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FROM-THE-  LIBRARY-OF 
TRINITYCOLLEGETORDNTO 


| 

I  ' 


* 
ANGLICAN   HYMNOLOGY 


Sngltcan 


BEING  AN  ACCOUNT  OF   THE   325   STANDARD  HYMNS 

OF    THE   HIGHEST  MERIT  ACCORDING    TO 

THE    VERDICT   OF   THE    WHOLE 

.  ANGLICAN  CHURCH 


-* 

BY 


REV.  JAMES  KING,  M.A, 

AUTHORISED  LECTURER  TO  'THE  PALESTINE  EXPLORATION  FUND' 
VICAR  OF  ST.  MARY'S,  BERWICK-UPON-TWEED 


LONDON 
HATCHARDS,    PICCADILLY 

1885 


lEtitnburgf)  SSmbergttg 

THOMAS  AND  ARCHIBALD  CONSTABLE,  PRINTERS  TO  HER  MAJESTY. 


120349 

DFP       o  IOQC 


CONTENTS. 

PAGE 

INTRODUCTION,     .  .....          v 

LIST  OF  HYMNALS  COLLATED,      ....      xiii 

CHAPTER   I. 
HISTORY  OF  ANCIENT  AND  MEDIAEVAL  HYMNOLOGY,  i 

CHAPTER  II. 

FIRST  RANK  HYMNS  :  INDEX,  SUMMARY,  AND  ACCOUNT 

OF  EACH  HYMN,      .....        41 

CHAPTER   III. 

SECOND  RANK  HYMNS:  INDEX,  SUMMARY,  AND  ACCOUNT 

OF  EACH  HYMN,      .....      200 

CHAPTER  IV. 

THIRD  RANK  HYMNS  :  INDEX,  SUMMARY,  AND  ACCOUNT 

OF  EACH  HYMN,      .  .  .  .  .       264 

CHAPTER  V. 
GENERAL  SUMMARY  AND  INDEX  OF  STANDARD  HYMNS,  .      305 


INTRODUCTION. 

IN  the  English  language  there  are  about  twenty 
thousand  hymns  and  versions  of  the  Psalms — 
composed  almost  entirely  during  the  last  three 
hundred  years,  by  fifteen  hundred  authors.  The 
greater  number  of  these  hymns  are  poor  when 
judged  by  the  ordinary  laws  of  sacred  poetry, 
and  the  compilers  of  Church  Hymnals  have  no 
easy  task  in  making  judicious  selections  from  the 
vast  stores  of  hymnology.  Many  hymns  of  little 
intrinsic  merit  have  obtained  an  undue  notoriety, 
either  from  some  happy  associations,  or  from  the 
excellent  music  to  which  they  have  been  wedded  ; 
and  considerable  diversity  of  opinion  exists  with 
respect  to  the  relative  merits  of  hymns  in  general. 

If  a  hundred  persons  were  each  to  write  a  list 
of  a  dozen  favourite  hymns,  the  probability  is 
that  no  two  lists  of  the  hundred  would  be  alike  ; 
so  greatly  is  each  individual  influenced  by  natural 
temperament,  education,  and  associations.  Amid 


.*. 

viii  Introduction. 

much  diversity  of  individual  opinion,  however, 
there  is  a  general  agreement  as  to  what  con 
stitutes  real  excellence,  and  the  verdict  of  the 
whole  Church,  could  such  be  determined,  may  be 
accounted  a  safe  guide  in  deciding  the  question 
of  relative  merit.  In  order  to  find  out  the  verdict 
of  the  whole  Anglican  Church,  the  writer  adopted 

I 

the  following  method.  He  collected  and  collated 
with  much  labour  fifty-two  representative  Hymnals 
used  in  the  Church  of  England  at  home  and 
abroad.  These  included  Hymnals  of  the  Scottish 
Episcopal,  American,  and  Colonial  Church  in 
communion  with  the  Anglican.  They  also  in 
due  proportion  represented  the  various  parties  in 
the  Church-^-namely,  the  Ritualistic,  High,  Broad, 
and  Evangelical.  All  the  fifty-two  have,  more 
over,  been  published,  with  one  exception,  within 
the  last  twenty-one  years,  extending  from  1863  to 
1885 — that  is,  during  the  lifetime  of  all  who  have 
now  attained  their  majority,  and  consequently 
they  represent  the  taste  of  the  present  generation. 
By  means  of  these  Hymnals  he  put  to  the  test 
all  hymns  of  acknowledged  merit,  in  order  to  find 
out  those  that  have  received  what  has  been  aptly 
called  '  the  broad  seal  of  approval  of  the  whole 
Anglican  Church.'. 


Introduction.  .      ix 

The  fifty-two  were  regarded  as  a  committee, 
each  member  of  which  could,  as  it  were,  give  one 
vote  for  each  approved  hymn.  Thus,  if  a  hymn 
was  found  in  fifteen  Hymnals,  then  it  was  credited 
with  fifteen  votes*  or  marks  of  approval ;  if  found 
in  twenty  Hymnals,  twenty  marks  ;  if  in  thirty 
Hymnals,  thirty  marks  ;  if  in  fifty  Hymnals,  fifty 
marks  ;  and  so  on. 

For  instance,  taking  a  few  well-known  hymns 
commencing  with  the  letter  A  as  the  initial  letter 
of  the  first  line,  the  question  was  asked — How 
many  of  you  have  '  Abide  with  me,  fast  falls  the 
even-tide '  ?  Forty-nine  answer,  '  I  have/  This 
hymn  was  therefore  credited  with  forty-nine 
marks,  because  it  jvas  found  in  forty-nine  books. 

The  six  best-known  hymns  in  A,  after  being 
duly  tested,  are  found  to  stand  in  the  following 
order  of  merit  :  — 

Order.  Hymns.  Marks. 

1.  All  praise  to  Thee,  my  God,  this  night,  .  51 

2.  Abide  with  me,  fast  falls  the  even-tide,  .  49 

3.  Awake,  my  soul,  and  with  the  sun,        .  .  49 

4.  All  people  that  on  earth  do  dwell,          .  .  44 

5.  All  hail,  the  power  of  Jesus' Name,       .  .  37 

6.  As  with  gladness  men  of  old,         ...  34 

Perhaps  a  dozen  individuals  would  have 
arranged  the  above  hymns  in  a  dozen  different 


x  Introduction. 

ways  ;  but  it  must  be  admitted  that,  as  regards 
authority,  the  verdict  of  fifty-two  representative 
Hymnals  towers  high  above  individual  opinion, 
inasmuch  as  they  represent  the  voice  of  the  whole 
Anglican  Church. 

Two  thousand  of  our  best-known  hymns  have 
thus  been  tested,  and  those  that  have  obtained 
most  marks  have  been  selected  and  classified  on 
the  following  principle  : — 

1.  All  hymns  found  in  thirty  Hymnals  and  upwards  have 

been  classified  as  first  rank  hymns. 

2.  All  hymns  found  in  twenty  Hymnals  and  upwards,  and 

in  fewer  than  thirty,  have  been  classified  as  second 
rank  hymns. 

3.  All  hymns  found  in  fifteen  Hymnals  and  upwards,  and 

in  fewer  than  twenty,  have  been  classified  as  third 
rank  hymns. 

4.  All  hymns  found  in  fewer  than  fifteen  Hymnals  have 

been  regarded  as  not  having  received  the  general 
approval  of  the  Anglican  Church. 

According  to  this  principle  105  hymns  were 
found  to  be  entitled  to  be  placed  in  the  first  rank, 
no  in  the  second  rank,  and  no  in  the  third 
rank ;  making  a  total  of  325  approved  by  the 
voice  of  the  whole  Church  of  England. 

These  325  standard  hymns  have  been  arranged 
in  order  of  merit,  according  to  the  marks  of 
approval  awarded  to  each  ;  and  it  is  interesting 


Introduction.  xi 

to  notice  the  relative  position  assigned  to  the 
universal  favourites. 

It  is  startling  to  find  that  of  the  twenty 
thousand  hymns  existing  in  the  English  language, 
not  a  single  one  is  to  be  found  in  all  the  fifty-two 
Hymnals,  and  it  is  somewhat  remarkable  that  only 
325  are  found  in  fifteen  Hymnals  and  upwards. 

Many  excellent  hymns  have  doubtless  failed  to 
attain  even  to  the  third  rank,  simply  because  they 
lack  age.  As  a  general  rule,  a  period  of  time 
from  twenty  to  fifty  years  is  required  before  a 
hymn  becomes  adequately  appreciated  and  finds 
its  way  into  our  modern  Hymnals. 

A  list  of  thirty  hymns  of  comparatively  recent 
date  is  given  on  pp.  310,  311.  These  hymns  are 
rapidly  finding  their  way  into  modern  Hymnals, 
and  in  the  future  they  will  probably  take  rank 
as  '  standard  hymns.' 


LIST  OF  HYMNALS  COLLATED. 

THE  following  is  a  list  of  the  fifty-two  Hymnals  col 
lated  :— 

1.  The  Church   of  England  Hymn-book.     Edited   by 

Godfrey  Thring,  and  published  by  Skefrington 
and  Son  in  1882.  It  contains  730  hymns. 

2.  Church  Hymns.     Edited  by  Arthur  Sullivan,  and 

published  by  the  S.P.C.K.  in  1874.  It  con 
tains  592  hymns. 

3.  The  Peoples  Hymnal.     Re-issued  by  Masters  and 

Co.  in  1868.  It  contains  600  hymns,  and  may 
be  regarded  as  an  exponent  of  the  Ritualists. 

4.  Hymns  Ancient  and  Modern.     Revised  and  enlarged 

edition.  Edited  by  the  late  Sir  Henry  W.  Baker 
and  a  committee  of  compilers,  and  published  in 
1874  by  Clowes  and  Son.  It  contains  473 
hymns,  and  has  obtained  the  widest  circulation 
of  all  Hymnals. 

5.  The    Hymnal    Companion.     Edited   by   the   Rev. 

Edward  H.  Bickersteth,  and  published  by  Samp 
son  Low,  Marston,  Searle,  and  Rivington.  The 
revised  and  enlarged  edition  of  this  excellent 
Hymnal  contains  550  hymns. 


xiv  List  of  Hymnals  collated. 

6.  Church  Hymnal.     Published  in  1876  by  permission 

of  the  General  Synod  of  the  Church  of  Ireland. 
This  admirable  collection  has  obtained  a  very 
wide  circulation. 

7 .  Hymns  for  Divine  Service.  Approved  and  sanctioned 

by  the  Episcopal  Synod  of  the  Church  in  Scot 
land.  It  contains  236  hymns,  and  is  published 
by  Grant  and  Son,  Edinburgh.  This  Hymnal 
may  be  accounted  as  the  general  exponent  of 
the  Scottish  Episcopal  Church. 

8.  The  Parish  Hymnal     Published  by  Bell  and  Daldy 

in  1873.     Contains  222  hymns. 

9.  The  Church  Psalter  and  Hymn-book.     Re-arranged 

in  1864  by  the  Rev.  William  Mercer,  and  gener 
ally  known,  therefore,  as  Mercer's  Hymnal ;  is 
published  by  Nisbet  and  Co.,  and  contains  591 
hymns. 

10.  The   Year  of  Praise.     Edited   by  the  late  Dean 

Alford,  and  published  by  Strahan  in  1867.  Con 
tains  326  hymns  for  Sundays  and  Holy-days  of 
the  Christian  Year. 

11.  The  Canterbury  Hymnal.     Selected  and  arranged 

by  the  Rev.  R.  H.  Baynes,  and  published  by 
Houlston  and  Wright.  It  contains  285  hymns. 

12.  A  Church  Psalter  and  Hymnal.     Edited  by  the 

Rev.  Edward  Harland,  and  published,  with  an 
Appendix,  in  1875,  by  Routledge  and  Sons.  It 
contains  584  hymns. 


List  of  Hymnals  collated.  xv 

13.  The  New  Church  Hymn-book.     Edited  by  the  late 

Rev.  Charles  Kemble,  and  published  by  Shaw 
and  Co.  The  new  edition  of  1873  contains  510 
hymns. 

14.  The  New  Metre  Hymnal.     Founded  on  Psalms  and 

Hymns;  edited  as  early  as  1836  by  Rev.  W.  J. 
Hall.  This  Hymnal,  published  by  Rivingtons 
in  1875,  contains  202  hymns. 

15.  Hymnal  Noted.    An  exponent  of  the  Ritualists,  was 

originally  published  by  G.  J.  Palmer.  A  revised 
and  greatly  enlarged  edition,  with  Supplement 
and  Appendix,  containing  588  hymns,  was 
printed  by  Home  and  Macdonald,  Edinburgh, 
in  1882. 

1 6.  The  Hymnal,  edited    by  the  Rev.  R.  R.  Chope, 

was  published  by  W.  Mackenzie,  London,  and 
contains  300  hymns. 

17.  Psalms    and    Hymns,   together    with    Hymns  for 

Mission  Services.  Published  by  the  Religious 
Tract  Society.  Contains  258  hymns. 

1 8.  Hymns  for  Public     Worship.     Published   by   the 

Society  for  Promoting  Christian  Knowledge.  The 
new  and  enlarged  edition  contains  490  hymns. 

1 9.  Hymns  for  Christian   Worship.     Published  by  the 

Religious  Tract  Society.     Contains  500  hymns. 

20.  A  Hymnal  for  use  in  the  English  Church.       Pub 

lished  by  Mozley  and  Smith  in  1879.  Con 
tains  260  hymns. 


xvi  List  of  Hymnals  collated. 

2 1.  The  Church  Hymnal    Published  by  Bell  and  Daldy. 

The  new  edition  of  1870  contains  289  hymns. 

22.  The  Daily  Service  Hymnal.     Published  by  Riving- 

tons  in  1864.     Contains  306  hymns. 

2  3 .  A  Selection  of  Psalms  and  Hymns  for  the  Public  Service 
of  the  Church  of  England.  Published  by  James 
Nisbet  and  Co.  in  1868.  Contains  421  hymns. 

24.  The    Church    and    Home    Metrical    Psalter    and 

Hymnal.  Edited  by  the  Rev.  William  Windle, 
and  published  by  Routledge  and  Sons.  Con 
tains  547  hymns. 

25.  Introits  and  Hymns :  adapted  to  the  Seasons  of  the 

Christian  Year.  Published  by  Joseph  Masters 
in  1870.  Contains  194  hymns. 

26.  Common  Praise:  for  use  in  the  Church  of  England. 

Published  by  the  Church  of  England  Book  Society. 
The  new  edition  of  1882  contains  822  hymns. 

27.  The  Sarum  Hymnal — edited  by  Earl  Nelson  and 

others — was  published  in  1868  by  Simpkin,  Mar 
shall,  and  Co.  It  contains  320  hymns,  and  was 
founded  on  the  Salisbury  Hymn-book. 

28.  The  Anglican  Hymn-book.       Edited   by   the    Rev. 

R.  Singleton  and  E.  G.  Monk.  Published  by 
Simpkin,  Marshall,  and  Co.  in  1871.  Contains 
404  hymns. 

29.  The  Book  of  Praise  Hymnal.     Chiefly  taken  from 

the  Book  of  Praise  by  Sir  Roundell  Palmer  (Lord 


List  of  Hymnals  collated.  xvii 

Selborne).  The  Hymnal  was  compiled  by  that 
eminent  hymnologist  in  1867,  and  contains  320 
hymns.  It  is  published  by  Macmillan  and  Co. 

30.  Hymns  for  the  Church  and  Home.     Edited  by  the 

Rev.  W.  Fleming  Stevenson.  Published  by  Henry 
King  and  Co.  in  1873.  It  contains  652  hymns. 

31.  A  Selection  of  Hymns  suited  to  the  Services  of  the 

Church  of  England.  Edited  by  the  late  Rev. 
Hugh  Stowell.  Published  by  Powlson  and  Sons, 
Manchester.  A  recent  edition,  published  with  a 
Supplement  in  1877,  contains  489  hymns. 

32.  The  Parochial  Psalter  and  Hymn-book.     Edited  by 

Rev.  J.  Robinson.  Published  by  S.  Lucas, 
Weber,  and  Co.  The  new  and  enlarged  edition 
of  1883  contains  546  hymns. 

33.  Songs  of  Grace  and  Glory.     Edited  by  Rev.  C.  B. 

Snepp.  Published  by  J.  Nisbet  and  Co.  in  1871. 
The  edition  of  1880  contains  1094  hymns. 

34.  The  Temple  Church  Hymnal.     Published  in  1869 

by  Metzler  and  Co.     Contains  321  hymns. 

35.  Hymnologia    Christiana:   or  Psalms   and  Hymns 

selected  and  arranged  in  the  order  of  the  Christian 
Seasons.  By  Rev.  B.  H.  Kennedy.  Published 
by  Longman,  Green,  and  Co.  Contains  1500 
hymns. 

36.  Psalms  and  Hymns  for  Public  Worship.     Edited  by 

the  late  Rev.  John  Hampden  Gurney  and  others. 
This  admirable  Hymnal  contains  300  hymns. 
b 


xviii  List  of  Hymnals  collated. 

37.  The  Hymnary :  a  Book  of  Church  Song.     Edited  by 

the  Rev.  W.  Cooke  and  Rev.  B.  Webb.  Pub 
lished  by  Novello,  Ewer,  and  Co.  The  1876 
edition  contains  646  hymns. 

38.  Hymns  for  the  Church  of  England.     Published  in 

1874.     Contains  226  hymns. 

39.  The  Book  of  Common  Praise.     Published  in  1872 

by  J.  T.  Hayes.     Contains  208  hymns. 

40.  Lyra   Britannica.       Edited   by  the  Rev.   Charles 

Rogers.  Published  by  Longmans  and  Co.  in 
1867.  Contains  660  hymns. 

41.  Hymnal  of  the  Protestant  Episcopal  Churches  in  the 

United  States  of  America.  Was  published  in 
America  in  1872,  and  contains  520  hymns. 
*  By  the  Bishops,  the  Clergy,  and  the  Laity  of 
the  Protestant  Episcopal  Church  in  the  United 
States,  held  A.D.  1871,  it  was  resolved  that  this 
Hymnal  be  authorised  for  use.' 

42.  Select  Hymns  for  Church  and  Home.     Edited  by 

the  Rev.  Robert  Brown-Borthwick.  Published  in 
1871  by  Edmonston  and  Douglas,  Edinburgh. 
It  contains  168  hymns.  • 

43.  Hymns  for  the  Church    Catholic.     Edited   by   the 

Rev.  J.  B.  Whiting.  Published  in  1882  by 
Hodder  and  Stoughton.  It  contains  510  hymns. 

44.  Psalms  and  Hymns  for  the   Church^  School,  and 

Home.  Edited  by  the  Rev.  D.  T.  Barry.  Pub 
lished  by  W.  Mackenzie.  The  latest  edition 
of  this  excellent  Hymnal  contains  471  hymns. 


List  of  Hymnals  collated.  xix 

45.  Hymns  for  the    Cathedral  and   Collegiate   Church, 

Isle  of  Cumbrae.  Founded  upon  Hymns  Ancient 
and  Modern.  Was  published  in  1 87  6,  and  con 
tains  561  hymns. 

46.  Hymnal  of  St.  John  the  Evangelist  and  St.   Mar 

garet's,  Aberdeen.  Published  by  Brown  and  Co., 
Aberdeen,  in  1870.  Contains  255  hymns. 

47.  Psalms  and  Hymns.     Edited   by  the   Rev.  T.   B. 

Morrell,  D.D.,  Coadjutor-Bishop  of  Edinburgh, 
and  the  Right  Rev.  W.  W.  How,  Bishop  of  Bed 
ford.  Published  by  William  Wells  and  Gardner, 
London.  The  2ooth  thousand  was  issued  in 
'  1866,  and  contained  258  hymns. 

48.  The  New  Zealand  Hymnal.     Published  in  1872  by 

William  Collins  and  Company.  Contains  307 
hymns. 

49.  Hymns  fitted  to  the   Order    of    Common   Prayer. 

Published  in  1869  by  Hamilton,  Adams,  and 
Co.  Contains  267  hymns. 

50.  Psalms   and  Hymns  for  Divine    Worship.     Pub 

lished  in  1875  by  James  Nisbet  and  Co.  Con 
tains  521  hymns. 

51.  English  Hymnology.     By  the  Rev.  L.  Coutier  Biggs. 

Published  by  Mozleys  in  1873. 

52.  The  Westminster  Abbey  Hymn-book.     Edited  by  the 

Rev.  John  Troutbeck.  Published  in  1883  by 
Novello,  Ewer,  and  Co.  This  recent  collection 
contains  400  hymns. 


CHAPTER   I. 

of  Ancient  anto  S^eluaetial 

OLD  TESTAMENT  HYMNOLOGY. 

*  THE  morning  stars  sang  together,  and  all  the  sons  of 
God  shouted  for  joy'  at  the  creation  of  the  world,  and 
since  that  time  songs  of  praise  have  never  ceased  to 
ascend  from  earth  to  Heaven.     In  Eden  there  was  the 
melody  of  grateful  hearts,  but  when  our  first  parents  fell 
from  primeval  innocence,  thus  bringing  '  death  into  the 
world,  and  all  our  woe,  with  loss  of  Eden,'  then  must  the 
song  of  the  human  heart  have  been  one  of  sorrow  and 
sadness.     From  the  Fall  to  the  Bondage  in  Egypt  the 
ear  catches  no  sound  of  jubilant  song. 

