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 Catholic, had reference to the Roman Catholic faith. The author, an Englishman, wrote one verse as follows:
Faith of our fathers! Mary’s prayers
Shall win our country back to Thee!
And through the truth that comes from God
England indeed shall then be free.
The lines have been adapted for Protestant services to read:
Faith of our fathers! God’s great power
Shall soon all nations win for thee;
And through the truth that comes from God
Mankind shall then be truly free.
The stanza, somewhat over-optimistic, is omitted from the Hymnary.
For comments on the author, F. W. Faber, see Hymn 44.
MUSIC. ST. CATHERINE is of English origin. The composer, Henry F. Hemy, 1818-88, was organist at St. Andrew’s Roman Catholic Church in Newcastle-upon-Tyne, and a teacher of piano and singing. He wrote this tune for another hymn and published it in his Crown of Jesus Music, 1864, a popular book in Catholic churches in England. The refrain was added in an arrangement by James G. Walton, 1821-1905.
“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 the wide, wide wilderness.” Its beauty has charmed many others who are familiar with the Latin. The original poem has fifty quatrains, of which our hymn is a selection of the following five:
Iesus dulcis memoria,
Dans vera cordis gaudia;
Sed super mel et omnia
Dulcis eius praesentia.
Nil canitur suavius,
Auditur nil iucundius,
Nil cogitatur dulcius,
Quam Iesus, Dei Filius.
Iesu, spes paenitentibus,
Quem pius es pententibus,
Quam bonus te quaerentibus!
Sed quid invenientibus.
Nec lingua potest dicere,
Nec littera exprimere;
Experto potes credere,
Quid sit Iesum diligere.
Tu esto nostrum gaudium,
Qui es futurus praemium;
Sit nostra in te gloria
Per cuncta semper saecula.
It is usually attributed to Bernard of Clairvaux (See 539), but many authorities now question the authorship. Percy Dearmer says in Songs of Praise Discussed that “it is not by St. Bernard.... St. Bernard of Clairvaux was born 1091 and the poem itself has been found in a manuscript of the 11th century.” In further commenting on the authorship he says, “We really know nothing and are not likely to know.”
The translation here is by Edward Caswall.
For comments on Caswall see Hymn 19.
A translation of a different cento of the same hymn, by Ray Palmer, is found at No. 171.
MUSIC. ST. AGNES was written for this hymn in A Hymnal for Use in the English Church, 1866, edited by Rev. J. Grey. In England it is called “St. Agnes, Durham,” to distinguish it from the tune, “Langran” (303) which is known in England as “St. Agnes.”
For comments on the composer, John B. Dykes, see Hymn 1.
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 hymns. It is also effective for antiphonal singing.
Arthur Henry Messiter, 1834-1916, born in Somersetshire, England, began the serious study of music at the age of 17. Coming to America in 1863, he sang for a time in the volunteer choir of Trinity Church, New York City. Three years later this famous church appointed him their director of music and organist, a position he held with distinction for 31 years. He is the author of several notable books on music and editor of Episcopal Hymnal of 1893.
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 in mein Inn’res du dich ergiess’,
Dass ich dich, wie ich wünsche geniess.
O, wie schmeckst du dem Herzen so süss!
Seit mir mein Jesus Frieden geschenkt,
Hat sich mein Alles in Ihn versenkt;
Ach, wie war’s Ihm am Kreuze so bang!
O, wie Ihn dort die Liebe so drang!
Frieden zu spenden, Er für mich rang.
Jesu, verklär Dich in mir noch mehr,
Dass solchen Frieden ferner nichts stör’;
Wie ja ein Vater Gutes gern giebt,
Schenkst Du auch Deinem Kind, das Dich liebt;
Frieden, den keine Wolke mehr trübt.
Nimm Du allein das Herze uns ein,
Dass wir recht mild und sanftmüthig sein,
Dass uns’re Seelen, Dir nur geweiht,
Ruhen in Deinem Blut allezeit;
Friede versüsst uns dann Kreuz und Leid.
Gieb Deinen Frieden immer mir so,
Dass ich in Leid bleib’ ruhig und froh,
Und wenn auch höher steiget die Noth,
Ja, wenn zuletzt mir nahet der Tod,
Lass mich im Frieden eilen zu Gott.
This free translation, specially made for the Hymnary, is by Mrs. Amanda Hostettler, Upland, California, whose father, John Hirschler, was a prominent minister in the General Conference of Mennonites. A few changes in her work were made by E. Shippen Barnes.
For comments on Barnes see Hymn 48.
