 librettos for cantatas and operettas, and nearly 400 hymns. Her best known song poems are “Anywhere with Jesus, I can safely go,” “The way of the Cross leads home,” “Beautiful Isle of Somewhere,” and the present, “I know that my Redeemer liveth.” The latter appeared first in an Easter cantata entitled, Hope’s Messenger.

MUSIC. FILLMORE was composed by James H. Fillmore who was born June 1, 1849, in Cincinnati, Ohio, into a musical family. After his father’s death, James headed the Fillmore music publishing business in Cincinnati for many years. His compositions include numerous popular titles: “I am resolved,” “I know that my Redeemer liveth,” “Only waiting,” and many more.

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:

MUSIC. For comments on the composer, John R. Sweney, 1837-99, see Hymn 342.

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.

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 Christian character. “Simplicity, sincerity, humility, and righteousness marked his life.” He once called to inquire of D. L. Moody at a time when the latter lay very ill and visitors were forbidden. Moody insisted that Thompson be admitted and said to him in the course of their brief conversation: “I would rather have written ‘Softly and tenderly Jesus is calling’ than anything I have been able to do in my whole life.”

457. Come, every soul by sin oppressed

An invitation hymn that has been a help and blessing to many. The original refrain:

was changed by Ira Sankey to

In leading this song, Sankey sometimes changed the chorus to

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 preacher. After many years of pastoral and evangelistic work, as a member of the New Jersey Annual Conference, he retired in 1874. He had considerable musical ability and published two gospel song books, Salvation Melodies, 1874, and Precious Songs, 1875. He rendered valuable assistance in the Moody and Sankey meeting held in Philadelphia, after which Sankey wrote him:

I thank my Heavenly Father for enabling you to write so much sweet music, as well as words; and I hope you may long be spared to bless the world with your “precious songs.” I wish you to accept our regards for one whose songs have been blessed to tens of thousands in the lands beyond the seas.

Stockton died suddenly while talking to friends just after having attended the morning service at Arch Street Church, Philadelphia, on March 25, 1877.

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’ Hymn Book, 1836, headed with the text, John 6:37: “All that the Father giveth me shall come to me; and him that cometh to me I shall in no wise cast out.”

The words were written one day when other members of her family were busy arranging for a bazaar to be held for a school banquet. The immediate circumstances are related by Dr. Handley C. G. Moule, Bishop of Durham, as follows:

The night before the bazaar she was kept wakeful by distressing thoughts of her apparent uselessness; and these thoughts passed into a spiritual conflict till she questioned the reality of her whole spiritual life and wondered whether it were anything better, after all, than an illusion of the emotions—an illusion ready to be sorrowfully dispelled. The next day, the busy day of the bazaar, the troubles of the night came back upon her with such force that she felt they must be met and conquered in the grace of God. She gathered up in her soul the grand certainties, not of her emotions, but of her salvation: her Lord, his power, his promise. And taking pen and paper from the table, she deliberately set down in writing for her own comfort the formulae of her faith. So in verse she restated to herself the gospel of pardon, peace, and heaven. As the day wore on, her sister-in-law, Mrs. H. V. Elliott, came in to see her and bring news of the work. She read the hymn and asked (she well might) for a copy. So it first stole out from that quiet room into the world, where now for sixty years it has been sowing and reaping till a multitude which only God can number have been blessed through its message.

Though a helpless invalid, Miss Elliott probably did more that day for her Lord and the upbuilding of His Kingdom than the rest of the family, all strong in body.

The hymn was sent to Dora Wordsworth, daughter of the poet, while she was on her death bed. Her husband, Edward Quillinan, has written of the incident in a letter to Miss Elliott, dated July 28, 1847. He tells of Dora’s appreciation of the hymn and her continual use of it during her last days on earth.

After Miss Elliott died, more than a thousand letters, thanking her for this hymn, were found.

For further comments on Charlotte Elliott see Hymn 233.

A translation of this hymn has had wide use in Germany where it is sung to the tune, “Jesus, meine Zuversicht.”