*  The  first  wave  of  promise  which  flowed  in  to  cover 
the  first  wave  of  sin  must  have  found  its  response  in  the 
heart  of  man  ;  but  after  the  first  universal  hymn  of  Eden 
was  broken,  and  the  music  of  creation  fell  into  a  minor, 
whilst  the  wail  of  human  sin  and  sorrow  ran^acroslT  all 
its  harmonies,  a  long  silence  reigns  in  the  hymn-book  of 
the  Church  universal;  and  through  all  the  records  of 
violence  and  judgment  from  the  flood  and  the  ark — 
from  patriarchal  tent  and  Egyptian  kingdom — the  only 


2       Ancient  and  Mediaeval  Hymnology. 

song  which  has  reached  us  is  the  wail  of  a  murderer 
echoing  the  curse  of  Cain.  We  feel  sure,  however,  that 
those  who  walked  in  the  light,  like  Enoch  and  Abraham, 
must  have  had  their  hearts  kindled  into  music.  But 
from  the  green  earth  rising  out  of  the  flood ;  from  the 
shadow  of  the  great  oak  at  Mamre  \  from  the  fountains 
and  valleys  and  upland  pastures  of  the  Promised  Land, 
where  the  tents  of  the  patriarchs  rose  amid  their  flocks ; 
from  the  prisons  and  palaces  of  Egypt,  we  catch  no 
sound  of  sacred  song.  So  far  the  stream  flows  for  us 
underground.' 

The  first  hymn  recorded  in  the  Sacred  Word  is  the 
song  of  victory  sung  by  Moses  and  the  Israelites  by 
the  shores  of  the  Red  Sea,  as  the  utterance  of  a  national 
thanksgiving  for  deliverance  from  their  Egyptian  oppres 
sors.  '  Then  sang  Moses  and  the  children  of  Israel  this 
song  unto  the  Lord,  and  spake,  saying,  I  will  sing  unto 
the  Lord,  for  He  hath  triumphed  gloriously :  the  horse 
and  his  rider  hath  He  thrown  into  the  sea.' 

That  song  of  victory  hath  never  ceased  to  be  sung, 
and  the  grand  chant  of  the  Mighty  Deliverer  is  still 
echoed  by  the  celestial  shores  of  the  sea  of  glass,  for  the 
ransomed  of  the  Lord  'sing  the  song  of  Moses  the 
servant  of  God,  and  the  song  of  the  Lamb,  saying, 
Great  and  marvellous  are  Thy  works,  Lord  God 
Almighty;  just  and  true  are  Thy  ways,  Thou  King  of 
saints.'  In  the  days  of  the  Judges,  the  triumphal 
song  of  Deborah  and  Barak  is  a  strain  of  lofty  poetic 
beauty  :  '  Praise  ye  the  Lord  for  the  avenging  of  Israel, 
when  the  people  willingly  offered  themselves.  Hear,  O 


Old  Testament  Hymnology.  3 

ye  kings  ;  give  ear,  O  ye  princes  ;  I,  even  I,  will  sing  unto 
the  Lord ;  I  will/sing  praise  to  the  Lord  God  of  Israel. 
Lord,  when  Thou  wentest  out  of  Seir,  when  Thou 
marchedst  out  of  the  field  of  Edom,  the  earth  trembled, 
and  the  heavens  dropped,  the  clouds  also  dropped 
water.  The  mountains  melted  from  before  the  Lord,  even 
that  Sinai  from  before  the  Lord  God  of  Israel.  .  .  .  The 
kings  came  and  fought ;  then  fought  the  kings  of  Canaan 
in  Taanach  by  the  waters  of  Megiddo;  they  took  no 
gain  of  money.  They  fought  from  heaven ;  the  stars 
in  their  courses  fought  against  Sisera.  The  river  of 
Kishon  swept  them  away,  that  ancient  river,  the  river 
Kishon.  O  my  soul,  thou  hast  trodden  down  strength. 
...  So  let  all  Thine  enemies  perish,  O  Lord  r  but  let 
them  that  love  Him  be  as  the  sun  when  he  goeth  forth 
in  his  might/ 

The  hymn  of  Hannah  is  the  prototype  of  the  Virgin 
Mary's  '  Magnificat/  while  the  Book  of  Job  may  fitly  be 
described  as  a  hymn  of  immortality.  David's  touching 
lamentation  when  Saul  and  Jonathan  were  slain  on  the 
mountains  of  Gilboa  is  one  of  the  most  plaintive  dirges 
ever  written  :  ',The  beauty  of  Israel  is  slain  upon  thy 
high  places :  how  are  the  mighty  fallen  !  Tell  it  not  in 
Gath,  publish  it  not  in  the  streets  of  Askelan ;  lest  the 
daughters  of  the  Philistines  rejoice,  lest  the  daughters  of 
the  uncircumcised  triumph.  Ye  mountains  of  Gilboa, 
let  there  be  no  dew,  neither  let  there  be  rain  upon  you, 
nor  fields  of  offerings  :  for  there  the  shield  of  the  mighty 
is  vilely  cast  away,  the  shield  of  Saul,  as  though  he  had 
not  been  anointed  with  oil.  From  the  blood  of  the 


4       Ancient  and  Mediceval  Hymnology. 

slain,  from  the  fat  of  the  mighty,  the  bow  of  Jonathan 
turned  not  back,  and  the  sword  of  Saul  returned  not 
empty.  Saul  and  Jonathan  were  lovely  and  pleasant  in 
their  lives,  and  in  their  death  they  were  not  divided  : 
they  were  swifter  than  eagles,  they  were  stronger  than 
lions.  .  .  .  How  are  the  mighty  fallen  in  the  midst  of 
the  battle  !  O  Jonathan,  thou  wast  slain  in  thine  high 
places.  I  am  distressed  for  thee,  my  brother  Jonathan  : 
very  pleasant  hast  thou  been  unto  me  :  thy  love  to  me 
was  wonderful,  passing  the  love  of  women.  How  are 
the  mighty  fallen,  and  the  weapons  of  war  perished  ! ' 

The  Psalms  of  King  David,  the  sweet  singer  of  Israel, 
form  the  first  hymnal  of  the  universal  Church,  while 
Solomon's  mystical  Song  of  Songs  will  receive  its  full 
significance  at  the  great  marriage-supper  of  the  Lamb, 
when  Christ  can  say  to  the  Church  Triumphant,  *  Arise, 
my  love,  my  fair  one,  and  come  away;  the  winter  is 
past,  the  rain  is  over  and  gone ;  and  the  time  of  the 
singing  is  come.' 

'  The  Songs  of  Zion,'  though  not  heard  by  the  ears  of 
the  oppressors,  were  deeply  graven  on  the  hearts  of  the 
Jewish  exiles,  as  they  sat  weeping  by  the  waters  of 
Babylon.  After  the  Babylonian  Captivity,  the  ransomed 
of  the  Lord  returned  with  gladness  to  the  land  of  their 
fathers,  and  came  to  Zion  with  songs  and  everlasting  joy 
upon  their  heads.  At  the  dedication  of  the  restored 
wall  of  Jerusalem,  '  the  singers  sang  loud,  and  rejoiced, 
for  God  had  made  them  rejoice  with  great  joy ;  the  wives 
also  and  the  children  rejoiced,  so  that  the  joy  of  Jeru 
salem  was  heard  afar  off.' 


New  Testament  Hymnology.  5 

In  exalted  strains  .of  glowing  imagery,  the  prophets  of 
old  sang  the  glories  of  the  new  and  brighter  day  of  the 
Messianic  kingdom,  when  '  the  Sun  of  Righteousness  ' 
would  rise  '  with  healing  in  His  wings.' 

These  prophetic  strains  were  but  the  prelude  to  the 
celestial  anthem  sung  on  the  nrst-Gferisfrn^s-tnorn  by 
the  pastures  of  Bethlehem,  where,  in  the  exquisite 
language  of  St.  Luke,  '  there  were  in  the  same  country 
shepherds  abiding  in  the  field,  keeping  watch  over  their 
flock  by  night.  And  lo,  the  angel  of  the  Lord  came 
upon  them,  and  the  glory  of  the  Lord  shone  round 
about  them  :  and  they  were  sore  afraid.  And  the  angel 
said  unto  them,  Fear  not  :  for,  behold,  I  bring  you  good 
tidings  of  great  joy,  which  shall  be  to  all  people.  For 
unto  you  is  born  this  day,  in  the  city  of  David,  a  Saviour, 
which  is  Christ  the  Lord.  .  .  .  And  suddenly  there 
was  with  the  angel  a  multitude  of  the  heavenly  host 
praising  God,  and  saying,  Glory  to  God  in  the  highest, 
and  on  earth  peace,  good-  will  toward  men.' 

NEW  TESTAMENT  HYMNOLOGY. 


The  first  recorded^lhns^ajiJ^rnn  is  the  '  Magni 
ficat,'  stmg^by  the  Virgin  Mary  in  the  home  of  her 
cousin  Elisabeth  ;  the  second  is  the  *  Benedictus,'  sung 
by  Zacharias^aLthe  cir^umcjsjon^of^rlislsQn,  John  the 
Baptist  ;  while  the  third  is  the  '  Nunc_Dimittis,'  sung  by 
the  age^jaimeon  jn  _the_courls_x>Lthe  Temple. 

This  first  triad  of  Christian  hymns,  sung  in  connec 
tion  with  the  birth  of  Christ,  are  but  varied  strains  of  the 


6       Ancient  and  Mediaeval  Hymnology. 

great  Song  of  Redemption,  and  they  have  fittingly  been 
retained  in  the  daily  services  of  the  Anglican  Church. 
Paul  and  Silas  sang  praises  to  God  at  midnight  in  the 
prison  of  Philippi.  In  the  Revelation  of  St.  John  the 
ear  catches  sweet  fragments  of  celestial  songs,  chanted 
by  tfhe  general  assembly  and  church  of  the  first-born  : 
*  They  sing  the  song  of  Moses  the  servant  of  God,  and 
the  song  of  the  Larnb,  saying,  Great  and  marvellous 
are  Thy  works,  Lord  God  Almighty  \  just  and  true  are 
Thy  ways,  Thou  King  of  saints.'  *  The  four-and-twenty 
elders  fell  (down  before  the  Lamb,  and  they  sang  a  new 
song,  saying,  Thou  art  worthy  to  take  the  book,  .  .  . 
for  Thou  wast  slain,  and  hast  redeemed  us  to  God  by 
Thy  blood  out  of  every  kindred,  and  tongue,  and  nation, 
and  people.'  And  many  angels,  *  ten  thousand  times 
ten  thousand,  and  thousands  of  thousands,  say  with  a 
loud  voice,  Worthy  is  the  Lamb  that  was  slain,  to 
receive  power,  and  riches,  and  wisdom,  and  strength, 
and  honour,  and  glory,  and  blessing.' 

The  true  fountain  of  Christian  song  is  to  be  found 
on  Calvary,  and  from  this  fountain  has  ftowedr~rbrth  a 
'never-failing  stream  of  triumphant  praise  which  from 
age  to  age  has  unceasingly  refreshed  and  gladdened 
the  Church  of  God.  Of  this  flood  of  song  it  may  be 
said,"*  There  is  a  river,  the  streams  whereof  shall  make 
glad  the  city  of  God,  the  holy  place  of  the  tabernacles 
of  the  Most  High.'  *  The  wilderness  and  the  solitary 
place  shall  be  glad  for  them ;  and  the  desert  shall  re 
joice,  and  blossom  as  the  rose  ;  for  in  the  wilderness 
shall  waters  break  out,  and  streams  in  the  desert.' 


Liturgy  Hymnology.  7 

LITURGY  HYMNOLOGY. 

The  second  triad  of  Christian  hymns  are  three  songs 
of  noblesJ^piaise  dating  from  a  very  early  period,  and 
these  have  been  incorporated  into  our  Liturgy.  The 
*  Tersanctus '  or  '  Thrice  Holy  '  is  the  triumphal  hymn 
in  the  Communion  Service,  beginning  '  Holy,  holy, 
holy,  Lord  God  of  Hosts,7  etc.  It  is  found  nTUl  the 
earliest  Liturgies.  Secondly,  the  '  Gloria  in  Excelsis ' — 
'  Glory  be  to~God  on  high,  and  on  earth  peace  ' — is  a 
glorious  hymn^bf  Greek  origin,  and  appears  as  early  as 
the  fourth  century.  It  is  probably  the  composition  of 
some  anonymous  Greek  hymnist,  and  appears  to  have 
been  highly  esteemed  throughout  the  Eastern  Church. 

The  '  TeJDeum  laudamus '  is  a  magnificent  hymn  of 
triumphant  praise,  familiar  to  English  ears  as  a  grand 
canticle  of  the  daily  service.  It  holds  the  same  position 
in  the  Western  Church  as  the  *  Gloria  in  Excelsis  '  does 
in  the  Eastern.  The  '  Te  Deum  '  is  generally  ascribed  to 
St.  Ambrose  and  St.  Augustine,  and  would  thus  date 
from  the  last  part  of  the  fourth  century.  It  probably, 
however,  sprang  from  some  earlier  Oriental  morning 
hymn,  or  grew  out  of  fragments  of  sacred  songs  sung  in 
the  Eastern  Church  in  very  ancient  times. 

Several  hymns  by  Greek  anonymous  writers  have 
come  down  to  us  from  early  ligesT  Amongst  them  are 
hymns  on  the  Nativity,  Baptism,  and  Resurrection  of 
Christ,  and  an  Oriental  doxology  as  follows  :  '  God  is 
my  hope,  Christ  is  my  refuge,  the  Holy  Spirit  is  my 
vesture  :  Holy  Trinity,  glory  to  Thee.' 


8       Ancient  and  Medieval  Hymnology. 

Clement  of  Alexandria  is  the  earliest  Christian  hymn- 
writer  whose  name  has  come  down  to  us.  He  was  a 
teacher  at  Alexandria ;  but  in  consequence  of  a  persecu 
tion  of  Christians  he  was  obliged  to/  flee  for  his  life. 
Probably  about  200  A.D.  he  composed  his  '  Hyjnji  of 
the  Saviour  Christ,'  which  for  the  most  part  consists  of 
a  catalogue  of  Scriptural  images  applied  to  Christ. 
These  images  must  indeed  have  been  very  precious  to 
him,  for,  writing  arnid  terrible  perils,  he  says,  '  Daily 
martyrs  are  burnt,  beheaded,  and  crucified  before  our 
eyes.' 


EARLY  HYMNISTS. 

CLEMENT—  EPHRAEM—  GREGOR  Y. 

CLEMENT  OF  ALEXANDRIA — DIED  A.D.  217. 

Clemens  Alexandrinus,  one  of  the  earliest  Christian 
hymn-writers,  was  born  at  Athens  about  the  middle  of 
the  second  century.  In  philosophy  he  was  first  a  Stoic 
and  then  an  Eclectic.  He  spent  much  of  his  life  at 
Alexandria — hence  his  name — and  there  he  was  con 
verted  to  Christianity.  He  became  a  teacher  and 
presbyter  of  the  Alexandrian  Church. 

Clement  was  a  voluminous  writer,  his  works  being 
for  the  most  part  on  Christian  evidences,  and  they  are 
highly  commended  by  the  Christian  Fathers,  especially 
by  Eusebius  and  Jerome.  Of  his  hymns  the  best 
known  is  that  beginning  '  Shepherd  of  tender  youth,'  a 
free  rendering  of  Clement's  Greek  verses. 


Early  Hymnists.  9 

EPHRAEM  SYRUS — DIED  381  A.D. 

Ephraem  Syrus,  or  Ephraim  the  Syrian,  a  monk  of 
Mesopotamia,  one  of  the  earliest  Christian  hymn-writers, 
was  born  near  Nisibis,  in  Mesopotamia,  in  the  begin 
ning  of  the  fourth  century.  Several  of  his  hymns  have 
of  late  years  Seen  translated  from  the  Syriac,  in  which 
language  the  originals  were  written,  and  appeared  in 
Dr.  Burgess's  Hymns  of  the  Ancient  Syrian  Churches. 
He  lived  more  than  a  century  after  the  days  of  Clement 
of  Alexandria,  and  is  the  next  hymn-writer  whose  name 
is  known.  The  chief  hymns  of  this  writer  that  have 
come  down  to  us  are,  c  The  Children  in  Paradise,'  '  On 
Palm  Sunday,'  *  On  the  Triumphal  Entry  of  Jesus  into 
Jerusalem,'  '  The  Star  of  Bethlehem,'  '  Lament  of  a 
Father  on  the  death  of  his  little  Son.' 

Sweet  is  the  sacred  singing  of  this  monk  of  Meso 
potamia  ;  and  the  following  golden  saying  of  his  ought 
to  be  kept  in  remembrance  :  '  In  the  very  moment  when 
thou  prayest  a  treasure  is  laid  up  for  thee  in  heaven.' 

GREGORY — 326-389  A.D. 

Gregory  of  Nazianzus  is  so  named  from  Nazianzus, 
a  town  of  Cappadocia,  where  he  was  born  in  326.  His 
father  was  Bishop  of  the  place,  and  his  mother  was  a 
pious  lady  named  Nonna.  Gregory  rose  to  be  Bishop 
of  Constantinople,  and  amid  countless  heresiels  con 
tinued  steadfastly  to  preach  the  Deity  of  Christ.  He 
died  at  his  native  place  in  389.  Several  of  his  hymns, 
written  among  numerous  toils  and  troubles,  have  come 


io       Ancient  and  Medieval  Hymnology. 

down  to  us  ;  prominent  amongst  them  are  a  '  Hymn 
to  Christ,'  'An  Evening  Hymn,'  and  'Light  in 
'Adversity.' 

ST.  AMBROSE  AND  THE  AMBROSIAN  HYMNS. 

Ambrose,  the  eminent  ecclesiastic  of  the  fourth  cen 
tury,  was  born  at  Treves,  in  Gaul,  in  340  A.D.  He  was 
educated  at  Rome,  and  studied  law  in  Milan.  He  was 
raised  to  be  Prefect  of  Liguria,  and  distinguished  him 
self  for  his  talent  and  justice.  Renouncing  secular 
pursuits,  he  was,  by  universal  consent,  promoted  to  be 
Bishop  of  Milan, — an  office  in  which  he  enjoyed  both 
celebrity  and  considerable  personal  authority.  In  the 
great  Arian  controversy  of  his  day  Ambrose  stoutly 
contended  for  the  purity  of  Christian  doctrine,  and 
boldly  refused  the  request  of  the  Empress  Justina,  when 
she  asked  the  use  of  one  church  in  Milan  where  Arian 
doctrine  might  be  taught.  When,  moreover,  Theo- 
dosius,  Emperor  of  the  East,  had  permitted  the  mas 
sacre  of  the  Thessalonians,  the  Bishop  denied  to  the 
imperial  offender  the  privileges  of  the  Church,  and  so 
highly  was  Ambrose  esteemed  by  the  people  that  the 
multitude  supported  him  in  his  opposition  to  the  im 
perial  will.  He  died  at  Milan  in  397,  and  was  buried 
in  the  great  church  which  still  bears  the  name  of 
*  Basilica  Ambrosiana.'  The  hymns  of  Ambrose  mark 
a  ne_w_stage  in  the  history  of  sacred  song.  Ephraem  the 
Syrian  wrote  in  Syriac,  a  language  akin  to  the  old 
Hebrew,  in  which  the  Israelites  chanted  the  Song  of 
Moses  by  the  shores  of  the  Red  Sea ;  while  Clement  of 


Etirly  Hymnists.  1 1 

Alexandria,  Gregory  of  Nazianzus,  and  the  earliest 
hymnists  of  the  Eastern  Church,  wrote  in  Greek,  the 
language  of  Evangelists  and  Prophets.  The  Ambrosian 
hymns,  on  the  other  hand,  were  the  first  written  in 
Latin,  and  thus  in  them  sacred  song  passed  from—the 
original  languages  of  the  Inspired  Word,  and  henceforth 
in  the  Western  Church  hymns  were  written  in  Latin. 
Thus  the  stream  of  psalmody  in  the  fourth  century 
flowed  from  the  tongue  of  Homer,  Plato,  and  the  New 
Testament  into  the  stately  Roman,  the  language  of 
Virgil  and  Cicero.  On  this  account  the  Latin  hymns 
of  the  fourth  and  fifth  century  form  a  link  of  connection 
between  the  classical  Greek  of  the  early  Christian 
Church  and  the  Latin  hymnology  of  the  Middle  Ages. 

4  In  the  days  of  Ambrose  the  Latin  language  had 
not  gathered  around  it  the  spiritual  and  ecclesiastical 
associations  of  centuries.  It  had  to  come  into  the 
Church  fresh  from  the  market,  the  battle-field,  the  court 
of  justice,  with  no  sacred  laver  of  inspiration  to  baptize 
it  from  the  stains  and  dust  of  secular  or  sinful  employ 
ment.  Yet  there  is  a  calm  and  steady  glow  in  these 
early  Latin  hymns,  a  straightforward  plainness  of  speech, 
and  an  unconscious  force,  which  grow  on  you  wonderfully 
as  you  become  more  acquainted  with  them.  If  they 
have  not  the  sublime  simplicity  of  a  faith  which  sees 
visions,  and  leaves  it  to  fancy  to  scatter  flowers,  or  the 
fervency  of  an  outburst  of  solitary  devotion,  the  regular 
beauty  of  Greek  art,  or  the  imagination  and  homely 
pathos  of  Teutonic  sacred  ballads,  they  have  a  Roman 
majesty  of  their  own,  the  majesty  of  a  national  anthem, 


12 


4ncient  and  Mediceval  Hymnology. 


the  subdued  fire  of  the  battle-song  of  a  disciplined 
army.  The  imperial  dignity  of  the  great  language  of 
law  and  of  war  has  passed  into  them  ;  they  are  the  grand 
national  anthems  of  the  Church  militant,  and  their 
practical  plainness,  their  healthy  objective  life,  are 
bracing  as  mountain  air.'  The  Ambrosian  period  of 
hymnology  embraces  the  Latin  hymns  of  the  fourth 
and  fifth  centuries.  Amongst  the  conspicuous  hymnists 
of  this  era  were  Ambrose,  Augustine,  Hilary,  and 
Prudentius. 