MUSIC. SELIGER FRIEDE, named after the initial words of the German text, appeared anonymously in the Gesangbuch mit Noten. Its quiet, pensive phrases are well adapted to the sentiment of the words.
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 hymnals, reads:
Wilt Thou not regard my call?
Wilt Thou not accept my prayer?
Lo, I sink, I faint, I fall,
Lo, on Thee I cast my care.
Reach me out Thy gracious hand,
While I of Thy strength receive,
Hoping against hope I stand,
Dying, and behold, I live.
The simplicity and literacy art of the hymn are unsurpassed. Of the 188 words in the four stanzas of the hymn generally used, all but 31 are monosyllables. The hymn has been translated into virtually every language and uncounted millions have found it a source of help in time of need. Henry Ward Beecher once said: “I would rather have written that hymn than to have the fame of all the kings that ever sat upon the earth.”
In the annotated edition of the Book of Common Praise, 1909, the following story is given:
A party of Northern tourists were on the deck of an excursion steamer, on the Potomac, one summer evening in 1881. One of the party, who had a remarkable voice, began to sing hymns to the others. When he had sung two verses of “Jesu, lover of my soul,” a stranger made his way from the outskirts of the crowd: “Beg your pardon, sir, but were you actively engaged in the late war?” “Yes, sir, I fought under General Grant.” “Well,” the first speaker continued, “I did my fighting on the other side, and I think I was very near you one bright night eighteen years ago this month. It was much such a night as this. If I am not mistaken, you were on guard-duty. We of the South had sharp business on hand. I crept near your post of duty, my weapon in my hand; the shadows hid me. Your beat led you into the clear light. As you paced back and forth you were singing that same hymn. I raised my gun and aimed at your heart—and I had been selected for the work because I was a sure shot. Then out upon the night floated the words:
Cover my defenceless head
With the shadow of thy wing.
Your prayer was answered. I couldn’t fire after that. And there was no attack made upon your camp that night. I felt sure, when I heard you singing this evening, that you were the man whose life I was spared from taking.” The singer grasped the hand of the Southerner and said: “I remember the night very well, and the feeling of depression with which I went forth to my duty. I knew the post was one of great danger. I paced my lonely beat, thinking of home and friends and all that life holds dear. Then the thought of God’s care came to me with peculiar force, and I sang the prayer of my heart and ceased to feel alone. How the prayer was answered I never knew until this evening.”
For comments on Wesley see Hymn 6.
MUSIC. MARTYN. The composer of this tune, Simeon B. Marsh, 1798-1875, spent many years teaching singing classes in and near Albany, N. Y., travelling constantly on horseback from town to town through Albany Presbytery. It was while enroute on his weekly circuit, one day during the autumn of 1834, that the melody took form. He alighted from his horse and wrote the music which he set to a hymn by John Newton, “Mary to her Saviour’s tomb.” Thomas Hastings later set the tune to “Jesus, Lover of my soul,” a combination now deeply imbedded in the affections of the American Church.
MUSIC. HOLLINGSIDE (159) is the tune composed by John B. Dykes, 1823-76, especially for this hymn. The tune has more of musical interest than the better known “Martyn,” and many hymnals give it first place for use with this hymn. Dykes was always particular about the naming of his tunes, often some incident in his life supplying the name. “Hollingside” was the name of the cottage he lived in, while precentor at Durham, when he wrote this. Regarding its composition, one of his sisters wrote:
Some scenes during that visit will live forever in my memory. As, for instance, one calm Sunday evening, when I sat in the verandah in the deepening twilight and heard, through the open window, my brother composing and playing over the tune “Hollingside,” to the words “Jesu, Lover of my soul.”
For comments on Dykes see Hymn 1.
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,
Nad oes ynof nerth na bywyd,
Fel yn gorwedd yn y bedd:
Hollalluog
Ydyw’r un a’m cwyd i’r lan.
Agor y ffynnonau melus
Sydd yn tarddu o’r Graig i maes;
’Rhyd yr anial mawr canlyned
Afon iachawdwriaeth grâs:
Rho imi hyny;
Dim i mi ond dy fwynhau.
Ymddiriedaf yn dy allu,
Mawr yw’r gwaith a wnest erioed:
Ti gest angau, ti gest uffern,
Ti gest Satan dan dy droed:
Pen Calfaria,
Nac aed hwnw byth o’m cof.