Twelve  hymns  have  been  attributed  to  Ambrose, 
and  although  these  hymns  are  austere  in  simplicity  and 
devoid  of  rhyme,  yet  their  unadorned  sublimity  is  very 
striking.  Archbishop  Trench  says  of  Ambrose's  hymns 
that  '  although  his  almost  austere  simplicity  seems  cold 
and  displeasing  after  the  rich  sentiment  of  some  later 
writers,  yet  we  cannot  but  observe  how  truly  these 
poems  belonged  to  their  time  and  to  the  circumstances 
under  which  they  were  produced  ;  how  suitably  the 
faith  which  was  in  actual  conflict  with  and  was  just 
triumphing  over  the  powers  of  this  world  found  its 
utterance  in  hymns  such  as  these,  wherein  is  no  soft 
ness,  perhaps  little  tenderness,  but  a  rock-like  firmness, 
the  old  Roman  stoicism  transmuted  and  glorified  into 
that  nobler  Christian  courage  which  encountered  and  at 
length  overcame  the  world.' 

The  following  are  well-known  renderings  from  St. 
Ambrose's  hymns  : — 

1.  Above  the  starry  spheres.  Jam  Christus  astra  ascenderat. 

2.  Before  the  ending  of  the  day.     Te  lucis  ante  terminum. 


Early  Hymnists. 


3.  Come,  Holy  Ghost,  who  ever       Nunc  Sancte  nobis  Spiritus. 

one. 

4.  Creator  of  the  stars  of  night.        Conditor  alme  siderum. 

5.  Jesu,    the  virgins   crown  do      Jesu  corona  virginum. 

Thou. 

6.  Light's  glittering  morn  be-       Aurora  lucis  rutilat. 

decks  the  sky. 

7.  Now  that  the  daylight  fills      Jam  lucis  orto  sidere. 

the  sky. 

8.  O  Christ,  who  art  the  light       Christe  qui  lux  es  et  dies. 

and  day. 

9.  O  God,  Thy  soldiers'   great       Deus  tuorum  militum. 

reward. 

10.  O  Jesu,    Lord  of  light  and       Splendor  paternae  gloriae. 

grace. 

11.  O   Lord,   most  high   eternal       Aeterne  Rex  altissime. 

King. 

1 2.  O  Trinity,  most  blessed  light.       O  lux  beata  Trinitas. 

13.  Redeemer    of    the    nations,       Veni,  Redemptor  gentium. 

come. 

All  the  above  are  attributed  to  St.  Ambrose,  but  the 
authorship  of  some  is  doubtful.  One  of  them,  viz., 
'  Creator  of  the  stars  of  night,'  has  attained  a  place 
among  the  325  Standard  Hymns,  being  number  259. 
Another  Standard  Hymn,  239,  '  Hark  !  a  thrilling  voice 
is  sounding,'  belongs  to  the  Ambrosian  era. 

AURELIUS  CLEMENS  PRUDENTIUS. 
BORN  348 — DIED  ABOUT  413  A.D. 
Prudentius,  the  early  Christian  hymnist,  was  born  in 
Spain  in  348  A.D.   He  became  in  course  of  time  a  civil  and 
criminal  judge,  and  was  subsequently  promoted  by  the 
Emperor  Honorius  to  be  the'  head  of  the  imperial  body 
guard,  n  In  the  fifty-seventh  year  of  his  age  his  mind 
seems  to  have  passed  through  some  remarkable  experi- 


14      ^  ncient  and  Mediaeval  Hymnology. 

ences,  for  he  suddenly  realised  that  the  honours  of  the 
world  could  not  satisfy  the  yearnings  of  his  soul.  Accord 
ingly  he  renounced  his  post  of  dignity,  and  returning  to  his 
native  land  devoted  himself  forthwith  to  religious  works 
and  the  composition  of  sacred  songs.  His  character  is 
perhaps  too  highly  commended  by  Barth,  who  says  of 
Prudentius,  '  Poeta  eximius,  eruditissimus  et  sanctissi- 
mus  scriptor;  nemo  divinius  de  rebus  Christianis  unquam 
scripsit.'  (An  excellent  poet,  a  most  learned  and  pious 
writer ;  no  one  has  ever  written  on  Christian  matters  in 
a  more  sublime  strain.) 

Archbishop  Trench  considers  that  Prudentius  was  by 
nature  possessed  of  the  gift  of  sacred  poetry,  and 
accounts  for  the  reputed  impurity  of  his  Latinity  by 
the  fact  that  the  poet  tried  to  charge  the  Latin  used  by 
people  of  a  sunken  taste  with  the  purity  of  Christian 
thought.  He  died  about  413,  and  was  therefore  a 
contemporary  of  St.  Augustine  and  St.  Ambrose. 

The  two  renderings  from  Prudentius  that  are  most 
widely  known  are — 

1.  Earth  has  many  a  noble  city.       O  sola  magnarum  urbium. 

2.  Of  the  Father's  love  begotten.     Corde  natus  ex  Parentis. 

The  latter  has  attained  a  place  among  Standard 
Hymns,  being  No.  227. 

The  three  chief  hymnists  of  the  Ambrosian  era — that 
is,  of  the  fourth  and  fifth  centuries — were  St.  Ambrose, 
Prudentius,  and  St.  Hilary,  Bishop  of  Poitiers,  who  died 
in  367  A.D. 


Ante-Mediceval  Era.  1 5 


ANTE-MEDIAEVAL  ERA. 
GREEK  HYMNISTS. 

The  chief  Greek  hymnists  of  this  period  are  SS. 
Andrew  of  Crete,  Cosmas,  John  Damascene,  Stephen, 
Joseph  of  the  Studium,  and  Metrophanes  of  Smyrna. 

ST.  ANDREW  OF  CRETE  was  a  Greek  hymn-writer  of 
the  eighth  century.  He  was  a  native  of  Damascus,  and 
rose  to  be  Archbishop  of  Crete,  from  which  diocese  he 
receives  his  name.  His  best-known  work  is  the  excel 
lent  Lenten  hymn  rendered  by  Dr.  Neale  — 


Christian  !  dost  thou  see  them  ?      Ou  yap  jSA^Trets  roi)s  Tapd 

This    has    attained    to  the    second   rank   in  Standard 
Hymns.     (See  Hymn  205.) 

ST.  COSMAS  —  DIED  760  A.D. 

Xpio-rds  ycvvarai,  5o£d<roTe. 
Christ  is  born  !     Tell  forth  His  fame  ! 
Christ  from  heaven  !  His  love  proclaim  ! 

This  hymn  for  Christmas  Day  is  Dr.  Neale's  transla 
tion  frgm  the  Greek  of  St.  Cosmas,  and  appeared  in 
1862  in  his  Hymns  of  the  Eastern  Church. 

St.  Cosmas  of  Jerusalem,  surnamed  the  Melodist, 
was  born  at  Jerusalem  about  the  end  of  the  seventh 
or  beginning  of  the  eighth  century.  He  is  regarded 
as  the  most  learned  of  the  Greek  Fathers,  and  the 
second  best  poet  of  the  Greek  Church.  Left  an 


1  6      Ancient  and  Medueval  Hymnology. 

orphan  in  youth,  he  was  adopted  by  the  father  of  John 
of  Damascus,  and  the  two  foster-brothers  being  brought 
up  together  cemented  a  lifelong  friendship.  They 
incited  each  other  in  hymn  -writing,  and  in  friendly 
rivalry  undertook  to  write  on  the  same  Scriptural  sub 
jects.  Both  became  monks  of  Mar  Saba,  and  subse 
quently,  while  John  Damascene  was  ordained  a  priest 
of  Jerusalem,  Cosmas  was  consecrated  Bishop  of 
Maiuma  near  Gaza.  For  fifteen  years  he  discharged 
the  duties  of  the  See  with  faithfulness  and  holy  zeal, 
and  departed  this  life  about  760  A.D.  His  memory  is 
cherished  in  the  Greek  Church,  and  in  a  preface  to  his 
life  occurs  the  following  laudatory  couplet  :  — 

Where  perfect  sweetness  dwells  is  Cosmas  gone  : 
But  his  sweet  lays  to  cheer  the  Church  live  on. 

His  chief  works  on  sacred  song  comprise  Canons  on  the 
Nativity,  Epiphany,  the  Transfiguration  and  Purification. 
His  Canon  for  Christmas  Day  is  generally  regarded 
as  his  masterpiece,  and  may  justly  be  preferred  to  the 
Canon  of  John  Damascene  on  the  same  subject.  The 
above  Christmas  hymn  is  the  first  ode  of  Cosmas's 
Christmas  Canon. 


Xopos  ' 

The  choirs  of  ransomed  Israel, 
The  Red  Sea's  passage  o'er, 
Upraised  the  hymn  of  triumph 
Upon  the  further  shore. 

This  hymn  is  a  translation  by  Dr.  Neale  from  the 
Greek  of  St.  Cosmas,  and  is  indeed  a  cento  from  the 
four  first  odes  of  Cosmas's  Canon  on  the  Transfiguration. 


Ante-Mediceval  Era.  1  7 

ST.  JOHN  DAMASCENE—  DIED  ABOUT  780. 


'Tis  the  Day  of  Resurrection,  From  Death  to  Life  Eternal, 

Earth  !  tell  it  out  abroad  !  From  this  world  to  the  sky, 

The  Passover  of  gladness,  Our  Christ  hath  brought  us  over 

The  Passover  of  God  !  With  hymns  of  victory. 

This  'glorious  old  hymn  of  victory,'  as  it  is  fitly  named, 
is  a  translation  by  Dr.  Neale  from  the  Greek  of  John  of 
Damascus,  and  first  appeared  in  1862  in  Neal_e!s  j5fraa#.y 
of  the  Eastern  Church.  St.  John  Damascene,  or  John 
of  Damascus,  was  born  about  the  beginning  of  the 
eighth  century,  and,  according  to  Gibbon,  was  the 
last  of  the  Fathers  of  the  Greek  Church.  To  him  be 
longs  the  high  honour  of  being  unanimously  esteemed 
the  greatest  poet  of  the  Eastern  Church.  Unfortunately 
little  is  known  of  his  life.  He  was  born  at  Damascus 
of  good  family,  and  early  distinguished  himself  in 
eloquence  and  philosophy.  For  some  time  he  held 
office  under  the  Caliph  of  Bagdad.  He  retired  to  the 
monastery  of  Mar  Saba,  situated  in  the  valley  of  the 
Kedron,  midway  between  Jerusalem  and  the  Dead 
Sea,  and  there  enjoyed  the  society  of  Cosmas  and 
his  nephew  Stephanos,  both  sons  of  the  monastery. 
At  a  comparatively  late  period  of  life  he  was  ordained 
a  priest  of  the  Church  of  Jerusalem.  During  his  life 
raged  the  bitter  controversy  respecting  the  use  of  icons 
or  images.  John,  by  his  learned  and  eloquent  writings, 
stoutly  opposed  the  Iconoclasts  or  Image-breakers,  and 
proved  himself  to  be  a  most  able  advocate  of  images. 
In  consequence  of  his  able  defence  of  icons,  he  has 
B 


1  8       Ancient  and  Mediczval  Hymnology. 

received  the  title  of  'The  Doctor  of  Christian  Art/ 
He  died  at  Mar  Saba,  probably  about  780  A.D.,  and  his 
tomb  is  still  pointed  out  in  the  monastery. 

As  a  sacred  poet  his  chief  works  consist  of  three 
great  Canons,  respectively  for  Easter,  Ascension,  and  St. 
Thomas's  Sunday.  A  Canpj^on  sacred  song  is  a  term 
employed  in  the  Greek  Church  to  denote  a  long  poem 
consisting  of  nine  odes  or  canticles.  John  Damascene's 
Canon  for  Easter  Day  has  from  its  general  excellence 
been  named  the  *  Golden  Canon  '  and  the  '  Queen  of 
Canons.'  The  above  hymn  is  the  first  ode  of  this  cele 
brated  Canon,  and  is  a  hymn  of  victory  designed  to  be 
sung  at  the  first  hour  of  Easter  morn. 


Trdi'res  Xdot. 
Come,  ye  faithful,  raise  the  strain 
Of  triumphant  gladness  ! 
God  hath  brought  His  Israel 
Into  joy  from  sadness. 

This  hymn  for  St.  Thomas's  Sunday  is  a  translation  by 
Dr.  Neale  from  the  Greek  of  St.  John  Damascene,  and 
appeared  in  1862  in  his  Hymns  of  the  Eastern  Church. 
The  original  forms  the  first  ode  in  John  Damascene's 
Canon  for  St.  Thomas's  Sunday. 

Tots  fSpas  rds  cuc&uas. 

Those  eternal  bowers  Who  may  hope  to  gain  them 

Man  hath  never  trod,  After  weary  fight  ? 

Those  unfading  flowers  Who  at  length  attain  them 

Round  the  throne  of  God  :  Clad  in  robes  of  white  ? 

This  sweet  hymn  for  '  All  Saints'  Day  '  is  Dr.  Neale's 
rendering  from  the  Greek  of  St.  John  of  Damascus, 


Ante- Mediceval  Era.  19 

and  appeared  in  1862  in  Hymns  of  the  Eastern  Church, 
The  original  was  probably  composed  in  the  monastery 
of  Mar  Saba  in  the  third  quarter  of  the  eighth  century, 
and  is  therefore  eleven  centuries  old.  It  has  very  nearly 
attained  a  place  among  Standard  Hymns. 

'The  Day  of  Resurrection'  has  attained  a  place 
among  ( third  rank  '  of  Standard  Hymns.  (See  Hymn 
223.) 

ST.  STEPHEN  THE  SABAITE — 725-794  A.D. 

St.  Stephen  the  Sabaite  was  a  Greek  hymn-writer  of 
the  eighth  century.  He  was  nephew  to  John  Dama 
scene,  and  spent  all  his  life  in  the  monastery  of  Mar 
Saba,  situated  in  the  valley  of  the  Kedron,  about  ten 
miles  from  Jerusalem.  His  best-known  hymn,  rendered 
by  Dr.  Neale,  is — 

Art  thou  weary,  art  thou  languid  ?  Kbirov  re  /cai  K^/JLCLTOV, 

It  has  attained  a  place  in  the  first  rank  of  Standard 
Hymns.  (See  Hymn  101.) 

ST.  JOSEPH  OF  THE  STUDIUM — 9TH  CENTURY. 

Stars  of  the  morning  so  gloriously  bright, 
Filled  with  celestial  resplendence  and  light. 

This  .hymn,  known  as  '  The  Stars  of  the  morning,'  is 
a  cento  by  Dr.  Neale  founded  on  some  Greek  verses  in 
the  '  Canon  of  the  Bodiless  Ones '  by  St.  Joseph  of 
the  Studium.  It  first  appeared  in  1862  in  Neale's 
Hymns  of  the  Eastern  Church. 

The  Canon  referred   to   was  appointed  to  be  sung 


2o       Ancient  and  Mediceval  Hymnology. 

once  in  eight  weeks  in  the  Abbey  Church  of  the 
Studium,  the  chief  monastery  in  Constantinople,  in 
honour  of  the  angels. 

St.  Joseph,  the  hymn-writer  of  the  Greek  Church, 
was  a  native  of  Sicily.  He  became  a  monk  of  the 
Studium  during  the  ninth  century.  He  composed  a 
great  number  of  hymns,  but  only  a  few  renderings  are 
familiar  to  the  Anglican  Church. 

THE  RETURN  HOME. 

Safe  home,  safe  home  in  port,  And  only  not  a  wreck  : 

Rent  cordage,  shattered  deck,  But  oh !  the  joy  upon  the  shore 

Torn  sails,  provisions  short,  To  tell  our  voyage  perils  o'er. 

This  hymn,  by  Dr.  Neale,  was  suggested  by  some 
Greek  verses  of  St.  Joseph  of  the  Studium,  and  ap 
peared -in  Hymns  of  the  Eastern  Church,  1862. 

Tcbv  lep&v  a.6\o<})bp(i}v. 

Let  our  choir  new  anthems  raise, 
Wake  the  morn  with  gladness  ; 
God  Himself  to  joy  and  praise 
Turns  the  martyrs'  sadness. 

This  hymn  is  a  cento  by  Dr.  Neale  founded  on  the 
Greek  of  St.  Joseph  of  the  Studium,  and  appeared  in 
1862  in  Hymns  of  the  Eastern  Church.  The  original 
is  from  a  long  Canon  for  SS.  Timothy  and  Maura, 
a  deacon  of  Constantinople  and  his  wife,  both  of 
whom  suffered  martyrdom.  The  story  of  their  suf 
ferings  is  beautifully  told  in  Charles  Kingsley's  Santa 
Maura. 


Ante-Mediceval  Era.  2 1 

METROPHANES  OF  SMYRNA — DIED  ABOUT  910  A. D. 

Metrophanes  of  Smyrna  was  Bishop  of  the  town  from 
which  he  takes  his  name.  He  is  best  known  by  eight 
Canons  which  he  composed  in  honour  of  the  Holy 
Trinity.  From  one  of  those  Canons  Dr.  Neale  made 
the  well-known  rendering — 

O  Unity  of  threefold  light.  Tpt0ey7?7S  Movas  Geapxt/c??. 

LATIN  HYMNISTS. 

The  commencement  of  the  Middle  Ages  proper  is 
almost  coincident  with  the  Norman  Conquest  of  Eng 
land.  Before,  however,  the  consolidation  of  the  Feudal 
System,  the  introduction  of  Gothic  art,  the  campaigns 
of  the  Crusades,  and  the  days  of  chivalry — all  dis 
tinguishing  features  of  that  period — there  elapsed  some 
centuries  of  struggle  for  supremacy  between  the  peoples 
of  the  decaying  Roman  Empire  and  the  more  modem 
races.  This  era  of  strife,  which  may  be  regarded  as  a 
borderland  between  the  Roman  Empire  and  the  Middle 
Ages,  produced  many  lyric  poets  and  hymnists,  whose 
compositions  are  remarkable  rather  for  rich_J}£l4ttess 
than  for  peaceful  sublimity.  Amongst  the  writers  of 
sacred  song  the  most  distinguished  in  the  Western 
Church  were  Gregory  the  Great,  Venantius  Fortunatus, 
the  Venerable  Bede,  and  St.  TheoduIphT" 

GREGORY  THE  GREAT — 5 50-604  A.D. 

Gregory  the  Great  was  born  of  noble  family  in  Rome 
in  550  A.D.  He  was  possessed  of  distinguished  talents, 


22       Ancient  and  Mediceval  Hymnology. 

and  from  being  a  senator  was  promoted  by  the  Emperor 
to  be  Prefect  of  the  Eternal  City.  The  bent  of  his 
mind  was  religious,  and,  longing  for  spiritual  retirement, 
he  became  a  monk,  and  thus  sought  to  withdraw  from 
public  life.  On  the  death  of  Pelagius,  Gregory  by 
general  consent  was  raised  to  be  Pope,  and  for  fourteen 
years  discharged  the  duties  of  that  high  office  with 
earnestness  and  ability. 

The  best-known  rendering  from  Gregory  is — 
Father  of  mercies,  hear.  Audi,  benigne  Conditor. 

The  *  Veni,  Creator  Spiritus,'  so  excellently  rendered 
by  Bishop  Cosin,  and  retained  in  the  Prayer-Book 
Ordination  Service,  is  thought  by  some  to  be  by 
Gregory  : — 

Come,  Holy  Ghost,  our  souls  inspire,       Veni,  Creator  Spiritus, 
And  lighten  with  celestial  fire.  Mentes  tuorum  visita. 

This  magnificent  hymn  is  ascribed  by  Mone  in  his 
Hymni  Latini  Medii  s£.vi  to  Gregory  the  Great, 
although,  as  has  been  pointed  out,  it  is  popularly 
ascribed  to  Charlemagne,  although  without  good 
authority. 

VENANTIUS  FORTUNATUS — 530-609  A.D. 

Venantius  Fortunatus,  an  Italian  by  birth,  was  born 
in  the  province  of  Venetia  in  530.  His  hymns  form 
the  connecting  link  between  the  hymnology  of  the 
Ambrosian  period  and  that  of  the  Middle  Ages.  He 
seems  to  have  distinguished  himself  early  in  poetry  and 
oratory,  and  so  extensive  was  his  learning  that  he 
obtained  among  his  contemporaries  the  epithet  of 


Ante- Medieval  Era.  23 

'  scholasticissimus.'  His  youth  and  early  manhood 
were  spent  in  gaiety  and  pleasure ;  but  while  making  a 
pilgrimage,  in  the  thirty-fifth  year  of  his  age,  to  the 
tomb  of  the  holy  Martin  of  Tours,  he  was  aroused  to  a 
religious  fervour  which  had  a  marked  influence  upon 
his  future  career.  He  obtained  the  friendship  of  the 
celebrated  Gregory,  Bishop  of  Tours,  and  that  also  of 
the  holy  and  accomplished  Queen  Rhadegund,  who 
had  just  then  founded  a  large  monastic  institution  at 
Poitiers.  Through  the  influence  of  these  two  dis 
tinguished  persons  Fortunatus  was  induced  to  enter  the 
priesthood,  and  in  the  sixtieth  year  of  his  age  he  was 
promoted  to  be  Bishop  of  Poitiers.  The  following 
renderings  from  the  Latin  of  Fortunatus  are  best 
known  : — 

The  royal  banners  forward  go,  Vexilla  regis  prodeunt, 

The  Cross  shines  forth  in  mystic  glow.     Fulget  Crucis  mysterium. 

This  favourite  hymn  on  the  Passion  of  our  Lord  is 
a  translation  by  Dr.  Neale  from  the  Latin  of  Fortu 
natus.  The  translator  says  of  it  :  *  This  world-famous 
hymn,  one  of  the  grandest  in  the  treasury  of  the  Latin 
Church,  was  composed  by  Fortunatus  on  occasion  of 
the  reception  of  certairTTeTics  by  STTJiegofy "of  Tours 
and  S.  Rhadegund,~previously  to  the  consecration  of 
a  church  at  Poitiers.  It  is  therefore  strictly  and 
primarily  a  processional  hymn,  though  very  naturally 
afterwards  adapted  to  Passion-tide.'  It  will  be  noticed 
that  the  Cross  is  here  honoured  as  the  sacred  symbol  of 
Christ's  victory  over  death  and  the  grave,  while  the 
earlier  Christian  hymns  regard  it  with  horror  as  the 


24       Ancient  and  Medieval  Hymnology. 

instrument  of  the  Saviour's  Passion  and  ignominy,  and 
therefore  speak  of  it  as  the  accursed  tree.  In  the 
Roman  Breviary  the  last  two  verses  of  Fortunatus's 
hymn  are  replaced  by  these  words :  *  Hail,  Cross,  only 
hope  in  this  season  of  the  Passion  !  give  to  the  pious 
justice,  to  the  guilty  give  pardon.'  The  banners  of  the 
Cross  are  by  some  understood  to  mean  the  scourge, 
the  crown  of  thorns,  the  nails,  and  the  spear,  the 
emblems  of  the  Saviour's  Passion. 

Sing,  my  tongue,  the  glorious  battle,       Pange,  lingua,  gloriosi 
With  completed  victory  rife.  Proelium  certaminis. 

The  above  hymn  is  a  translation  by  Dr.  Neale  from 
the  Latin  of  Fortunatus.  The  translator  regards  this 
as  worthy  to  take  rank  in  the  very  first  class  of  Latin 
hymns,  and  thinks  that  its  original  beauty  has  suffered 
from  ill-judged  corrections  in  the  Roman  Breviary. 
Another  translation  of  the  Latin  stanzas,  by  the  Rev. 
Francis  Pott,  appears  in  Church  Hymns,  and  com 
mences 

Sing,  my  tongue,  the  Saviour's  glory, 

Tell  His  triumph  far  and  wide. 

VENERABLE  BEDE — 672-735  A.D. 

The  Venerable  Bede,  one  of  the  brightest  ornaments 
of  the  Anglo-Saxon  Church,  was  born  at  Jarrow  in  672, 
and  brought  up  in  the  monastery  of  Monk  Wearmouth. 
Subsequently  he  was  appointed  head  of  the  Jarrow 
monastery,  where  he  spent  his  life  in  writing  hymns 
and  sacred  literature.  He  writes :  '  I  have  used  all 
diligence  in  the  study  of  the  Holy  Scriptures,  and  in  the 


A  nte-Mediczval  Era.  2  5 

observance  of  the  conventual  rules,  and  the  daily  sing 
ing  in  the  church :  it  was  ever  my  joy  to  learn  or  to 
teach  or  to  write  something.' 

The  last  days  of  his  life  show  what  great  influence 
the  ancient  hymns  of  the  Church  had  on  Christian  men 
during  that  period.  In  his  last  sickness  '  he  lived 
joyfully,  giving  thanks  to  God  day  and  night,  yea,  at  all 
hours.  .  .  .  Every  day  he  gave  lessons  to  us  his  pupils, 
and  the  rest  of  his  time  he  occupied  in  chanting 
psalms.  He  sang  the  words  of  the  apostle  Paul.  He 
sang  much  besides  from  the  Holy  Scriptures,  and  also 
many  Anglo-Saxon  hymns.  He  sang  antiphons  accord 
ing  to  his  and  our  custom,  the  ancient  custom  which 
Ambrose  had  introduced  among  the  people  from  the 
East.'  He  dictated  to  a  monk  a  translation  of  the 
Gospel  of  St.  John.  When  the  last  sentence  was 
finished  Bede  said,  '  Raise  my  head  on  thy  hand,  for 
it  will  do  me  good  to  sit  opposite  my  sanctuary  where  I 
was  wont  to  kneel  down  to  pray.'  So  he  seated  himself 
down  on  the  ground  of  his  cell  and  sang  the  Glory  to 
Thee,  O  God,  Father,  Son,  and  Holy  Ghost,  and  when 
he  had  named  the  Holy  Ghost  he  breathed  his  last 
breath.'  Such  was  the  calm  deathbed  of  Bede  eleven 
centuries  ago. 

Eleven  hymns  have  been  attributed  to  the  Venerable 
Bede,  but  doubts  exist  on  the  authenticity  of  these. 
The  following  two  are  best  known  : — 

1.  A  hymn  for  martyrs  sweetly        Hymnum  canentes  martyrum. 

sing. 

2.  The  great  forerunner  of  the        Praecursor  altus  luminis. 


26       Ancient  and  Medieval  Hymnology. 

ST.  THEODULPH — DIED  821  A.D. 

St.  Theodulph  was  a  Latin  hymnist  of  the  ninth  cen 
tury.  He  was  born  in  Italy,  became  Abbot  of  a  Bene 
dictine  monastery  in  Florence,  and  died  Bishop  of 
Orleans  in  821.  The  best-known  rendering  from  this 
author  is — 

All  glory,  laud,  and  honour.  Gloria,  laus,  et  honor. 

This  hymn  has  attained  to  the  first  rank  of  Standard 
Hymns.  (See  Hymn  100.) 

'  GODESCALCUS — DIED  C.  868  A.D. 

Few  particulars  are  known  of  the  life  of  Godescalcus. 
As  a  hymn-writer  his  best  known  is  Dr.  Neale's  render 
ing  of  what  is  called  the  *  Alleluiatic  Sequence  : ' 

The  strain  upraise  of  joy  and  praise,  Alleluia  ! 
Cantemus  cuncti  melodum.    Alleluia  ! 

This  favourite  hymn  has  attained  to  the  first  rank  of 
Standard  Hymns.  (See  Hymn  69.) 

ST.    FULBERT    OF    CHARTRES DIED  C.   1029  A.D. 

St.  Fulbert  is  one  of  the  hymn-writers  of  the  tenth 
century.  He  was  educated  at  Rheims,  and  became 
Bishop  of  Chartres,  a  town  in  Brittany  about  forty  miles 
south-west  of  Paris.  His  best-known  hymn  is  that 
rendered  by  Robert  Campbell  in  1850,  viz. — 

Ye  choirs  of  New  Jerusalem.  Chorus  novae  Hierusalem. 

This  has  attained  a  place  in  the  third  rank  of  Standard 
Hymns.  (See  Hymn  325.) 


Ante- Mediczval  Era.  27 

ROBERT  II.,  KING  OF  FRANCE — 972-1031  A.D. 

Come,  thou  Holy  Spirit,  come,  Veni,  Sancte  Spiritus, 

And  from  Thy  celestial  home.  Et  emitte  coelitus. 

This  hymn,  known  as  the  'Golden  Sequence/  is  a 
translation  from  the  Latin  by  the  Rev.  Edward  Caswall. 
The  original  is  the  work  of  Robert  n.,  King  of  France, 
who  ascended  the  throne  about  1000  A.D.  Archbishop 
Trench,  in  his  Sacred  Latin  Poetry,  describes  it  as  '  the 
loveliest  of  all  the  hymns  in  the  whole  circle  of  Latin 
poetry.'  The  hymn  refers  to  the  sorrows  and  troubles 
of  his  turbulent  reign.  This  king  was  in  the  habit  of 
going  frequently  to  the  cathedral  of  St.  Denis,  and 
there  in  his  royal  robes,  along  with  the  monks,  he  took 
part  in  the  singing.  According  to  one  authority  Robert 
was  a  weak-minded  king,  but  others  describe  him  as 
pious,  learned,  and  musical. 

PETER  DAMIANI — 988-1072  A.D. 

Peter  Damiani,  a  contemporary  of  Robert  IL,  king 
of  France,  and  one  of  the  most  distinguished  hymn- 
writers  of  the  eleventh  century,  was  born  at  Ravenna, 
1 002.  He  became  a  pious  priest,  and  rose  to  be 
Cardinal  Bishop  of  Ostia  and  coadjutor  to  Gregory  vu. 
Late  in  life  he  retired  to  the  Abbey  of  Sta.  Croce 
d'Avellano,  and  spent  the  remainder  of  his  life  in 
devotion  and  sacred  song.  The  way  in  which  he 
realised  the  hour  of  death  is  shown  by  a  Commendatory 
Prayer,  which  he  composed  as  a  letter  to  a  dying  friend, 
and  which  has  ever  since  his  day  been  used  in  the 
Roman  Church.  It  thus  begins  :  '  To  God  I  commend 


28       Ancient  and  Medieval  Hymnology. 

thee,  beloved  brother,  and  to  Him  whose  creature  thou 
art  I  commit  thee.'  His  sacred  song  is  described  by 
Dr.  Neale  as  the  lovely  painting  of  Damiani.  He  died 
in  1072  at  the  age  of  seventy. 

Amongst  his  best-known  hymns  are — 

For  the  fount  of  life  eternal,  Ad  perennis  vitae  fontem, 

a  bold  translation  by  Rev.  John  Dayman.     '  The  Dies 

Irae  of  individual  life,'  a  remarkable  piece  rendered  by  Dr. 

Neale  in  his  Mediceval  Hymns  and  Sequences.    It  begins 

O  what  terror  in  thy  forethought, 
Ending  scene  of  mortal  life, 

and  is  an  awful  hymn  of  great   force   and   sublimity. 
Another  rendering  in  the  same  collection  is  the  hymn, 
O  Cross,  whereby  the  earth  is  blest,        Crux  mundi  benedictio, 
a  piece  of  great  beauty  and  quaintness. 

MEDIEVAL  HYMNS. 

GOLDEN  ERA. 

The  twelfth  century  has  aptly  been  called  the  *  harvest- 
field  of  mediaeval  hymns,'  the  Latin  hymns  of  an  earlier 
period  being  regarded  as  first-fruits,  while  those  of 
a  later  period  are  after-gleanings.  The  five  great 
hymnists  of  this  golden  era  are  St.  Bernard  of  Clair- 
vaux,  Bernard  of  Cluny,  Adam  of  St.  Victor,  Arch 
bishop  Hildebert,  and  Peter  the  Venerable. 

ST.  BERNARD — 1091-1153  A.D. 

St.  Bernard  of  Clairvaux,  whom  Luther  calls  '  the 
best  monk  that  ever  lived/  was  son  of  a  nobleman  of 


Mediaeval  Hymns.  29 

Burgundy.  He  became  a  Cistercian  monk,  and  founded 
the  new  monastery  of  Clairvaux,  of  which  he  became 
Abbot.  He  died  in  1153.  Three  renderings  from  St. 
Bernard  have  found  a  place  among  the  Standard  Hymns, 
viz.  '  Jesu,  the  very  thought  of  Thee ' — found  among 
first  rank  hymns, — '  O  Jesu,  King  most  wonderful,'  and 
1  Jesu  !  the  very  thought  is  sweet ' — found  in  third  rank 
hymns.  Other  renderings  worthy  of  notice  are — 

O  Jesu  !  Thou  the  beauty  art  Jesu  !  decus  angelicum 

Of  angel-worlds  above  In  aure  dulce  canticum 

— portion  of  a  Latin  poem  by  St.  Bernard  of  Clairvaux, 
written  about  1140  A.D.,  and  rendered  into  English  by 
Edward  Caswall,  M.A.,  in  1849.  It  forms  Part  in.  of 
Hymn  178  in  Hymns  Ancient  and  Modern.  The  three 
parts  consist  of  fifteen  stanzas,  but  as  the  original 
poem  known  as  '  Jubilus  rhythmicus  de  nomine  Jesu  ' 
('  Jubilee  rhythm  on  the  name  of  Jesu ')  contains  forty- 
eight  stanzas,  it  appears  that  the  three  portions  of  the 
English  hymn  include  scarcely  one-third  of  the  Latin 
poem. 

Jesu  !  Thy  mercies  are  untold        Amor,  Jesu  dulcissimus 
Through  each  returning  day 

— portion  of  St.  Bernard's  'Jubilee  rhythm  on  the  name 
of  Jesu,'  1140,  rendered  by  Edward  Caswall  in  1848. 
It  is  properly  a  cento,  and  the  above  corresponds  with 
stanza  12  of  the  original  poem.  Four  of  Caswall's 
well-known  hymns  are  translations  from  St.  Bernard's 
'  Jubilee  rhythm.' 

A  full  account  of  St.  Bernard  will  be  found  under 
Hymn  59,  'Jesu  !  the  very  thought  of  Thee.' 


30       Ancient  and  Mediaeval  Hymnology. 

•  BERNARD  OF  CLUNY. 

Bernard,  the  celebrated  monk  of  the  monastery  of 
luny,  is  accounted  one  of  the  five  great  hymn-writers  of 
the  twelfth  century.  His  great  work  is  '  De  Contemptu 
Mundi,'  a  Latin  poem  of  3000  lines.  A  large  portion 
of  this  poem  was  translated  by  Dr.  Neale ;  and  portions 
of  this  translation  form  some  of  our  favourite  hyitlns. 
Three  such  hymns  have  attained  to  the  first  rank  of 
the  Standard  Hymns,  namely,  'Jerusalem  the  golden,' 
'  Brief  life  is  here  our  portion,'  '  For  thee,  O  dear,  dear 
country.'  A  full  account  of  Bernard  and  his  celebrated 
Rhythm  will  be  found  under  Hymn  7,  *  Jerusalem  the 
golden.' 

The  world  is  very  evil,  Be  sober  and  keep  vigil, 

The  times  are  waxing  late,  The  Judge  is  at  the  gate. 

Hora  novissima,  tempora  pessima  sunt,  vigilemus, 
Ecce  minaciter  imminet  arbiter  itle  supremus. 

This  hymn,  consisting  of  ten  stanzas  of  four  lines 
each,  includes  the  opening  part  of  the  *  Rhythm  of 
Bernard  of  Cluny,'  translated  from  the  Latin  by  Dr. 
Neale.  The  moral  darkness  and  fearful  corruption 
of  the  age  caused  the  Cluniac  monk  to  believe  that 
the  cup  of  iniquity  was  full,  and  that  the  day  of  judg 
ment  was  nigh  at  hand.  The  opening  lines  of  his  noble 
poem  '  De  Contemptu  Mundi '  are  those  given  above. 

PETER  THE  VENERABLE — DIED  1156  A.D. 

Of  Bernard's  contemporaries,  <  Peter  the  Venerable ' 
was  bom  of  a  noble  family  of  Auvergne  in  1094  A.D.  In 


Medueval  Hymns.  3 1 

1 1 22  he  was  elected  Abbot  of  Cluny,  then  in  the  meri 
dian  of  its  monastic  fame.  For  the  long  period  of  thirty- 
four  years  he  ruled  the  monastery  with  gentle  sceptre, 
and  it  is  thought  that  his  talents  and  personal  influence 
were  second  only  to  those  of  the  illustrious  St.  Bernard. 
By  a  strange  coincidence  these  two  bright  ornaments  of 
the  Church  of  France  were  contemporaries,  so  that 
while  Peter  the  Venerable  was  the  head  of  Cluny,  St. 
Bernard  was  Abbot  of  the  neighbouring  monastery  of 
Clairvaux.  It  was  Peter  who  received  the  excommuni 
cated  Abelard  into  Cluny,  and  effected  a  reconciliation 
between  that  philosopher  and  his  theological  opponent 
St.  Bernard.  He  also  caused  the  Koran  to  be  trans 
lated  into  Latin  for  the  first  time.  He  wrote  many 
sacred  songs,  and  is  accounted  one  of  the  five  great 
Latin  hymn-writers  who  adorned  the  French  Church  in 
the  first  half  of  the  twelfth  century. 

ARCHBISHOP  HILDEBERT — DIED  1133  OR  1134  A.D. 

Hildebert,  one  of  the  five  great  hymnists  of  the 
twelfth  century,  was  born  of  humble  parents  in  Vendome 
in  1057.  He  became  Bishop  of  Mans  and  Archbishop 
of  Tours,  the  diocese  of  Bishop  Gregory  five  centuries 
before  Hildebert's  time.  He  was  a  wise  arid  gentle 
prelate,  but  courageous  also  when  the  cause  of  truth 
required  vindication.  He  was  a  prolific  hymnist,  and 
it  is  calculated  that  he  must  have  composed  above  ten 
thousand  sacred  verses.  Hildebert  died  in  1133  or 
1 134,  when  about  fourscore  years  of  age. 


3 2       Ancient  and  Mediceval  Hymnology. 

ADAM  OF  ST.  VICTOR — DIED  1192. 

Adam  of  St.  Victor,  one  of  the  great  hymnists  of  the 
twelfth  century,  is  called  in  history  a  Briton,  but  it  is 
uncertain  whether  he  was  a  native  of  Great  Britain  or 
of  Brittany.  In  1130  he  entered  the  hermitage  of  St. 
Victor,  a  religious  house  then  in  the  suburbs  of  Paris, 
but  now  the  spot  is  included  within  the  walls  of  that 
city. 

In  this  institution  Aciam  spent  sixty  years  of  his 
life,  and  here  he  died  in  1192.  Little  is  known  of  his 
life,  but  his  extensive  poetical  works  show  that  he  was  a 
man  of  literary  attainments  and  high  poetic  genius. 
Indeed,  some  writers  regard  him  as  the  greatest  of  all 
sacred  poets,  for  out  of  a  hundred  pieces  which  he  com 
posed  fifty  at  least  are  of  rare  excellence.  The  religious 
house  o'f  St.  Victor  produced  many  hymnists  during  the 
twelfth  and  thirteenth  centuries,  and  its  children  evidently 
remained  faithful  to  the  cultivation  of  sacred  song.  Arch 
bishop  Trench  in  his  Sacred  Latin  Poetry  says  :  '  Of  the 
life  of  St.  Victor,  the  most  fertile  and,  in  my  judgment,  the 
greatest  of  the  Latin  hymnologists  of  the  Middle  Ages, 
little  is  known.  His  profound  acquaintance  with  the 
whole  "~cftrcle  of  the  theology  of  his  day,  and  eminently 
with  its  exposition  of  Scripture,  the  abundant  and  admir 
able  use  which  he  makes  of  it,  delivering  as  he  thus  does 
his  poems  from  the  merely  subjective  cast  of  those  of  St. 
Bernard,  beautiful  as  they  are  :  the  exquisite  art  and 
variety  with  which  for  the  most  part  his  verse  is 
managed  and  his  rhymes  disposed — their  rich  melody 


I 

Mediceval  Hymns.  33 

multiplying  and  ever  deepening  at  the  close — the 
strength  which  often  he  concentrates  into  a  single  line, 
his  skill  in  conducting  a  story,  and,  most  of  all,  the 
evident  nearness  of  the  things  which  he  celebrates  to 
his  own  heart, — all  these  and  other  excellencies  render 
him,  as  far  as  my  judgment  goes,  the  foremost  amongst 
the  sacred  Latin  poets  of  the  Middle  Ages.  He  may 
have  no  single  poem  to  vie  with  the  austere  grandeur 
of  the  "  Dies  Irae,"  nor  yet  with  the  tearful  passion  of 
the  "  Stabat  Mater,"  but  then  it  must  not  be  forgotten 
that  these  stand  welmigh  alone  in  the  names  of  their 
respective  authors,  while  from  his  ample  treasure  are  a 
multitude  of  poems,  all  of  them  of  considerable,  some  of 
the  very  highest,  merit.  Indeed,  were  I  disposed  to 
name  any  one  who  might  dispute  the  palm  of  sacred 
Latin  poetry  with  him,  it  would  not  be  one  of  these, 
but  rather  Hildebert,  Archbishop  of  Tours.' 

Of  Adam's  hymns  the  best  known  are  those  trans 
lated  by  Dr.  Neale  for  the  Hymnal  Noted.  These 
are  '  The  Church  on  earth,  with  answering  love,  echoes 
her  mother's  joys  above '  (*  Supernae  Matris  gaudia '), 
and  '  The  praises  that  the  blessed  know '  ('  Harum 
laudum  praeconia').  Of  the  former  Neale  says,  *  This 
Sequence,  to  my  mind,  is  one  of  the  loveliest  Adam  ever 
wrote.' 

THIRTEENTH  CENTURY. 

As  regards  hymnology,  the  thirteenth  century  was 
distinguished  by  the  writings  of  four  Latin  hymnists  of 
considerable  fame.  These  were  St.  Bonaventura,  St. 

c 


34       Ancient  and  Mediceval  Hymnology. 

Thomas  Aquinas,  Thomas  of  Celano,  and  Jacobus  de 
Benedictis. 


ST.  BONAVENTURA  -  I22I-I274  A.D. 

Bonaventura  was  an  Italian,  born  in  Tuscany  in  1221. 
He  became  in  youth  a  friar  of  the  Order  of  St.  Francis 
of  Assisi,  and  went  to  Paris,  where  he  spent  many  years. 
He  proved  himself  a  theological  writer  of  considerable 
power,  and  exercised  a  great  personal  influence.  He 
was  raised  to  be  Bishop  of  Albano,  and  died  in  1274. 
Two  beautiful  hymns  by  this  Latin  author  are  — 

In  the  Lord's  atoning  grief.  In  passione  Domini. 

Praise  of  the  Cross.  Recordare  sanctae  crucis. 