William Williams was the chief hymn writer of Wales and one of her greatest poets. He at first was in training for the medical profession but after attending some revival services, decided to become a minister. On account of his evangelical views (and his interest in evangelistic work), he came in conflict with church dignitaries, resulting in his withdrawal from the Established Church, and throwing himself into evangelistic work. His preaching itineraries took him throughout Wales. He travelled an average of 3,000 miles per year for 50 years. He wrote many hymns, stirring the nation, influencing its character, and deepening its faith. Williams was to Wales what Paul Gerhardt was to Germany and Isaac Watts to England.
MUSIC. DISMISSAL was composed for the hymn “Lord, dismiss us with Thy blessing” (45).
The composer, William Letton Viner, 1790-1867, was a student of Charles Wesley, Jr. He was organist at St. Michael’s Church, Bath, for 18 years and at St. Mary’s Penzance for 21 years. In 1859, he came to the United States. He composed organ and church music and songs, and edited several hymnals.
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 write a special hymn for the occasion, brought instead, “Jesus Savior, pilot me,” not aware that the hymn had already been published in several church hymnals. The public learned then for the first time the real authorship of the hymn. The original has six stanzas, this being a selection of 1, 5, and 6.
Edward Hopper was born in New York City. He graduated from New York University and then prepared himself at Union Theological Seminary, New York, for the Presbyterian ministry. For many years he was pastor of the Church of the Sea and Land in New York, which sailors attended in large numbers.
MUSIC. PILOT, universally sung and beautifully adapted to these words, was written just before the composer sailed for Europe a short while before his death. He played the tune on the piano the night before he embarked on shipboard for his last earthly voyage.
For further comments on the composer, John E. Gould, see Hymn 141.
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 wide popularity, for it expresses the universal longing for divine help in time of deep depression. The meaning of “kindly light” was never explained by the author. To some it represents the Inward Light of conscience; to others just the divine guidance; but to most people it doubtless means Christ as the Light of the World.
John Henry Newman was born in London, the son of a banker. His parents were devout nonconformists and brought up their son in the evangelical faith. After a distinguished career at Trinity College, Oxford, Newman was ordained in the Church of England, and became the vicar of the Oxford University Church, a post he filled with distinction from 1828 to 1843. His charm of personality and pulpit eloquence made him a profound influence at the University. Newman became a leader in the Oxford Movement and finally, in 1845, after a period of much hesitation, he left Anglicanism to unite with the Roman Catholic Church. His Apologia pro Vita Sua, a masterpiece of autobiography, constitutes a powerful defense of the Roman system of belief. In 1879, after some years of neglect by the church, he was made a cardinal. His fine Christian character, and spiritual force, as well as his literary ability, were universally recognized. Newman was a great Englishman and a great saint though referred to by some writers as an “angel who lost his way.”
MUSIC. LUX BENIGNA was written for these words by J. B. Dykes. Dykes told a friend that the tune came to him while walking through the Strand in London. The tune is also known as “St. Oswald.”
A friend visiting Cardinal Newman said to him of “Lead, Kindly Light”: “It must be a great pleasure to you to know that you have written a hymn treasured wherever English speaking Christians are to be found: and where are they not found?” To which Newman, after thoughtful silence, replied: “Yes, deeply thankful, and more than thankful: but you see it is not the hymn, but the tune, that has gained the popularity! The tune is Dykes’, and Dr. Dykes was a great master.”
For comments on J. B. Dykes see Hymn 1.
SANDON was also written for this hymn. It appeared in The Church and Home Metrical Psalter and Hymnal, 1860, edited by Purday himself. It is simpler in form than LUX BENIGNA and is an effective and desirable alternative tune.
Charles Purday, 1799-1885, the composer, was at one time a noted singer in London. He became a publisher of music and was a popular lecturer on musical subjects.
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. Burleigh belonged to a distinguished group of Unitarians who have contributed to American hymnody. His wife, Celia Burleigh, was for some time minister of the Unitarian Church at Brooklyn, Conn., and wrote the Life of her husband.
MUSIC. LONGWOOD was composed for John Ellerton’s hymn, “Savior, again to thy dear name we raise” (43).
For comments on the composer, Joseph Barnby, see Hymn 21.
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.
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 are well expressed in his own words:
The world order in which war is inherent, the church exists to transform. When it supports the method of war, an end-product of the unredeemed world order, the church is not only proclaiming its own failure, but is hauling down its own flag and hoisting instead the flag of the world.
MUSIC. MORWELLHAM was composed by Charles Steggall, 1826-1905, an English musician who was educated at the Royal Academy of Music in London and then for half a century was chief professor of the organ in the same institution. He is said to have trained more organists than any teacher in England. Steggall was an enthusiast for the music of Bach and served as honorary secretary of the Bach Society. He composed anthems and church music and had a lifelong interest in hymnology. He succeeded W. H. Monk as musical editor of Hymns Ancient and Modern.
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 production, the details of which need not be enumerated here. Ours is the Scottish version found in the Scottish Paraphrases, 1781. In Scotland it is the best-loved of the paraphrases as “The Lord’s My Shepherd” is the best-loved of the psalms.
For comments on Philip Doddridge see Hymn 56.
MUSIC. SALZBURG is an adaptation of an air in a movement of a Mass composed by J. M. Haydn “for the use of country choirs.” It was originally in 6-8 time. An entirely different tune by the same name is found at Hymn 545.
For comments on Johann Michael Haydn see Hymn 7.
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.
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 over twenty years master of the Choristers’ School at Winchester College.
MUSIC. MELITA was written for this hymn. For comments on the composer, J. B. Dykes, see Hymn 1.
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,
Der du in deiner Seelen
So hoch mich liebst, dass ich es nicht
Aussprechen kann noch zählen:
Gib, dass mein Herz dich wiederum
Mit Lieben und Verlangen
Mög’ umfangen
Und als dein Eigentum
Nur einzig an dir hangen!
Gib, dass sonst nichts in meiner Seel’
Als deine Liebe wohne;
Gib, dass ich deine Lieb’ erwähl’
Als meinen Schatz und Krone!
Stoss alles aus, nimm alles hin,
Was dich und mich will trennen
Und nicht gönnen,
Dass all mein Mut und Sinn
In deiner Liebe brennen!
Wie freundlich, selig, süss und schön
Ist, Jesu, deine Liebe!
Wo diese steht, kann nichts bestehn,
Das meinen Geist betrübe;
Drum lass nichts andres denken mich,
Nichts sehen, fühlen, hören,
Lieben, ehren
Als deine Lieb’ und dich,
Der du sie kannst vermehren!
The prayer for the realization of the love of Christ was answered abundantly in Wesley’s own life. In his Plain Account of Christian Perfection, he wrote:
In the beginning of the year 1738, as I was returning from Savannah, the cry of my heart was
“O grant that nothing in my soul
May dwell but Thy pure love alone.”
On May 24 of the same year, in the Society Meeting in Aldersgate Street, about a quarter before nine, during the reading of Luther’s Preface to the Epistle to the Romans, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for Salvation; and an assurance was given me that He had taken away my sins, even mine, and saved me from the law of sin and death.
Wesley became interested in the German chorales through his contact with the Moravians. In 1735, he and his brother Charles Wesley set sail for Georgia. Among their fellow passengers on the boat were 26 Moravians who made much of the singing of hymns and seemed to meet every storm and trial with unfaltering faith. Wesley was so impressed that on the third day out he began the study of German and soon joined in the daily worship of the Moravians. The fervor and spontaneity of their singing made an indelible impression on his mind. He later translated a number of chorales into English. (See 246, 508, 558.)
For comments on Paul Gerhardt see Hymn 134.
MUSIC. STELLA. For comments on this tune see Hymn 94.
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 sitiunt:
Desiderare nesciunt
Nisi Jesum, quem diligunt.
Quoconque loco fuero,
Mecum Jesum desidero;
Quam laetus, cum invenero!
Quam felix, cum tenuero!
Mane nobiscum, Domine,
Et nos illustra lumine,
Pulsa mentis caligine,
Mundum replens dulcedine.
For comments on the translator, Ray Palmer, see Hymn 131.
MUSIC. QUEBEC. This tune by Henry Baker was originally set to the hymn, “Sun of my soul.” It is also called “Hesperus” and “Whitburn.”
Henry Baker (not to be confused with Henry W. Baker), 1835-1910, son of Rev. James Baker, was educated as a civil engineer and spent many years in his profession on railroad work in India. He loved music, and, encouraged by John B. Dykes, proceeded in 1867 to his musical degree (Mus. Bac.) at Exeter College, Oxford.
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 Holmes, a Congregational minister. He graduated from Harvard in 1829, studied medicine at home and abroad, and became Professor of Anatomy and Physiology at Dartmouth in 1838. He was elected to the same chair at Harvard in 1847, a position he filled with distinction for 35 years. During all his years of teaching he was also engaged in literary work and published many volumes. Holmes was chief founder of the Atlantic Monthly. He was a member of the Unitarian Church though in later years he fell back for spiritual comfort on the great evangelical hymns of Watts and Wesley, finding in them a source of satisfaction and power which the hymns of his own denomination failed to supply. His son, Oliver Wendell, Jr., became an eminent member of the Supreme Court of the United States.