The  former  English  rendering  is  by  Canon  Frederick 
Oakeley,  made  in  1841.  It  has  attained  a  place  in  the 
third  rank  of  Standard  Hymns.  (See  Hymn  313.) 


ST.  THOMAS  AQUINAS  —  1227-1274  A.D. 

Thomas  of  Aquino,  in  the  kingdom  of  Naples,  was 
the  son  of  the  Count  of  Aquino,  who  was  nephew  to  the 
Emperor  Frederic  i.  Thomas  was  educated  at  Monte 
Casino  and  Naples.  At  fifteen  years  of  age  he  joined 
the  Order  of  Dominican  preaching  friars.  He  lived 
for  many  years  at  Cologne  and  Paris,  where  he  wrote 
his  famous  work,  Defence  of  the  Monastic  Life.  He 
died  in  1274,  and  shortly  afterwards  was  canonised 
by  the  Romish  Church.  His  voluminous  works  are 
favourites  with  Roman  Catholics,  and  he  is  styled  the 


I 

Mediaeval  Hymns.  3  5 

'Angelic JDoctor.'  His  best-known  hymns  that  have 
come  down  to  us  are  those  rendered  by  Dr.  Neale, 
viz. — 

Now,  my  tongue,  the  mystery  telling.        Pange  lingua  gloriosi. 
Humbly  I  adore  Thee,  hidden  Deity.        Adoro  Te  devote,  latens 
Deitas. 


THOMAS  OF  CELANO. 

This  Latin  hymn-writer  of  the  thirteenth  century  was 
born  at  Celano,  near  Naples,  from  which  he  takes  the 
name  of  Thomas  of  Celano.  He  was  an  intimate 
friend  of  St.  Francis  of  Assisi,  and  became  a  member 
of  the  Order  of  Minorites.  He  wrote  the  Life  of  St. 
Francis,  a  work  held  in  high  honour  by  the  Order. 

The  work,  however,  by  which  Thomas  is  best  known 
is  his  magnificent  Latin  hymn,  '  Dies  Irae,'  by  many 
considered  to  be  the  finest  of  mediaeval  hymns. 

There  are  several  excellent  renderings  of  '  Dies  Irae, 
dies  ilia,'  viz.,  '  That  day  of  wrath,  that  dreadful  day,' 
rendered  by  Sir  Walter  Scott,  which  has  attained  a  place 
among  '  first  rank  '  hymns ;  while  Dr.  Irons's  rendering, 
*  Day  of  wrath,  O  day  of  mourning,'  and  Newton's  '  Day 
of  judgment,  day  of  wonders,'  have  attained  a  place 
among  *  second  rank  '  hymns. 

For  full  account  of  'Dies  Irae'  see  Hymn  96  in 
Standard  Hymns. 

JACOBUS  DE  BENEDICTIS — DIED  1306. 

At  the  cross  her  station  keeping,  Stabat  Mater  dolorosa, 

Stood  the  mournful  Mother  weeping,    Juxta  crucem  lacrymosa, 


*    , 
36      Ancient  and  Medieval  Hymnology. 

Where  He  hung,  the  dying  Lord.  Dum  pendebat  Filius, 

For  her  soul,  of  joy  bereaved,  Cujus  animam  gementem, 

Bowed  with  anguish,  deeply  grieved,  Contristantem  et  dolentem, 

Felt  the  sharp  and  piercing  sword.  Pertransivit  gladius. 

The  above  is  the  first  stanza  of  the  grand  Latin 
hymn,  the  '  Stabat  Mater.7 

Jacobus  de  Benedicts,  familiarly  known  as  Jacopone, 
was  a  native  of  Todi,  in  Umbria. 

Several  accurate  sketches  of  his  life  have  been  made 
recently,  and  it  appears  that  he  was  a  person  of  remark 
able  character.  The  date  of  his  birth  is  unknown,  but  as 
he  died  in  1306  at  an  advanced  age,  he  was  probably  born 
in  the  second  quarter  of  the  thirteenth  century,  about 
the  time  that  his  illustrious  compeer,  Thomas  of  Celano, 
author  of  *  Dies  Irae,'  departed  this  life.  Jacobus  was 
born  of  noble  parents,  followed  the  profession  of  a 
lawyer,  and  led  a  secular  life,  until  he  experienced 
a  deep  affliction.  His  pious  wife,  to  whom  he  was 
much  attached,  met  with  a  violent  death  through  an 
accident  at  a  theatre,  and  this  untoward  circumstance 
made  such  a  decided  impression  upon  his  mind  that  he 
resolved  to  withdraw  from  the  world,  and  devote  himself 
exclusively  to  the  services  of  the  religious  life.  Accord 
ingly  he  joined  the  Order  of  St.  Francis,  and  became  a 
lay  brother.  Although  the  Franciscan  Order  had  then 
been  established  for  little  more  than  half  a  century,  yet 
it  numbered  200,000  members,  possessed  thousands 
of  monasteries  throughout  Christendom,  and  enjoyed 
the  highest  reputation  for  humility  and  sanctity.  As  a 
hymnist  Jacobus  composed  numerous  spiritual  songs, 


Mediceval  Hymns.  3  7 

which  indicate  surpassing  poetic  talent.  His  chief 
work,  however,  was  the  world-renowned  *  Stabat  Mater 
dolorosa,'  one  of  the  most  pathetic  of  mediaeval  poems, 
and,  next  to  the  '  Dies  Irae,'  the  masterpiece  of  Latin 
hymriology. 

It  appears  from  a  recently  published  biography  by 
Ozanam  that  Jacobus  wrote  also  a  '  Stabat  Mater '  of 
the  Blessed  Virgin  by  the  cradle  of  Bethlehem,  as  well 
as  the  '  Stabat  Mater '  by  the  Cross  of  Calvary.  The 
former,  although  little  known,  possesses  much  poetic 
beauty,  but  it  is  nevertheless  far  inferior  to  his  better- 
known  masterpiece. 

The  '  Stabat  Mater  dolorosa,'  consisting  originally  of 
ten  stanzas  of  six  lines  each,  appears  in  the  Roman 
Missal  as  a  '  Mass  on  the  seven  griefs  of  the  Blessed 
Virgin  Mary.' 

It  was  composed  towards  the  end  of  the  thirteenth 
century,  and  therefore  about  fifty  years  after  the  '  Dies 
Irae.'  As  in  the  case  of  other  sacred  songs,  it  has  been 
ascribed  to  different  authors.  Some  say  it  was  the  work 
of  Bernard ;  others  that  of  certain  Popes.  The  whole 
matter  of  authorship  has  been  carefully  investigated 
of  late  years  by  Daniel,  and  the  result  shows  that  to 
Jacobus  belongs  the  sole  honour  of  this  sacred  piece. 

The  '  Stabat  Mater '  was  set  to  exquisite  music  by 
Rossini,  and  this  fact  has  largely  contributed  to  extend 
the  fame  of  the  poem,  more  especially  such  portions  as 
'  Cujus  animam,'  and  *  Sancta  Mater.' 

To  the  English  it  is  best  known  through  the  above 
translation,  found  in  Hymns  Ancient  and  Modern,  the 


38      Ancient  and  Mediceval  Hymnology. 

work  of  Bishop  Mant,  slightly  altered  by  the  compilers 
of  the  Hymnal.  The  rendering  consists  of  five  stanzas, 
and  represents,  therefore,  only  half  of  the  original. 

Jacobus  was  a  keen  humorist,  and  his  satires,  expos 
ing  as  they  did  the  moral  corruption  of  the  age,  dicl 
much  to  reform  the  religious  abuses  of  that  period, 
although  they  exposed  the  writer  to  charges  of  buf 
foonery  and  madness.  He  seems,  however,  to  have 
permitted  himself  to  be  considered  a  fool  that  he  might 
make  others  wise.  Many  anecdotes  are  related  illus 
trative  of  his  profound  piety.  On  one  occasion  his 
eyes  were  observed  to  be  suffused  with  tears,  and  on  being 
asked  the  cause  of  his  grief  he  replied,  '  Because  He 
who  is  Love  is  not  loved.' 

A  monument  was  erected  to  his  memory  at  his  native 
Todi  in  1 5  96,  that  is,  about  three  centuries  after  his  death. 
The  epitaph  on  the  stone  furnishes  the  key  to  Jacobus's 
character : — '  Ossa  B.  Jacoponi  de  Benedictis,  Tudertini, 
qui,  stultus  propter  Christum,  nova  mundum  arte  delusit 
et  caelum  rapuit.'  (The  bones  of  B.  Jacobus  de  Bene 
dictis,  of  Todi,  who,  a  fool  for  Christ's  sake,  deluded 
the  world  by  this  strange  wile  and  seized  heaven.) 


'PARIS  BREVIARY'  HYMNISTS. 
SEVENTEENTH  AND  EIGHTEENTH  CENTURIES. 
SANTOLIUS  MAGLORIANUS — 1628-1684. 

Santolius    Maglorianus   was    the    elder    brother    of 
Santolius  Victorinus,  and  was  born  in  Paris  in  1628. 


'  Paris  Breviary '  Hymnists.  39 

He  became  a  secular  monk  of  Magloire,  a  celebrated 
religious  college  of  Paris,  from  which  he  took  the  name 
Maglorianus,  his  real  name  being  Claude  de  Santeul. 
He  wrote  many  beautiful  hymns,  which  found  a  place 
in  the  Paris  Breviary.  Amongst  them  is 
Now,  my  soul,  thy  voice  upraising.  Prome  vocem  mens  canoram. 
The  English  rendering  is  by  John  Chandler  and  Sir 
H.  W.  Baker,  Bart. 

SANTOLIUS  VICTORINUS — 1630-1697. 

Santolius  Victorinus  was  a  Frenchman,  born  in  Paris 
in  1630.  His  real  name  was  Jean  Baptiste  de  Santeul. 
He  became  a  regular  canon  of  St.  Victor,  a  celebrated 
religious  house  in  Paris,  and  distinguished  himself  both 
as  an  author  and  hymn-writer.  His  best  hymns  are  to 
be  found  in  the  Paris  and  Cluny  Breviaries.  Amongst 
them  are — 

Disposer  supreme.  Supreme  quales  Arbiter. 

Rendered  by  ISAAC  WILLIAMS,  1839. 
Christ's  everlasting  messengers.  Christi  perennes  nuntii. 

Rendered  by  ISAAC  WILLIAMS. 
The  Heavenly  Child  in  stature  grows.       Divine  crescebas  Puer. 

Rendered  by  JOHN  CHANDLER,  1837. 
O  Sion,  open  wide  thy  gates.     Templi  sacratas  pande  Syon  fores. 

Rendered  by  EDWARD  CASWALL. 

Not  by  the  martyr's  death  alone.  Non  parta  solo  sanguine. 

First  of  martyrs,  Thou  whose  name.         O  qui  tuo,  dux  martyrum. 

CHARLES  COFFIN — 1676-1749. 

Charles  Coffin  was  a  Frenchman,  born  in  1676.  He 
was  a  scholarly  person,  and  became  Principal  of  the 


40       Ancient  and  Mediceval  Hymnology. 


University  of  Paris,  a  post  he  held  for  about  forty 
years,  till  his  death  in  1749.  It  is  said  that  under  his 
influence  the  University  rose  to  the  highest  pitch  of 
honour  and  success.  He  was  one  of  the  most  distin 
guished  of  the  Breviary  writers,  and  his  Latin  hymns, 
distinguished  for  pure  Latinity  and  sublimity  of  thought, 
were  composed  in  1736  for  the  Paris  Breviary.  The 
best-known  translations  of  Coffin's  hymns  are — 

Creator  of  the  world,  to  Thee,    Rendered  by  JOHN  MASON  NEALE. 


The  advent  of  our  King, 
On  Jordan's  bank  the  Baptist's  cry, 
As  now  the  sun's  declining  rays, 
What  star  is  this  with  beams  so  bright, 
Once  more  the  solemn  season  calls, 
O  Saviour,  who  for  man  hast  trod, 
Great  Mover  of  all  hearts,  whose  hand, 
Lo  !  from  the  desert  homes, 


JOHN  CHANDLER. 


ISAAC  WILLIAMS. 


CHAPTER   II. 

IRanft 

INDEX,  SUMMARY,  AND  ACCOUNT  OF  EACH. 

INDEX  OF  FIRST  RANK  HYMNS. 

List  of  the  105  First  Rank  Hymns,  arranged  in  order  of  merit, 
with  names  of  Authors,  Dates,  and  Number  of  Marks  of 
Approval. 

Order.  Hymns. 

1.  All  praise  to  Thee,  my  God,  this  night, 

2.  Hark  !  the  herald  angels  sing, 

3.  Lo  !  He  comes  with  clouds  descending, 

4.  Rock  of  Ages,  cleft  for  me, 

5.  Abide  with  me  :  fast  falls  the  eventide, 

6.  Awake,  my  soul,  and  with  the  sun, 

7.  Jerusalem  the  golden, 

8.  Jesu,  Lover  of  my  soul, 

k  9.  Sun  of  my  soul,  Thou  Saviour  dear,          \] 

10.  When  I  survey  the  wondrous  cross, 

11.  Holy  !  Holy  !  Holy  !  Lord  God  Almighty, 

12.  Jesus  Christ  is  risen  to-day, 

13.  Nearer,  my  God,  to  Thee, 

14.  Hark  !  the  glad  sound,  the  Saviour  comes, 

15.  How  sweet  the  name  of  Jesus  sounds, 

16.  Jerusalem,  my  happy  home, 

17.  From  Greenland's  icy  mountains, 

18.  Great  God,  what  do  I  see  and  hear, 

19.  O  God,  our  help  in  ages  past, 

20.  Saviour,  when  in  dust  to  Thee, 

21.  All  people  that  on  earth  do  dwell, 


Authors.                  Marks. 

Bp.  Ken, 

1697-1709. 

5i 

C.  Wesley, 

1739- 

51 

C.  Wesley, 

1758.  \ 

r  j 

Madan, 

1760.  ) 

O-1 

Toplady, 

1776. 

51 

Lyte, 

1847. 

49 

Bp.  Ken, 

1697-1709. 

49 

Neale,  1851, 

from  Ber- 

nardofCluny,     1150. 

49 

C.  Wesley, 

1740. 

49 

Keble, 

1827. 

49 

Watts, 

1709. 

49 

Heber, 

1811. 

48 

Anon., 

I750. 

47 

Adams, 

1840. 

47 

Doddridge, 

J735- 

46 

Newton, 

1779. 

46 

F.  Baker, 

1590. 

46 

Heber, 

1819. 

45 

Ringwaldt, 

1585- 

45 

Watts, 

1719. 

45  - 

Sir  R.  Grant, 

1815. 

45 

W.  Kethe, 

1561. 

44 

Index  of  First  Rank  Hymns. 


Order.  Hymns. 

22.  Brief  life  is  here  our  portion, 

23.  Come,  Holy  Ghost,  our  souls  inspire, 

24.  My  God,  my  Father,  while  I  stray, 

25.  Hail  the  day  that  sees  Him  rise, 

26.  Hail  to  the  Lord's  Anointed, 

27.  Hosanna  to  the  living  God, 

28.  Oft  in  danger,  oft  in  woe, 

29.  Thou  whose  almighty  word, 

30.  Come  let  us  join  our  cheerful  songs, 

31.  Glorious  things  of  thee  are  spoken, 

32.  O  worship  the  King, 

33.  The  Son  of  God  goes  forth  to  war, 

34.  Christ,  whose  glory  fills  the  skies, 

35.  Lord,  when  we  bend  before  Thy  throne, 

36.  Sweet  the  moments,  rich  in  blessing, 

37.  Christ  the  Lord  is  risen  to-day, 

38.  For  thee,  O  dear,  dear  country, 

39.  God  that  madest  earth  and  heaven, 

40.  Jesus  shall  reign  where'er  the  sun, 

41.  My  God,  and  is  Thy  table  spread, 

42.  O  Thou  from  whom  all  goodness  flows, 

43.  When  our  heads  are  bowed  with  woe, 

44.  Where  high  the  Heavenly  Temple  stands, 

45.  While  shepherds  watched  their  flocks  by  night, 

46.  All  hail,  the  power  of  Jesus'  name, 

47.  Come,  ye  thankful  people,  come, 

48.  Father  of  Heaven,  whose  love  profound, 

49.  God  moves  in  a  mysterious  way, 

^50.  How  bright  these  glorious  spirits  shine, 

51.  Jesus  lives,  no  longer  now, 

52.  O  Lord,  turn  not  Thy  face  from  me, 

53.  Our  blest  Redeemer,  ere  He  breathed, 

54.  Through  the  day  Thy  love  has  spared  us, 

55.  Children  of  the  Heavenly  King, 

56.  Glory  be  to  Jesus, 

57.  Go  to  dark  Gethsemane, 

58.  Guide  me,  O  Thou  great  Jehovah, 


A  uthors.  Marks. 

Neale,  1851,  from.  Ber- 


nard  of  Cluny, 

1150-      44 

Cosin,              I7th 

cent.      44 

Elliott, 

1834.       44 

C.  Wesley, 

1739-      43 

"    Montgomery, 

1831.      43 

Heber, 

1811.       43 

Kirke  White, 

1827.       42 

Marriott, 

1813.       42 

Watts,             1674 

-1748.       41 

Newton, 

1779.       41 

Grant, 

1839.       41 

Heber, 

1827.       41 

C.  Wesley, 

1740.       40 

Carlyle, 

1802.       40 

Allen  and  Shirley, 

1759. 

1774. 

40 

C.  Wesley, 

1739-      39 

Neale,  1851,  from  Ber 

nard  of  Cluny, 

1150-       39 

(  Heber, 

18271  i   so 

t  Whately, 

1855-  1   39 

Watts, 

1719.       39 

Doddridge, 

1775-       39 

Haweis, 

1800.      39 

Milman, 

1827.      39 

Bruce, 

1767.      39 

ht,  N.  Tate, 

1696.       38 

Perronet, 

1780.      37 

Alford, 

1844.      37 

Cooper, 

1808.       37 

Cowper, 

1773-       37 

C  Watts, 
I  Cameron, 

I709'  \  37 
1781.  J    J7 

(  Gellert, 
I  Cox, 

'757-  I   37 
1841.)    67 

Mardley, 

1562.       37 

Auber, 

1829.       37 

Kelly, 

1806.       37 

Cennick, 

1742.       36 

Caswall, 

1858.       36 

Montgomery, 

1820.       36 

W.  Williams, 

1760.       36 

Order.  Hymns. 

59.  Jesu,  the  very  thought  of  Thee, 

60.  O  God  of  Bethel !  by  whose  hand, 

61.  Ride  on,  ride  on,  in  majesty,  >. 

62.  Songs  of  praise  the  angels  sang,  \i 

63.  Through  all  the  changing  scenes  of  life, 

64.  Just  as  I  am,  without  one  plea, 

65.  New  every  morning  is  the  love,  \i 

66.  Praise,  my  soul,  the  King  of  heaven, 

67.  Praise  the  Lord  ;  ye  heavens,  adore  Him, 

68.  Soldiers  of  Christ,  arise, 

69.  The  strain  upraise  of  joy  and  praise, 

70.  There  is  a  land  of  pure  delight, 

71.  Thou  art  gone  up  on  high, 

72.  Ye  servants  of  the  Lord, 

73.  As  with  gladness  men  of  old, 

74.  Love  divine,  all  love  excelling, 

75.  O  come,  all  ye  faithful, 

76.  O  help  us,  Lord,  each  hour  of  need, 

77.  Thou  art  the  way,  to  Thee  alone, 

78.  Forth  in  Thy  name,  O  Lord,  I  go, 

79.  Lord,  dismiss  us  with  Thy  blessing, 

80.  Lord  of  mercy  and  of  might, 

81.  When  gathering  clouds  around  I  view, 

82.  Brightest  and  best  of  the  sons  of  the  morning, 

83.  Christians,  awake  !  salute  the  happy  morn, 

84.  Lord  of  the  worlds  above, 

85.  O  for  a  closer  walk  with  God, 

86.  Rejoice,  the  Lord  is  King, 

87.  The  Lord  shall  come,  the  earth  shall  quake, 

88.  Angels  from  the  realms  of  glory,  \j 

89.  As  pants  the  hart  for  cooling  streams, 

90.  Come,  gracious  Spirit,  Heavenly  Dove, 

91.  For  Thy  mercy  and  Thy  grace, 

92.  Lead  us,  Heavenly  Father,  lead  us, 

93.  Lord,  as  to  Thy  dear  Cross  we  flee, 

94.  Lord,  in  this  Thy  mercy's  day, 

95.  O  God,  unseen,  yet  ever  near, 

96.  That  day  of  wrath,  that  dreadful  day, 

97.  The  day  is  past  and  over,  \ 


ik  Hymns. 

43 

Authors. 

Marks. 

Caswall,  1840,  from 

St.  Bernard,         1150. 

36 

Doddridge,              1727. 

36 

Milman,                  1827. 

36 

Montgomery,          1819. 

36 

Tate  and  Brady,     1696. 

36 

Elliott,                     1836. 

35 

Keble,                     1822. 

35 

Lyte,                        1834. 

35 

Anon.,                     1809. 

35 

Wesley,                    1749- 

35 

Neale,  1863,  from 

Godescalcus,        950. 

35 

Watts,                     1709. 

35 

Toke,                       1853. 

35 

Doddridge,              1755. 

35 

Dix,                         1859. 

34 

C.  Wesley,              1747. 

34 

Oakeley,  1841,  from  Bon- 

aventura,  i3th  cent. 

34 

Milman,                   1837. 

34 

Doane,                     1824. 