For further comments on Holmes see Hymn 53.
MUSIC. QUEBEC. For comments on this tune see Hymn 171.
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 Garrison. He became editor of the American Manufacturer in 1828, and of the New England Review in 1830. In 1836 he became the secretary of the American Anti-Slavery Society and editor of its official organ, the Freeman. Whittier was a staunch advocate of the freedom of slaves, and as a Quaker, he was just as strongly opposed to war. His poems are characterized by wide sympathy and a fervent love for God and man. Though a staunch Quaker, wearing the distinctive garb and using the Quaker mode of speech all his life, there was no narrow sectarianism in his heart. A letter written to friends in Whittier, California, a city named after the poet, for the dedication of the Protestant Episcopal Church at that place, illustrates his large-hearted religious views:
I see the good in all denominations, and hope that all will be represented in the settlement; ... diligent in business and serving the Lord, not wasting strength and vitality in spasmodic emotions, not relying on creed and dogma, but upon faithful obedience to the voice of God in the soul. I see your town is spoken of as an orthodox Quaker colony. I hope there will be no sectarian fence about “Whittier,” but that good men, irrespective of their creeds, will find a home there. Nothing would be worse for it than to have the idea get abroad that anything like intolerance and self-righteousness was its foundation. I am gratified to know that the people of the town which bears my name will remember me on my birthday. I watch its growth with great interest. It has the reputation among all who have seen it that it occupies one of the loveliest sites in California, and that in a moral and religious and educational point of view it need
Fear not the skeptic’s puny hand
While near the school the church will stand;
Nor fear the blinded bigot’s rule
While near the church shall stand the school.
MUSIC. SERENITY is taken from a larger work entitled, Waft ye winds. Though the tune is named “Serenity,” the composer’s life was anything but serene; he was the world’s most restless and most picturesque composer. William Vincent Wallace, 1812-65, son of an Irish bandmaster, became a brilliant violinist. He loved adventure and travel and made successful concert tours to Australia, the South Sea Islands, India, South America, Mexico, the United States, and elsewhere. Wallace spent 14 years in Germany composing piano music chiefly, but also writing a number of operas. On account of failing health, he abandoned writing, and went to New York where he lost all his fortune through the failure of a piano factory. Undiscouraged by this disaster, he once more resumed his career as composer, returned to London, and then on doctor’s orders went to the Pyrenees where he died at the age of 51.
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 proved to be a model parish priest, and later was appointed Bishop of Lincoln. Among his writings are a Commentary on the Bible, and a book of devotional poetry, The Holy Year, prepared for use in public worship.
MUSIC. CAPETOWN is an adaptation of a melody in “Vierstimmiges Choralbuch herausgegeben von Dr. F. Filitz,” Berlin, 1847. It was originally set to the hymn, “Morgenglanz der Ewigkeit” (554).
The composer, Friedrich Filitz, 1804-76, was a musician and editor of German chorale books. He spent all his life in Munich except the years 1843-47 in Berlin.
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 manse of Innellan, on the evening of June 6, 1882. I was at that time alone. It was the day of my sister’s marriage, and the rest of the family were staying over night in Glasgow. Something had happened to me, which was known only to myself, and which caused me the most severe mental suffering. The hymn was the fruit of that suffering. It was the quickest bit of work I ever did in my life. I had the impression rather of having it dictated to me by some inward voice than of working it out myself. I am quite sure that the whole work was completed in five minutes, and equally sure that it never received at my hands any retouching or correction. The Hymnal Committee of the Church of Scotland desired the change of one word. I had written originally “I climb the rainbow in the rain.” They objected to the word “climb” and I put in “trace.”
George W. Matheson, son of a wealthy merchant in Glasgow, was an able and greatly honored minister in the Presbyterian Church of Scotland. He was educated at Glasgow University and licensed to preach when 24 years old. During his University course, and all the rest of his life, he had to depend on the eyesight of others, which makes his accomplishments all the more remarkable. He was a brilliant student and became a distinguished preacher and pastor. At St. Bernard’s Church, Edinburgh, he served a membership of over 2,000, never neglecting his duties of pastoral calling in which he was invariably accompanied by his devoted sister. He was a scholar of distinction and was the author of 25 books, including such well-known works as Representative Men of the Bible, Representative Women of the Bible, The Spiritual Development of St. Paul, and a book of Sacred Songs. Of the many hymns he wrote, several have been used in hymn books but only this one has gained universal popularity.