34 

C.  Wesley,              I749- 

33 

Shirley,                     I772- 

33 

Heber,                     1812. 

33 

Grant,                       1806. 

33 

Heber,                     1811. 

32 

Byrom,                     I7^3. 

32 

Watts,                      1709. 

32 

Cowper,                   1779. 

32 

Wesley,                   1748- 

32 

Heber,                     1827. 

32 

Montgomery,          1825. 

3i 

Tate  and  Brady,     1709. 

3i 

Browne,                    1720. 

3i 

Downton,                1843. 

3i 

Edmeston,               1821. 

3i 

Gurney,                    1838. 

3i 

I.  Williams,            1840. 

3i 

Osier,                      1837. 

3i 

Scott,                      1805. 

31 

Neale,  1862,  from  St. 
Anatolius,  5th  cent. 


44 


Summary  of  First  Rank  Hymns. 


Order.  Hymns. 

98.  The  roseate  hues  of  early  dawn, 

99.  When  all  Thy  mercies,  O  my  God, 

100.  All  glory,  laud,  and  honour, 

101.  Art  thou  weary,  art  thou  languid, 


102.  Before  Jehovah's  awful  throne, 

103.  God  of  our  life,  to  Thee  we  call, 

104.  In  token  that  thou  shalt  not  fear, 

105.  Now  thank  we  all  our  God, 


Authors.  Marks. 

Alexander,  1848.       31 

Addison,  1712.       31 

Neale,  /m«  Theodulph 

of  9th  century.  30 

Neale,  from  Stephanos 

of  8th  century. 
(  Watts,  1719 

IJ.  Wesley,  1741 

Cowper,  1779.       3° 

Alford,  1832.      30 

Wink  worth,  from 

Rinkart,      1586-1649.       30 


30 
.  ) 
.  J    3 


SUMMARY  OF  FIRST  RANK  HYMNS. 

All  hymns   found  in  thirty  Hymnals   and  upwards 
have  been  classified  as  hymns  of  \hzfirst  rank. 

Of  these   there   are    105,    composed   by  54   hymn- 
writers,  of  whom — 

35  authors  contribute  I  hymn  each  =  35  hymns. 


y 
4 

9 

3 

10              ,  , 

12         ,, 

2 

4            » 

8      „ 

2 

7 

14      „ 

I 

8 

8      „ 

I 

10 

10         ,, 

54  authors. 

105  hymns. 

Arranging  the  hymn-writers  according  to  the  number 
of  hymns  contributed  by  each,  they  stand  as  follows  : — 


C.  Wesley, 

.   10 

Milman,    . 

3 

Lyte, 

.      2 

Watts,      . 

.     8 

Tait  and  Brady, 

3 

Newton,   . 

.      2 

Heber,      . 

•     7 

Alford,      . 

2 

Shirley,    . 

.      2 

Neale,       . 

•     7 

Anon., 

2 

Adams,     . 

.       I 

Doddridge, 

•     4 

Caswall,   . 

2 

Addison,  . 

.       I 

Montgomery, 

•     4 

Elliott,      . 

2 

Alexander, 

I 

Cowper,    . 

•     3 

Keble,      . 

2 

Auber, 

.       I 

Grant, 

•     3 

Ken, 

2 

Baker,  F., 

.       I 

Summary  of  First  Rank  Hymns.        45 


Browne,    . 

Doane,      . 

Oakeley,  . 

Bruce, 

Downton, 

Osier, 

Byrom, 

Edmeston, 

Perronet,  . 

Cameron, 

Gurney,    . 

Ringwaldt, 

Carlyle,     . 

Haweis,    . 

Rinkart,    . 

Cennick,   . 

Kelly,       .         . 

Scott, 

Cooper,     . 

Kethe, 

Toke, 

Cosin, 

Kirke  White,    . 

Toplady,  . 

Cox, 

Mardley,  . 

Williams,  I.,     . 

Dix, 

Marriott,  . 

Williams,  W.,  . 

Arranging  the  above   105   hymns  according  to   the 
initial  letter  of  the  first  word  it  is  found  that 


12  commence  with  T 

8  commence  with  H 

3  commence  with  N 

ii               ,              O 

8 

J 

3 

R 

10 

A 

6 

W 

2 

M 

9 

L 

5 

F 

2 

P 

8 

c 

5 

S 

I 

I 

8 

•XT  

G 

B 

««    T\      T71 

I 

v    r\    TT    ^ 

Y 

T       r? 

Number  of  First  Rank  Hymns  found  in  the  chief 

Hymnals. 

Of  the  best-known  Hymnals  now  used  in  the  Church 
of  England  it  is  interesting  to  notice  how  many  hymns 
of  the  first  rank  are  found  in  each.  Thus  out  of  105 
hymns  aforenamed — 

1.  The  Hymnal  Companion     .         .         .     contains  103 

2.  The  Church  of  England  Hymn-Book  ,, 

3.  Church  Hymnal  (Irish)         .         .         .          ,, 

4.  The  Westminster  Abbey  Hymn-Book  ,, 

5.  Church  Hymns  (S.  P. C.K.)  .         .          „ 

6.  Hymns  Ancient  and  Modern         .         .         ,, 

7.  Hymnal  Noted , 

8.  The  People's  Hymnal .         .         .         .         ,, 

Hymns  of  the  First  Rank  omitted. 

The  Hymnal  Companion  omits  2 — 
56.  Glory  be  to  Jesus. 
76.  O  help  us,  Lord,  each  hour  of  need. 


102 

99 
98 

97 
90 
82 
65 


46       Summary  of  First  Rank  Hymns. 

The  Church  of  England  Hymn- Bo  ok  omits  3 — 
41.  My  God,  and  is  Thy  table  spread. 

59.  Jesu  !  the  very  thought  of  Thee. 

60.  O  God  of  Bethel !  by  whose  hand. 

Church  Hymnal  (Irish)  omits  6,  viz. — 
25.  Hail  the  day  that  sees  Him  rise. 
72.  Ye  servants  of  the  Lord. 

87.  The  Lord  shall  come,  the  earth  shall  quake. 

88.  Angels  from  the  realms  of  glory. 

96.  That  day  of  wrath,  that  dreadful  day, 
105.  Now  thank  we  all  our  God. 

The  Westminster  Abbey  Hymn-Book  omits  7,  viz. 
32.  O  worship  the  King. 
36.   Sweet  the  moments,  rich  in  blessing. 
56.  Glory  be  to  Jesus. 

84.  Lord  of  the  worlds  above. 

87.  The  Lord  shall  come,  the  earth  shall  quake. 

88.  Angels  from  the  realms  of  glory. 
103.  God  of  our  life,  to  Thee  we  call. 

Church  Hymns  (S.P.C.K.)  omits  8,  viz. — 

59.  Jesu  !  the  very  thought  of  Thee. 

87.  The  Lord  shall  come,  the  earth  shall  quake. 

85.  O  for  a  closer  walk  with  God. 

90.  Come,  gracious  Spirit,  Heavenly  Dove. 
93.  Lord,  as  to  Thy  dear  cross  we  flee. 
96.  That  day  of  wrath,  that  dreadful  day. 
99.  When  all  Thy  mercies,  O  my  God. 
102.  Before  Jehovah's  awful  throne. 

Hymns  Ancient  and  Modern  omits  15,  viz. — 
31.  Glorious  things  of  thee  are  spoken. 
55-  Children  of  the  Heavenly  King. 

60.  O  God  of  Bethel !  by  whose  hand. 
70.  There  is  a  land  of  pure  delight. 
74.  Love  divine,  all  love  excelling. 

79.  Lord,  dismiss  us  with  Thy  blessing. 

80.  Lord  of  mercy  and  of  might. 
84.  Lord  of  the  worlds  above. 


Account  of  First  Rank  Hymns.         47 

87.  The  Lord  shall  come,  the  earth  shall  quake. 

81.  When  gathering  clouds  around  I  view. 

88.  Angels  from  the  realms  of  glory. 

82.  Brightest  and  best  of  the  sons  of  the  morning. 
85.  O  for  a  closer  walk  with  God. 

99.  When  all  Thy  mercies,  O  my  God. 
1 02.   Before  Jehovah's  awful  throne. 

Hymnal  Noted  omits  23  hymns. 

The  People's  Hymnal  omits  40  hymns. 


I.  All  praise  to  Thee,  my  God,  this  night, 
For  all  the  blessings  of  the  light. 

This  much-prized  Evening  Hymn  was  composed  by 
Bishop  Ken,  and  appeared  in  his  edition  of  A  Manual 
of  Prayer s,  published  in  1700. 

The  original  consisted  of  twelve  stanzas,  including  the 
Doxology,  but  seven  of  these  are  usually  omitted  in  our 
present  Hymnals.  In  the  edition  of  Ken's  hymns  for 
1709  we  find  the  Bishop's  latest  corrections  and  im 
provements. 

In  earlier  editions  the  first  line  of  the  first  stanza  was 
'Glory  to  Thee,  my  God,  this  night.'  It  was  in  1709 
corrected  to  '  All  praise,'  etc.  Again,  the  third  stanza 
was  corrected  from 

Teach  me  to  die,  that  so  I  may 
Triumphing  rise  at  the  last  day, 

to 

To  die,  that  this  vile  body  may 
Rise  glorious  at  the  awful  day. 

The  c  Midnight  Hymn '  is  comparatively  seldom  seen, 
although  it  is  generally  considered  to  be  equal  in  senti 
ment  and  poetic  beauty  to  match  the  other  two. 


48         Account  of  First  Rank  Hymns. 

The  original  consists  of  thirteen  stanzas.  The  seventh 
is  perhaps  the  best  known,  and  runs  thus  : — 

All  praise  to  Thee,  in  light  arrayed, 
Who  light  Thy  dwelling-place  hast  made  ; 
A  boundless  ocean  of  bright  beams 
From  Thy  all-glorious  Godhead  streams. 

Thomas  Ken  was  born  in,  1637  at  Berkhampstead, 
Hertford,  where,  a  century  afterwards,  the  hymnist 
Cowper  also  was  born.  Ken  lost  his  parents  when  but 
a  youth,  and  his  early  education  was  directed  by  his 
eldest  sister  Ann — the  lady  who  afterwards  became  the 
wife  of  Izaak  Walton,  author  of  The  Complete  Angler. 
At  thirteen  years  of  age  he  was  sent  to  Winchester 
College,  where  he  studied  for  five  years,  after  which  he 
entered  Oxford,  and  was  ordained  a  clergyman  at  the 
age  of  twenty-four.  In  1666  Ken  was  elected  to  a 
Fellowship  in  the  College  of  Winchester,  and  forthwith 
he  manifested  great  interest  in  the  spiritual  interest  of 
the  scholars.  The  next  year  he  became  rector  of 
Brighstone  in  the  Isle  of  Wight,  a  place  famous  as  the 
village  where  William  Wilberforce  wrote  his  well-known 
Practical  Christianity.  In  1674  Ken  wrote  a  small  book 
entitled  A  Manual  of  Prayers,  designed  primarily  for  the 
use  of  Winchester  scholars.  This  volume  proved  useful 
to  George  Whitefield,  and  as  it  still  exists,  it  may  be  com 
mended  as  a  fitting  companion  to  any  young  man.  A 
quarter  of  a  century  afterwards  he  appended  to  this 
Manual  his  well-known  Morning,  Midnight,  and  Evening 
Hymns.  In  the  edition  of  the  Manual  published  in 
1700,  the  three  hymns  are  printed,  and  mentioned  in 


Account  of  First  Rank  Hymns.          49 

the  title  of  the  book,  with  the  words  '  not  in  the  former  - 
editions  by  the  same  author.' 

The  hymns  and  prayers  are  alike  in  the  clearness  and 
simplicity  of  their  sentiments.  It  is  moreover  thought 
that  the  hymns  were  known  many  years  before  they 
were  embodied  in  the  Manual  of  Prayers,  and  that  on 
broadsheets  they  were  hung  against  the  wall  in  the  sleep 
ing  apartments  of  the  Winchester  scholars. 

'  How  many  thousands  on  thousands  of  every  following 
generation  throughout  the  Christian  world  have  found 
each  day  a  devout  bias  given  to  their  souls  by  his 
Morning  Hymn,  "  Awake,  my  soul,  and  with  the  sun  "  ! 
How  many  a  family  circle  has  finished  the  day  in  peace 
while  singing  his  Evening  Hymn,  "All  praise  to  Thee, 
my  God,  this  night "  !  And  how  many  a  lonely  wakeful 
saint,  and  many  a  band  of  holy  watchers,  have  had  dark 
ness  turned  into  light  by  the  music  of  the  Midnight 
Hymn,  "  Glory  to  Thee  in  light  arrayed  " !'  After  many 
changes  and  preferments,  Ken  was  made  Chaplain  to 
King  Charles  n.,  and  attended  that  unhappy  monarch  in 
his  dying  hours.  In  1684  he  was  created  Bishop  of  Bath 
and-Wdls,  but  seven  years  afterwards  was  deprived  of  his 
See,  after  being  committed  to  the  Tower  of  London,  be 
cause  he  refused  to  read  the  '  Declaration  of  Indulgence ' 
introduced  by  James  n.  In  1704  he  received  a  pension 
of  ^200  a  year  from  Queen  Anne,  and  retired  to  Long- 
leat  in  Wiltshire,  where,  after  many  years  of  suffering, 
he  died  in  1 7 1 1.  In  accordance  with  the  Bishop's  dying 
request,  he  was  buried  in  the  early  morn  at  Frome, 
'under  the  east  window  of  the  chancel,  just  at  sun- 
D 


50          Account  of  First  Rank  Hymns. 

rising.'  It  is  said,  that  as  the  day  dawned  on  his  grave, 
and  the  sun  began  to  light  up  the  brightening  horizon, 
the  friends  burst  out  into  the  beautiful  words  of  his 
never-dying  hymn,  'Awake,  my  soul,  and  with  the  sun/ 
Bishop  Ken  was  a  pious,  earnest,  laborious  Christian. 
Dryden,  his  contemporary,  took  him  as  a  model  for  his 
c  good  parson,'  and  thus  pictures  the  saintly  man  : — 

.  .   .   Letting  down  the  golden  chain  from  high, 
He  drew  his  audience  upward  to  the  sky  : 
And  oft  with  holy  hymns  he  charmed  their  ears, 
(A  music  more  melodious  than  the  spheres)  : 
For  David  left  him,  when  he  went  to  rest, 
His  lyre  j  and  after  him  he  sung  the  best. 


2.  Hark  !  the  herald  angels  sing 
Glory  to  the  new-born  King. 

This  noble  Christmas  hymn  is  one  of  the  most 
popular  in  the  English  language.  It  is  by  Charles 
Wesley,  and  first  appeared  in  1739  in  Hymns  and  Sacred 
Poems  by  John  and  Charles  Wesley.  The  author  was 
little  more  than  thirty  years  old  when  he  wrote  it,  and 
about  a  year  before  his  soul  had  passed  through  some 
remarkable  spiritual  experience  which  enabled  him  to 
say,  *  O  taste  and  see  that  the  Lord  is  good  :  blessed  is 
the  man  that  trusteth  in  Him.'  The  original  consisted 
of  five  double  stanzas,  and  is  entitled  *A  Hymn  for 
Christmas  Day/  The  last  two  stanzas  are'  generally 
omitted  in  modern  Hymnals ;  but  it  is  no  uncommon 
thing  to  meet  with  a  fourth  stanza  made  up  of  parts  of 
the  two  last  stanzas  of  the  original ;  thus  : — 


Account  of  First  Rank  Hymns.          51 

Come,  Desire  of  nations,  come,  \ 

Fix  in  us  Thy  humble  home  ;  f     This  is  first  half 

Rise,  the  woman's  conquering  Seed,    I     of  fourth  stanza. 

Bruise  in  us  the  serpent's  head.  ; 

Adam's  likeness,  Lord,  efface  ;  \ 

Stamp  Thy  image  in  its  place.  (     This  is  first  half 

O  to  all  Thyself  impart,  (       of  fifth  stanza. 

Form'd  in  each  believing  heart. 

Charles  Wesley  thus  commenced  the  hymn  : — 

Hark  !  how  all  the  welkin  rings 
Glory  to  the  King  of  kings. 

Twenty  years  afterwards,  in  1760,  this  was  altered,  either 
by  John  Wesley  or  by  Madan,  a  contemporary  hymnist, 
to 

Hark  !  the  herald  angels  sing 

Glory  to  the  new-born  King. 

This  couplet  is  sung  as  a  refrain  at  the  end  of  each 
stanza,  and  constitutes  the  most  familiar  lines.  The 
hymn,  in  some  way  unknown,  was  printed  at  the  end  of 
Tate  and  Brady's  'New  Version  of  Metrical  Psalms/ 
annexed  to  the  Book  of  Common  Prayer,  and  this  fact 
has  doubtless  rendered  it  more  familiar  to  Churchmen ; 
but  apart  from  this,  there  is  an  intrinsic  beauty  in  the 
hymn  that  has  rendered  it  a  universal  favourite.  It  is 
invariably  sung  in  all  the  Churches  at  Christmas-tide, 
and  Christmas  Day,  with  its  many  hallowed  associations, 
is  made  more  joyous  by  the  gladdening  strains  of 

Hark  !  the  herald  angels  sing. 

Charles  Wesley,  the  celebrated  hymnist  of  the  Wesley 
family,  was  the  third  son  of  Samuel  Wesley,  and  was 
born  at  Epworth  in  1708.  He  was  five  years  younger 


52         Account  of  First  Rank  Hymns. 

than  his  brother  John,  the  founder  of  the  Wesleyan 
denomination.  Educated  at  Westminster  and  Oxford, 
he  took  holy  orders  in  1735,  and  married  in  1749  Miss 
Gwynne,  a  lady  of  good  family  of  Brecknockshire. 
Of  their  offspring,  two  sons,  Charles  and  Samuel,  became 
noted  musicians. 

While  John  Wesley,  by  his  natural  firmness  and  un 
wonted  zeal,  was  well  fitted  to  be  a  religious  reformer, 
Charles  was  a  man  of  more  genial  spirit  and  happy 
piety,  and  considered  liveliness  and  laughter  quite  com 
patible  with  religion.  It  is  said  that  from  the  year  1740 
he  continued  to  write  hymns  without  intermission  almost 
up  to  the  day  of  his  death.  He  became  the  sweet 
hymnist  of  Wesleyanism,  and  many  of  his  hymns  are 
justly  prized  by  all  Christians.  In  the  Wesleyan  Hymn- 
book,  out  of  770,  Charles  Wesley  wrote  623,  and  Isaac 
Watts  66  ;  so  that  700  hymns,  save  one,  were  composed 
by  these  two  hymnists.  In  the  preface  to  the  collection 
Wesley  states  the  simple  truth  when  he  says  :  '  In  these 
hymns  there  is  no  doggerel,  no  botches,  nothing  put  in 
to  patch  up  the  rhyme,  no  feeble  expletives.  There  is 
nothing  turgid  or  bombastic  on  the  one  hand,  or  low  and 
creeping  on  the  other.  Here  are  no  cant  expressions, 
no  words  without  meaning.  Here  are  both  the  purity, 
the  strength,  and  the  elegance  of  the  English  language, 
and  at  the  same  time  the  utmost  simplicity  and  plain 
ness  suited  to  every  capacity.' 

Besides  this  collection,  Charles  published  many 
volumes  of  hymns,  and  it  is  considered  that  altogether 
he  wrote  six  thousand  hymns.  Most  of  these  are 


of  First  Rank  Hymns.         5  3 

seldom  used,  but  for  the  most  part  they  are  distinguished 
for  poetic  beauty  and  fervent  spirituality.  Indeed,  in  the 
number  and  excellence  of  his  hymns  Charles  Wesley,  is 
not  only  pre-eminently  the  '  Bard  of  Methodism,'  but  he 
is  generally  regarded  as  the  *  Prince  of  Hymnists.' 
He  died  in  1788,  in  the  eightieth  year  of  his  age. 

3.  Lo  !  He  comes  with  clouds  descending, 
Once  for  favoured  sinners  slain. 

This  Advent  hymn,  said  to  be  one  of  the  finest  hymns 
ever  written,  is  for  the  most  part  the  work  of  Charles 
Wesley,  and  is  founded  upon  Rev.  i.  7  ;  '  Behold,  He 
cometh  with  clouds ;  and  every  eye  shall  see  Him,  and 
they  also  which  pierced  Him  :  and  all  kindreds  of  the 
earth  shall  wail  because  of  Him.  Even  so,  Amen.' 

It  is  generally  thought  that  the  germ  of  this  noble 
hymn  was  suggested  to  Wesley  by  a  hymn  that  appeared 
in  1752  in  a  Dublin  collection  entitled  Sacred  Hymns, 
written  by  John  Cennick,  a  contemporary  hymnist. 
Cennick's  hymn  contains  four  stanzas,  of  which  the  first 
runs  thus : — 

Lo  !  He  cometh,  countless  trumpets 
Blow  to  raise  the  sleeping  dead, 

Mid  ten  thousand  saints  and  angels 
See  the  great  exalted  Head. 
Hallelujah  ! 

Welcome,  welcome  !  Son  of  God. 

To  Cennick's  hymn  belongs  the  credit  of  being  the  first 
attempt  to  render  the  thoughts  and  sentiments  of  the 
'  Dies  Irae '  in  this  fine  appropriate  measure,  the  flowing 


54          Account  of  First  Rank  Hymns. 

majestic  lines  first,  then  the  first  trumpet-note  of  the 
chorus,  then  the  full  sounding  line  at  the  close ;  upon 
which,  to  change  the  figure,  the  whole  stanza  rests  grace 
fully  but  firmly.  There  are  many  pieces  written  after 
wards  upon  the  same  subject  in  the  same  metre. 

It  is  evident  that  Charles  Wesley  a  -few  years  after 
imitated,  both  in  style  and  sentiment,  Cennick's  imita 
tion  of  the  *  Dies  Irae,'  when  he  wrote  the  well-known 
'  Lo  !  He  comes  with  clouds  descending.'  Wesley's 
hymn  appeared  in  1758,  in  his  Hymns  of  Intercession  for 
all  Mankind,  a  collection  of  forty  suited  to  the  circum 
stances  of  the  country.  England,  and  indeed  almost  all 
Europe,  was  in  a  state  of  warfare ;  and  consequently  this 
collection  contains  hymns  for  the  King  and  all  in  autho 
rity,  for  soldiers  and  sailors,  as  well  as  for  all  prisoners 
and  captives.  In  1 7  60  Madan,  a  contemporary  hymnist, 
added  two  stanzas  to  Wesley's  hymn,  commencing  re 
spectively  '  Every  island,  sea,  and  mountain,'  and  '  Now 
redemption,  long  expected.'  The  four  well-known 
stanzas  by  Wesley  are  those  respectively  commencing — 

'  Lo  !  He  comes  with  clouds  descending. ' 
'  Every  eye  shall  now  behold  Him.' 
'Those  dear  tokens  of  His  Passion.' 
'Yea,  Amen,  let  all  adore  Thee.' 

There  is  an  erroneous  notion  that  this  fine  composi 
tion  is  the  work  of  Thomas  Olivers,  a  contemporary  of 
Wesley,  but  there  is  no  foundation  for  this  opinion,  and 
the  popular  error  probably  arose  thus.  About  this  time, 
namely  in  1757,  an  Advent  hymn  of  twelve  stanzas  was 
written  by  Thomas  Olivers,  a  hymn-writer.  In  measure 


Account  of  First  Rank  Hymns.          55 

and  in  sentiment  it  resembles  Wesley's,  and,  strange  to 
say,  commences  in  the  same  words,  '  Lo  !  He  comes 
with  clouds  descending.'  Olivers  wrote  a  tune  for  his 
own  hymn,  the  melody  of  which  was  taken  from  the 
music  of  a  street  song.  This  tune  suited  Wesley's 
hymn,  and  was  accordingly  set  to  it  in  Wesley's  Sacred 
Melody,  published  in  1760.  The  tune  for  a  long  time 
was  called  'Olivers,'  from  its  author,  and  seeing  this 
name  in  the  Sacred  Melody ',  the  public  got  the  idea  that 
both  tune  and  hymn  were  by  Olivers.  The  tune  is  now 
called  '  Helmsley,'  and  is  admirably  suited  for  Wesley's 
noble  composition. 

4.  Rock  of  Ages,  cleft  for  me, 
Let  me  hide  myself  in  Thee. 

This  world-renowned  hymn  is  from  the  pen  of 
Augustus  Montague  Toplady.  He  was  the  son  of  Major 
Toplady,  and  was  born  at  Farnham,  Surrey,  in  1740.  In 
childhood  he  was  brought  up  under  the  loving  care  of 
a  pious  mother,  and  throughout  life  Toplady  retained  a 
deep  and  lasting  sense  of  his  mother's  kindness. 

In  early  manhood  he  wrote  several  '  Poems  on 
Sacred  Subjects,'  which  gave  promise  of  his  poetic 
ability.  At  the  age  of  twenty-three  he  was  ordained  a 
clergyman  of  the  Church  of  England,  and  six  years 
afterwards  became  Vicar  of  Broadhembury,  a  seques 
tered  village  amid  the  beautiful  hills  of  eastern  Devon. 
Here,  by  the  banks  of  the  Otter  stream,  and  among  the 
peaceful  hills,  he  composed  most  of  his  spiritual  songs. 


* 
56          Account  of  First  Rank  Hymns. 

The  moist  air  of  Devonshire  was  thought  to  be  injuri 
ous  to  his  weak  lungs,  and  at  the  advice  of  his  medical 
man  Toplady  removed  to  London  in  1775,  where  he 
preached  for  more  than  two  years.  '  With  fast  failing 
health  he  continued  the  services,  preaching  with  the 
solemnity  of  a  voice  from  the  tomb,  and  the  joy  of  one 
on  the  very  verge  of  heaven.  At  all  times  an  impressive 
preacher,  his  peculiar  circumstances  lent  additional 
weight  to  his  words.'  In  the  closing  scene  of  his  life 
he  remarked,  '  Sickness  is  no  affliction,  pain  no  curse, 
death  itself  no  dissolution.  I  have  such  an  abiding 
sense  of  God's  goodness,  and  of  the  certainty  of  my 
being  fixed  upon  the  Eternal  Rock,  Jesus  Christ,  that 
my  soul  is  still  filled  with  peace  and  joy.'  '  Upon  his 
doctor  informing  him,  in  answer  to  his  inquiry,  that  his 
pulse  was  becoming  weaker  and  weaker,  he  replied, 
"  Why,  that  is  a  good  sign  that  my  death  is  fast  approach 
ing  ;  and,  blessed  be  God  !  I  can  add  that  my  heart 
beats  every  day  stronger  and  stronger  for  glory." 
And  after  many  other  beautiful  Christian  words,  he  said, 
when  close  to  his  end,  bursting  into  tears  of  joy  as  he 
spoke,  "  It  will  not  be  long  before  God  takes  me,  for  no 
mortal  man  can  live  after  the  glories  which  God  has 
manifested  to  my  soul."  He  died  in  the  thirty-eighth 
year  of  his  age,  and  was  thus  early  called  to  join  the 
heavenly  choirs.' 

Montgomery  says,  '  Toplady  evidently  kindled  his 
poetic  torch  at  that  of  his  contemporary,  Charles  Wesley.' 
In  doctrine  he  was  a  strict  Calvinist,  and  stoutly  opposed 
the  idea  of  full  and  free  salvation  taught  by  the  Wesleys. 


Account  of  First  Rank  Hymns.  57 

His  language  in  controversy  was  severe,  but  his  hymns 
are  sweet  and  gentle. 

The  justly  prized  hymn  '  Rock  of  Ages,  cleft  for 
me,'  first  appeared  in  the  Gospel  Magazine  for  March 
1776,  with  the  title,  'A  living  and  dying  prayer  for 
the  holiest  believer  in  the  world.'  This  title  was  aimed 
against  the  doctrine  of  '  absolute  perfection,'  which 
Toplady  erroneously  suspected  Wesley  of  preaching. 
The  leading  thoughts  of  the  hymn  are  manifestly 
founded  upon  Isaiah  xxvi.  4, '  The  Lord  Jehovah  is  the 
Rock  of  Ages,'  and  Exodus  xxxiii.  22,  '  I  will  put  thee 
in  a  clift  of  the  rock,  and  will  cover  thee  with  my  hand 
while  I  pass  by.'  Dr.  Pusey  calls  it  'the  most  .de 
servedly  popular  hymn,  perhaps  the  very  favourite.' 
Assuredly  it  is  considered  by  many  to  be  the  finest 
hymn  in  the  English  language.  It  was  a  great  favourite 
with  the  late  Prince  Consort,  and  afforded  him  much 
comfort  in  his  dying  hours. 

Dr.  Pomeroy,  during  his  pilgrimage  in  the  East,  found 
his  way  into  an  Armenian  church  at  Constantinople. 
The  people  were  singing.  The  language  of  their  hymn 
was  foreign  ;  but  it  was  evident  that  the  singers  were  in 
earnest,  and  that  there  was  a  deep  feeling  in  the  words 
of  their  song.  The  music  was  a  simple  melody.  All 
sang  with  closed  eyes,  but  as  the  strain  continued,  tears 
were  starting,  and  trickling  down  many  a  cheek.  Dr. 
Pomeroy  would  fain  have  joined  in  the  plaintive,  tender, 
yet  glowing  hymn.  What  were  they  singing  ?  The 
stanzas  were  translated,  and  at  once  were  recognised  as 
the  world-renowned  hymn,  '  Rock  of  Ages,  cleft  for  me.' 


58         Account  of  First  Rank  Hymns. 

5.    Abide  with  me  :  fast  falls  the  even-tide  ; 
The  darkness  deepens  ;  Lord,  with  me  abide. 

This  well-known  hymn  was  composed  by  Henry  Francis 
Lyte,  born  in  1793  at  Ednam,  near  Kelso,  the  birth 
place  also  of  James  Thomson,  author  of  The  Seasons. 
He  took  holy  orders,  and  in  1823,  when  thirty  years  of 
age,  was  appointed  perpetual  curate  of  Lower  Brixham, 
Devon,  where  for  about  a  quarter  of  a  century  he 
laboured  amongst  the  warm-hearted,  rough  seafaring 
population.  In  the  autumn  of  1847,  the  increasing 
weakness  of  his  constitution  demanded  change  and 
repose,  and  his  medical  advisers  accordingly  urged  him 
to  pass  the  coming  winter  in  a  more  genial  clime. 
'  They  tell  me,'  said  he,  '  that  the  sea  is  injurious  to  me. 
I  hope  not,  for  I  know  of  no  divorce  I  would  more 
deprecate  than  from  the  lordly  ocean.  From  childhood 
it  has  been  my  friend  and  playmate,  and  never  have  I 
been  weary  of  gazing  on  its  beautiful  face.  Besides,  if 
I  cannot  live  by  the  sea,  adieu  to  poor  Berry  Head, 
adieu  to  the  wild  birds  and  wild  flowers,  and  all 
the  objects  that  have  made  my  old  residence  so 
attractive.  ...  I  am  meditating  flight  again  to  the 
South.  The  little  faithful  robin  is  every  morning  at  my 
window,  sweetly  warning  me  that  autumn  hours  are  at 
hand.  The  swallows  are  preparing  for  flight,  and  invit 
ing  me  to  accompany  them ;  and  yet,  alas  !  while  I  talk 
of  flying,  I  am  just  able  to  crawl,  and  often  ask  myself 
whether  I  shall  be  able  to  leave  England  at  all.'  Before 
taking  his  journey  he  made  an  effort  to  address  his 


Account  of  First  Rank  Hymns.          59 

flock  once  more,  and  with  a  wasted  frame  and  hectic 
flush  he  spoke  with  deep  earnestness.  His  subject  was 
the  '  Holy  Communion,'  and  he  impressed  upon  his 
people  the  vital  importance  of  close  communion  with 
the  Saviour : — 

'  O  brethren,  I  stand  here  among  you  to-day,  as  alive 
from  the  dead,  if  I  may  hope  to  impress  it  upon  you, 
and  induce  you  to  prepare  for  that  solemn  hour  which 
must  come  to  all,  by  a  timely  acquaintance  with  the 
death  of  Christ.'  His  voice  was  heard  for  the  last  time 
in  the  pulpit.  With  much  difficulty  he  dispensed  the 
sacred  elements  to  his  sorrowing  communicants. 
Exhausted  with  the  effort,  he  was  led  from  the  sanctuary, 
and  laid  down  on  his  couch  at  home,  in  great  weakness, 
but  with  a  soul  in  sweet  repose.  As  the  evening  drew 
on  he  handed  to  a  dear  relative  a  manuscript,  which  on 
being  opened  disclosed  the  undying  verses,  '  Abide 
with  me  :  fast  falls  the  even-tide,'  etc.  The  hymn  is 
founded  upon  the  touching  incident,  the  journey  to 
Emmaus,  when  the  two  disciples  constrained  Christ 
to  sojourn  with  them  for  the  night,  saying,  'Abide 
with  us,  for  it  is  toward  evening,  and  the  day  is  far 
spent.' 

Reclining  on  his  couch,  the  Christian  poet  felt  that 
the  shadows  of  death  were  gathering  around  him,  but 
with  a  strong  confidence  in  Christ's  presence,  he  knew 
that  the  deepening  darkness  would  only  remain  '  until 
the  day  break  and  the  shadows  flee  away.'  Already 
could  the  eye  of  faith,  piercing  through  the  gloom,  scan 
the  increasing  brightness  on  the  celestial  horizon,  and 


60          Account  of  First  Rank  Hymns. 

triumphantly  exclaim,  '  Heaven's  morning  breaks,  and 
earth's  vain  shadows  flee.' 

He  had  expressed  the  wish,  '  Grant  me  my  last  breath 
to  spend  in  song  that  may  not  die.'  That  wish  was 
realised,  for  this  hymn,  now  a  universal  favourite,  was 
the  last  he  composed,  and  was  written  only  two  months 
before  his  death.  He  left  his  home  in  September  1847 
for  the  south  of  France,  but  he  returned  not  again. 
On  reaching  Nice  his  bodily  weakness  became  so 
extreme  that  his  loving  friends  saw  the  end  was  at 
hand.  Sinking  to  rest,  he  pointed  upwards,  and 
whispered  '  Peace  !'  'Joy  !'  His  face  brightened,  and 
the  shadows  of  death  melted  away  before  the  '  Sun  of 
Righteousness.' 

6.  Awake,  my  soul,  and  with  the  sun 
Thy  daily  stage  of  duty  run  ; 
Shake  oft"  dull  sloth,  and  early  rise, 
To  pay  thy  morning  sacrifice. 
This  world-renowned  Morning  Hymn  is  the  work  of 
Bishop  Ken,  and,  together  with  the  Evening  and  Mid 
night  Hymns,  was  embodied  in  1700  in  his  edition  of 
A  Manual  of  Prayers,  a  volume  specially  written  for 
the  use  of  the  scholars  of  Winchester  College  (see  Life 
of  Ken).     The  original   consists   of  fourteen  stanzas, 
including  the  Doxology,  but  the  hymn  in  our  present 
Hymnals  is  usually  abridged  to  five  stanzas. 

The  hymn  was  a  favourite  with  Ken  himself,  and  it 
is  said  he  was  in  the  habit  of  singing  it  in  the  early 
morn,  before  dressing,  accompanying  himself  on  the 


Account  of  First  Rank  Hymns.          61 

lute.     Probably  the  tune  to  which  he  sang  the  hymn 
was  that  known  as  '  Tallis's  Canon.' 

Praise  God,  from  whom  all  blessings  flow, 
Praise  Him,  all  creatures  here  below  ; 
Praise  Him  above,  ye  heavenly  host, 
Praise  Father,  Son,  and  Holy  Ghost. 

This  noble  Doxology  is  by  Bishop  Ken,  and  appears 
as  the  last  stanza  both  in  his  Morning  and  Evening 
Hymn.  No  single  stanza  of  poetry  has  attained  to  a 
greater  popularity  than  the  above,  and  it  is  spoken  of 
by  way  of  pre-eminence  as  'The  Doxology.'  In  1709 
Ken  changed  the  words  of  the  third  line,  '  angelic  host,' 
as  it  appeared  in  former  editions,  to  '  ye  heavenly  host.' 

Speaking  of  this  stanza,  Montgomery  says: — 'The 
well-known  Doxology  is  a  masterpiece  at  once  of 
amplification  and  comprehension  :  amplification  on  the 
burthen  "  Praise  God,"  repeated  in  each  line ;  compres 
sion,  by  exhibiting  God  as  the  object  of  praise  in  every 
view  in  which  we  can  imagine  praise  due  to  Him  : 
praise  for  all  His  blessings,  yea,  for  all  blessings,  none 
coming  from  any  other  source ;  praise  by  every  creature, 
specificallyinvoked,  "here  below"  and  in  heaven  "above," 
praise  to  Him  in  each  of  the  characters  wherein  He  has 
revealed  Himself  in  His  Word,— Father,  Son,  and  Holy 
Ghost.'  Probably  there  is  no  other  verse  in  existence 
that  is  so  often  sung  by  Christians  of  all  denominations. 
With  this  glad  utterance  of  praise  to  the  Triune 
Jehovah,  they  have  times  without  number  brought  to 
a  conclusion  their  most  solemn  and  most  delightful 

assemblies. 

« 


62          Account  of  First  Rank  Hymns. 

7.  Jerusalem  the  golden, 

With  milk  and  honey  blest, 
Beneath  thy  contemplation 
Sink  heart  and  voice  opprest. 

Urbs  Syon  aurea,  Patria  lactea,  cive  decora, 
Omne  cor  obruis,  omnibus  obstruis  et  cor  et  ora. 

This  very  sweet  hymn  is  portion  of  the  '  Rhythm  of 
Bernard  of  Cluny  on  the  Heavenly  Country,'  rendered 
from  the  Latin  by  Dr.  Neale  in  1852. 

The  soul  of  the  Cluniac  monk  seems  to  have  caught  a 
glimpse  of  '  that  great  city,  the  holy  Jerusalem,  descend 
ing  out  of  heaven  from  God,  having  the  glory  of  God  : 
and  her  light  was  like  unto  a  stone  most  precious,  even 
like  a  jasper-stone,  clear  as  crystal ;  .  .  .  and  the  nations 
of  them  which  are  saved  shall  walk  in  the  light  of  it, 
.  .  .  and  they  shall  bring  the  glory  and  honour  of  the 
nations  into  it.'  Archbishop  Trench,  in  his  Sacred 
Latin  Poetry ',  speaks  of  the  above  as  *  that  lovely  hymn 
which  within  the  last  few  years  has  been  added  to 
those  already  possessed  by  the  Church.  A  new  hymn, 
which  has  won  such  a  place  in  the  affections  of  Chris 
tian  people,  is  so  priceless  an  acquisition  that  I  must 
needs  rejoice  to  have  been  the  first  to  recall  from 
oblivion  the  poem  which  yielded  it.'  The  sweet  strains 
of  '  Jerusalem  the  Golden '  have  found  their  way  into 
the  heart  of  Christendom,  and  will  continue  to  revive 
the  drooping  energies  of  the  Church  militant 

Till  they,  who  with  their  Leader        For  ever  and  for  ever 

Have  conquered  in  the  fight,  Are  clad  in  robes  of  white. 

• 


J 

Account  of  First  Rank  Hymns.         63 

Writing  in  1862,  that  is,  ten  years  after  its  translation  into 
English,"  Dr.  Neale  says,  '  "  Jerusalem  the  Golden  "  has 
found  a  place  in  some  twenty  Hymnals ;  and  for  the 
last  two  years  it  has  hardly  been  possible  to  read  any 
newspaper  which  gives  prominence  to  ecclesiastical 
news  without  seeing  its  employment  chronicled  at 
some  dedication  or  other  festival.  It  is  also  a  great 
favourite  with  dissenters,  and  has  obtained  admission  in 
Roman  Catholic  services.  I  am  yet  more  thankful  that 
the  Cluniac's  verses  have  been  permitted  to  solace  the 
deathbeds  of  so  many  of  His  servants,  and  not  seldom 
to  have  supplied  them  with  the  last  earthly  language  of 
praise.' 

Bernard  is  generally  known  as  '  Bernard  of  Cluny.' 
He  was  born  of  English  parents  at  Morlaix,  on 
the  sea-coast  of  Brittany.  Having  resolved  to  become 
a  monk,  Burgundy,  the  '  golden  land ;  of  sacred  poets 
during  the  twelfth  century,  found  for  Bernard  a  cloistered 
home.  A  few  miles  west  of  the  modern  town  of  Macon, 
and  five  hundred  miles  from  Morlaix,  stood  the  well- 
known  monastery  of  Cluny,  which  in  the  twelfth  cen 
tury  '  was  at  the  very  height  of  monastic  reputation. 
Its  glorious  church,  the  most  magnificent  in  France,  the 
fulness  and  exactness  of  its  ritual,  and  the  multitude  of 
its  brethren,  raised  it  to  a  pitch  of  fame  which  per 
haps  no  other  house  ever  attained.' 

Bernard  became  one  of  its  children,  and  spent  the 
remainder  of  his  life  in  the  tranquil  monastery.  Cluny 
was  then  under  the  fatherly  care  of  an  abbot  known  as 
1  Peter  the  Venerable/  himself  a  master  of  spiritual 


64          Account  of  First  Rank  Hymns. 

song,  who  for  thirty-four  years,   from  1122  till    1156, 
ruled  the  great  abbey  with  gentle  sceptre. 

Surrounded  by  monastic  brethren,  worshipping  in  the 
grandest  church  in  France,  joining  daily  in  the  most 
impressive  ritual,  Bernard  soon  became  enamoured  of 
monastic  life.  Although  living  in  the  quiet  retreat  of 
the  cloisters,  he  was  not  by  any  means  ignorant  of  the 
spiritual  wickedness  of  society,  and  the  consequent 
sorrows  and  woes  of  a  sinful  world.  He  soon  cher 
ished  a  desire  to  write  a  sacred  poem,  setting  forth  the 
fruits  of  wickedness  and  the  joy  of  a  religious  life. 
The  poet  himself  says  :  '  Often  and  of  long  time  I  had 
heard  the  Bridegroom,  but  had  not  listened  to  Him, 
saying,  "  Thy  voice  is  pleasant  in  mine  ears."  And 
again  the  Beloved  cried  out,  "  Open  to  me,  my  sister." 
What  then  ?  I  arose  that  I  might  open  to  my  Beloved. 
And  I  said,  "  Lord,  to  the  end  that  my  heart  may  think, 
that  my  pen  may  write,  and  that  my  mouth  may  set 
forth  Thy  praise,  pour  into  my  heart  and  pen  and 
mouth  Thy  grace."  And  the  Lord  said,  "  Open  thy 
mouth,"  which  He  straightway  filled  with  the  spirit  of 
wisdom  and  understanding,  that  by  one  I  might  speak 
truly,  by  the  other  perspicuously.' 

Accordingly  he  occupied  his  leisure  time  in  composing 
a  long  poem  of  about  30oojines,  called  '  De  Contemptu 
Mundi,'  '  On  the  contempt  of  the  world.'  As  the  title 
indicatesTTrre  greater  portion  inveighs  against  the  de 
moralisation  of  his  countrymen  and  the  fearful  cor 
ruptions  of  the  age ;  but  in  contrast  with  this  spiritual 
darkness  he  draws  a  most  sublime  picture  of  that 


Account  of  First  Rank  Hymns.        65 

heavenly  Jerusalem,  the  home  and  hope  of  God's 
people.  Bernard  thus  states  his  own  argument :  *  The 
subject  of  the  author  is  the  advent  of  Christ  to  judg 
ment  ;  the  joys  of  the  saints ;  the  pains  of  the  repro 
bate.  His  intention,  to  persuade  to  the  contempt  of 
the  world.  The  use,  to  despise  the  things  of  the  world  ; 
to  seek  the  things  which  be  God's.' 

'  De  Contemptu  Mundi,'  like  the  other  great  re 
ligious  poems  of  the  period,  was  written  in  Latin — 
the  language  of  the  Roman  Catholic  Church, — and  it 
was  probably  finished  about  the  middle  of  the  twelfth 
century. 

Not  only  was  Bernard  a  contemporary  of  the  great 
St.  Bernard,  but,  by  a  strange  coincidence,  the  above 
poem  was  composed  at  Cluny  while  the  saint  was  com 
posing  at  Clairvaux  the  equally  well-known  sacred 
poem,  '  Jubilus  rhythmicus  de  nomine  Jesu.'  The  two 
monasteries  were  only  about  150  miles  from  each  other; 
the  two  Bernards  were  at  the  same  time,  each  in  his 
cloistered  cell,  singing  the  glories  of  the  Celestial 
Country;  and  both  departed  to  their  rest  about  the 
middle  of  the  twelfth  century. 

It  is  also  worthy  of  notice  that  three  other  celebrated 
hymnists  were  contemporaries  of  the  two  Bernards. 
These  were  Adam  of  St.  Victor  ;  Hildebert,  a  monk  of 
Cluny,  afterwards  Archbishop  of  Tours ;  and  Peter  the 
Venerable,  Abbot  of  Cluny. 

Those  great  hymn-writers  filled  the  Church  with 
hymns  of  praise,  and  made  the  twelfth  century  the 
great  era  of  sacred  song. 


66         Account  of  First  Rank  Hymns. 

The  l  De  Contemptu  Mundi '  was  first  edited  by 
Illyricus  at  the  time  of  the  Reformation,  and  has  since 
been  reprinted  at  least  half  a  dozen  times. 

Archbishop  Trench,  m  his  Sacred  Latin  Poetry,  pub 
lished  in  1849,  has  given  a  beautiful  cento  of  about 
100  lines  from  Bernard's  poem. 

The  Rev.  John  Mason  Neale,  D.D.,  in  1852  translated 
into  English  the  greater  part  of  that  cento,  and  the 
manifest  popularity  of  the  translation  induced  him  to 
make  a  fuller  extract  from  the  Latin,  and  a  further 
translation  into  English.  Accordingly,  in  1859  was 
published  by  this  author,  The  Rhythm  of  Bernard  de 
Morlaix,  Monk  of  Cluny,  on  the  Celestial  Country,  con 
sisting  of  about  200  lines  of  the  original  work,  with  a 
very  beautifully  rendered  translation.  Trench  says  : 
(  No  one  with  a  true  passion  of  poetry  will  deny  the 
breath  of  a  real  inspiration  to  Bernard.  .  .  .  The  poet, 
instead  of  advancing,  eddies  round  and  round  his  sub 
ject,  recurring  again  and  again  to  that  which  he  seemed 
to  have  thoroughly  treated  and  dismissed.  I  quote  a 
few  lines  from  Casimir,  the  great  Latin  poet  of  Poland. 
They  turn  upon  the  same  theme, — the  heavenly  home 
sickness  ;  but  with  all  their  classical  beauty,  and  it  is 
great,  who  does  not  feel  that  the  poor  Cluniac  monk's 
is  the  more  real  and  deeper  utterance;  that,  despite 
the  strange  form  which  he  has  chosen,  he  is  the  greater 
poet  ?' 

Dr,  Neale  says:  'I  am  more  thankful  still  that 
the  Cluniac's  verses  should  have  soothed^the  dying 
hours  of  many  of  God's  servants:  the  most  striking 


J 


Account  of  First  Rank  Hymm.        67 

of  which  I  know  is  related  in  the  memoir  published 
by  Mr.  Browrilow  under  the  title,  A  Little  Child  shall 
lead  them,  where  he  says  that  the  child  of  whom 
he  writes,  when  suffering  agonies  which  the  medical 
attendants  declared  to  "be  almost  unparalleled,  would  lie 
without  a  murmur  or  motion  while  the  whole  400  lines 
were  read  to  him.  I  "have  no  hesitation  in  saying  that 
I  look  upon  these  verses  of  Bernard  as  the  most  lovely, 
in  the  same  way  that  the  "  Dies  Irae  "  is  the  most 
sublime,  and  the  "  Stabat  Mater  "  the  most  pathetic,  of 
mediaeval  poems.  They  are  even  superior  to  that 
glorious  hymn  on  the  same  subject,  the  "  De  Gloria  et 
gaudiis  Paradisi  "  of  S.  Peter  Damiani.' 
From  Dr.  Neale's  '  Rhythm_ojL  S 


portions  have  been  adapted  as  hymns  in  our  English 
Hymnals.  The  following  are  the  opening  lines  of  those 
best  known  :  — 

1.  Brief  life  is  here  our  portion.    Hie  breve  vivitur. 

2.  The  world  is  very  evil.  Horanovissima,temporapessima. 
3'  For  thee.  O  dear,  H  ear  rmmt  ry   O  bona  patria. 

4.  Jerusalem  thfi_gplden.  Urbs  Syon  aurea. 

5.  Jerusalem  the  glorious.  Urbs  Syon  inclyta,  gloria. 

6.  Jerusalem  exulting.  Urbs  Syon  inclyta,  turris. 

These  six  hymns  contain  about  200  lines,  but,  as  each 
line  in  Latin  equals  two  lines  in  the  English,  the  above 
hymns  represent  only  100  lines  of  Latin.  The  original 
poem  consisted  of  3000  Latin  lines,  and  therefore 
Bernard's  *  De  Contemptu  Mundi  '  is  thirty  times  longer 
than  the  united  portions  that  have  found  their  way 
into  our  Anglican  Hymnals. 


68         Account  of  First  Rank  Hymns. 

8.  Jesu,  Lover  of  my  soul, 

Let  me  to  Thy  bosom  fly. 

This  hymn  was  written  by  Charles  Wesley  in  1740, 
and  is  considered  to  be  one  of  his  best  compositions. 
The  original,  found  in  Hymns  and  Sacred  Poems,  1742, 
consists  of  five  double  stanzas,  of  which  the  third  and 
fourth  are  usually  omitted  in  modern  Hymnals. 

Speaking  of  this  hymn  a  well-known  writer  says  :  '  I 
would  rather  have  written  that  hymn  of  Wesley's  than 
to  have  the  fame  of  all  the  kings  that  ever  sat  upon  the 
earth.  It  is  more  glorious.  It  has  more  power  in  it. 
I  would  rather  be  the  author  of  that  hymn  than  to  hold 
the  wealth  of  the  richest  man.  He  will  die.  He  will 
pass  after  a  little  while  out  of  men's  thoughts.  His 
money  will  go  to  his  heirs,  and  they  will  divide  it.  And 
they  in  turn  will  die.  But  that  hymn  will  go  on  singing 
until  the  last  [trump  brings  forth  the  angel  band,  and 
then,  I  think,  it  will  mount  up  on  some  lip  to  the  very 
presence  of  God.  I  would  rather  have  written  such  a 
hymn  than  to  have  heaped  up  all  the  treasures  of  the 
richest  man  in  the  globe.' 

Another  writer  says  :  '  There  are  some  hymns  which 
make  themselves  felt  at  once,  as  soon  as  they  fall  on 
the  ear — hymns  which  never  lose  their  freshness  and 
power,  never  cease  to  widen  their  influence,  until  they 
are  acknowledged  as  things  of  life,  by  all  souls,  in  all 
lands,  and  over  all  seas.  Such  a  hymn  is  that  of 
Charles  Wesley,  "Jesu,  Lover  of  my  soul,"  a  hymn 
whose  music  is  kept  up  on  both  sides  of  the  Atlantic. 


Account  of  First  Rank  Hymns.         69 

It  has  often  been  on  the  lips  of  departing  saints  in  this 
land,  when,  as  an  aged  Christian  said,  "  they  see  their 
native  land  in  the  distance  and  the  sea  intervening, — a 
sea  which  none  is  able  to  cross  unless  borne  by  the 
Cross  of  Christ." ' 

Forty  years  ago,  on  a  winter's  night,  a  heavy  gale  set 
in  upon  the  precipitous  rock-bound  coast  of  one  of  our 
western  counties.  A  brave  little  coasting- vessel  strug 
gled  hard  and  long  to  reach  some  shelter  in  the  Bristol 
Channel,  but  the  struggle  was  vain, — one  dark,  fearful 
headland  could  not  be  weathered  ;  the  bark  must  go  on 
shore,  and  what  a  shore  it  was  the  fated  men  well  knew. 
Then  came  the  last  pull  for  life.  The  boat  was  swung  off 
and  manned,  captain  and  crew  united  in  one  more  brave 
effort,  but  their  toiling  at  the  oar  was  soon  over,  their 
boat  was  swamped.  They  seem  to  have  sunk  together, 
for  in  the  morning,  when  the  day  dawned,  they  were  found 
lying  all  but  side  by  side  under  the  shelter  of  a  weedy 
rock.  They  might  have  been  saved  had  they  stayed 
in  the  ship,  for  they  had  been  borne  in  upon  a  heavy 
sea  close  under  the  cliff,  where  she  was  jammed 
immoveably  between  two  rocks,  and  in  the  morning  the 
ebb-tide  left  her  high  and  dry.  There  was  no  sign  of 
life  on  deck,  and  below  scarcely  anything  told  of  late 
distress.  One  token  of  peace  there  was, — it  was  the 
captain's  hymn-book  still  lying  on  the  locker,  closed 
upon  the  pencil  with  which  he  had  marked  some  passages 
before  he  left  the  ship  to  meet  his  fate.  A  leaf  of  the 
page  was  turned  down,  and  several  pencil-marks  were 
seen  on  the  margin  of  Charles  Wesley's  precious  hymn — 


70         Account  of  First  Rank  Hymns. 


Jesu,  Lover  of  my  soul, 
Let  me  to  Thy  bosom  fly 

While  the  nearer  waters  rollr 
While  the  tempest  still  is  high  I 


9.  Sun of  my-soiilr  Thou  Saviour  dear  ! 
It  is  not  night  if  Thou  be  niear, 

John  Keble,  author  of  The  Christian  Year,  is  gene 
rally  regarded  as  the  most  popular  hymn-writer  of  the 
nineteenth  century.  He  was  the  son  of  a  clergyman, 
and  was  born  at  Fairford,  Gloucestershire,  in  1792. 
He  was  educated  at  Oxford,  and  graduated  in  1810,  on 
which  occasion  he  took  the  distinguished  honour  of  a 
double  first.  Shortly  after  he  received  a  Fellowship, 
and  was  twice  appointed  a  Public  Examiner,  and  in 
1831  Professor  of  Poetry.  Among  his  fellow-students 
and  friends  were  Arnold,  Whately,  Newman,  and  Pusey. 
Keble  became  Vicar  of  Hursley,  near  Winchester,  in 
1835,  and  there,  amid  the  calm  surroundings  of  a 
country  village,  the  country  parish  priest  pursued  the 
quiet  path  of  duty  till  his  death  in  1866.  He  died  at 
Bournemouth  in  the  seventy-fourth  year  of  his  age. 

John  Keble,  in  company  with  the  illustrious  men 
aforenamed,  took  part  in  the  great  religious  movement 
of  that  day,  generally  known  as  c  the  Tractarian  Move 
ment,'  and  contributed  six  of  the  ninety  Tracts  for  the 
Times. 

He  was  indefatigable  in  the  cause  of  religion,  and  his 
pen  never  seemed  to  rest  With  Pusey  and  Newman, 
Keble  edited  The  Library  of  the  Fathers  and  the 


\  Account  of  First  Rank  ffymns.         71 

Anglo- Catholic  Library.  His  edition  of  the  Works  of 
Richard  Hooker  and  his  Life  of  Bishop  Wilson  are 
justly  regarded  as  standard  works. 

As  a  hymn-writer  he  will  be  best  known  to  posterity 
by  his  Christian  Year,  a  noble  work,  which  reached  its 
ninety-sixth  edition  before  the  author's  death.  It  was 
published  in  1827,  and  when  the  copyright  expired  in 
1873,  tne  enormous  number  of  350,000  copies  had 
been  sold.  Since  that  year  its  circulation  has  immensely 
increased  on  both  sides  of  the  Atlantic,  and  it  may 
safely  be  said  that  the  success  of  The  Christian  Year  is 
without  a  parallel  in  the  history  of  religious  poetry. 
In  1839  appeared  his  Psalter,  or  Psalms  of  David  in 
English  Verse,  but,  like  all  other  metrical  versions  of 
the  Psalms,  it  was  not  a  success.  In  1 846  he  published 
Lyra  Innocentium,  or  Thoughts  in  Verse  for  Children, 
their  Ways  and  their  Privileges.  Although  without 
family  himself,  Keble  was  very  fond  of  children,  and 
consequently  wrote  many  beautiful  hymns  for  the 
young.  Indeed,  many  pieces  in  Lyra  Innocentium  are 
thought  to  be  of  equal  excellence  with  those  in  The 
Christian  Year. 

He  was  a  man  of  deep  piety  and  retiring  modesty ; 
and  the  MS.  of  The  Christian  Year  was  reluctantly  pub 
lished  at  the  urgent  solicitation  of  his  intimate  friends. 
He  says  that  his  plan  was  '  to  go  on  improving  his 
series  all  his  life,  and  leave  it  to  come  out,  if  judged 
useful,  only  when  he  should  be  fairly  out  of  the  way  •/ 
and  again  he  elsewhere  writes  :  '  I  am  not  without  hopes 
that  I  shall  quite  persuade  my  persuaders  to  let  it  stand 


72         Account  of  First  Rank  Hymns. 

over  sine  die'  The  treasure,  however,  was  not  to  be  kept 
in  secret.  His  friend  Whately  had  seen  the  MS.  of  the 
hymns,  and  spoke  of  their  high  poetic  excellence.  Dr. 
Arnold  also  had  seen  them,  and  wrote  to  Sir  John  Cole 
ridge:  'I  live  in  hopes  that  he  will  be  induced  to  publish 
them  ;  and  it  is  my  firm  opinion  that  nothing  equal  to 
them  exists  in  our  language  :  the  wonderful  knowledge 
of  Scripture,  the  purity  of  heart,  and  the  richness  of 
poetry  which  they  exhibit,  I  never  saw  paralleled.' 
Newman  and  other  high  authorities  have  spoken  of 
them  in  similar  eulogistic  terms,  and  the  English  public 
have  approved  of  their  judgment.  What  Wordsworth 
did  for  poetry  in  general,  Keble  did  the  same  for  religious 
verse;  inasmuch  as  his  hymns  are  distinguished  for 
chaste  refinement  and  deep  spirituality.  Like  Words 
worth  and  George  Herbert,  his  poetry  abounds  in 
allusions  to  the  beauties  of  Nature,  so  that  Nature  and 
Revelation  unite  in  singing  the  praises  of  the  Great 
Governor  of  all  things  in  heaven  and  earth.  His  well- 
known  Evening  Hymn  is  perhaps  the  most  popular 
of  ail  his  poems.  It  is  the  second  piece  in  The  Christian 
Year,  and  in  the  original  consists  of  fourteen  stanzas. 
Thejre  is  a  wide-prevailing  notion  that  the  hymn  loses 
much  of  its  beauty  by  the  common  omission  of  the  first 
two  stanzas.  The  sudden  turn  of  thought  from  the 
natural  sun  to  the  Sun  of  Righteousness  is  very  effec 
tive.  Thus — 

'Tis  gone,  that  bright  and  orbed  blaze, 

Fast  fading  from  our  wistful  gaze  ; 

Yon  mantling  cloud  has  hid  from  sight 

The  last  faint  pulse  of  quivering  light. 


Account  of  First  Rank  Hymns.          73 

In  darkness  and  in  weariness 
The  traveller  on  his  way  must  press, 
No  gleam  to  watch  on  tree  and  tower, 
Whiling  away  the  lonesome  hour. 

Sun  of  my  soul,  Thou  Saviour  dear  ! 
It  is  not  night  if  Thou  be  near  ; 
O  may  no  earth-born  cloud  arise 
To  hide  Thee  from  thy  servant's  eyes  ! 


10.  When  I  survey  the  wondrous  cross 
On  which  the  Prince  of  glory  died. 

This  admirable  hymn,  one  of  the  most  touching  in 
the  English  language,  was  written  by  Isaac  Watts,  and 
appeared  in  1709,  when  the  author  was  thirty-five  years 
old.  The  original  consisted  of  five  stanzas,  but  the 
fourth  is  invariably  omitted  in  modern  Hymnals,  as 
being  much  inferior  to  the  others.  It  is  as  follows  :— 

His  dying  crimson  like  a  robe 
Spreads  o'er  His  body  on  the  tree  ; 
Then  am  I  dead  to  all  the  globe, 
And  all  the  globe  is  dead  to  me. 

The  hymn  is  founded  on  Gal.  vi.  14,  '  God  forbid 
that  I  should  glory,  save  in  the  cross  of  our  Lord  Jesus 
Christ,  by  whom  the  world  is  crucified  unto  me,  and  I 
unto  the  world  ;'  and  Phil.  iii.  7,  *  What  things  were 
gain  to  me,  those  I  counted  loss  for  Christ.' 

A  writer  of  the  Oxford  Essays  in  1858  fixes  upon 
the  above  as  Watts's  finest  hymn,  and  by  general  con 
sent  it  is  selected  out  of  about  twenty  thousand  English 
hymns  to  take  the  highest  rank  as  one  of  the  six  best 
hymns  in  the  English  language. 


74         Account  of  First  Rank  Hymns. 

Isaac  Watts,  one  of  the  best  English  hymnists,  was 
the  son  of  a  schoolmaster,  and  was  born  at  Southampton 
in  1674.  His  parents  were  Nonconformists,  and  emin 
ently  pious,  so  that  from  infancy  the  poet  was  reared 
in  a  pious  home.  In  boyhood  he  gave  promise  of  his 
superior  talents.  His  education  was  intrusted  to  a 
Southampton  clergyman,  and  continued  by  an  Inde 
pendent  minister  in  London,  Here  Isaac  injured  his 
constitution  through  excessive  study,  and  returned  for 
two  years  to  his  father's  house.  During  these  two 
years  he  pursued  his  poetic  studies,  and  wrote  many 
good  hymns.  Again  he  went  to  London  and  became 
a  private  tutor  at  Stoke  Newington.  At  this  period  he 
entered  the  ministry,  and  continued  for  fourteen  years 
to  minister  to  an  Independent  congregation.  In  1712 
he  went  on  a  friendly  visit  to  the  country  seat  of  Sir 
Thomas  Abney,  in  Hertfordshire.  Sir  Thomas  was  so 
delighted  with  Watts  that  he  offered  him  a  permanent 
home,  and  for  the  remainder  of  his  life,  a  period  of 
thirty-six  years,  the  poet-preacher  resided  with  his 
patrons,  Sir  Thomas  and  Lady  Abney. 

The  rural  retreat  in  Hertfordshire  suited  his  delicate 
constitution,  and  afforded  him  favourable  opportunities 
for  pursuing  his  literary  studies.  Besides  hymns,  ser 
mons,  and  religious  works,  he  wrote  treatises  on  logic, 
astronomy,  and  other  subjects.  In  1720  his  works 
were  published  in  six  quarto  volumes.  In  1728  Watts 
received  his  Doctor's  degree  from  the  Universities  of 
Edinburgh  and  Aberdeen.  His  Catechisms  and  Divine 
Songs  were  written  at  the  request  of  his  patrons.  His 


AccGimt  of  First  Rank  Hymns.          75 

rhymes  are  sometimes  poor,  and  the  expressions  objec 
tionable  ;  yet  Watts  '  must  always  stand  high  for  the 
comprehensiveness  and  catholicity  of  his  hymns,  for 
their  fulness  of  Gospel  doctrine,  and  for  the  numerous 
instances  in  which  they  fulfil  all  that  can  be  required  in 
a  Christian  hymn,  and  in  which  criticism  is  forgotten  in 
the  joyful  consent  of  the  reader's  heart/  Dr.  Johnson, 
no  mean  judge,  gives  the  following  high  and  just  esti 
mate  of  Dr.  Watts  : — '  Few  men  have  left  behind  such 
purity  of  character  or  sueh  monuments  of  laborious 
piety.  He  has  provided  instruction  for  all  ages, — from 
those  who  are  lisping  their  first  lessons  to  the  enlight 
ened  readers  of  Malebranche  and  Locke ;  he  has  left 
neither  corporeal  nor  spiritual  nature  unexamined  :  he 
has  taught  the  art  of  reasoning  and  the  science  of  the 
stars.  His  character,  therefore,  must  be  formed  from 
the  multiplicity  and  diversity  of  his  attainments,  rather 
than  from  any  single  performance ;  for  it  would  not  be 
safe  to  claim  for  him  the  highest  rank  in  any  single 
denomination  of  literary  dignity;  yet  perhaps  there 
was  nothing  in  which  he  would  not  have  excelled,  if  he 
had  not  divided  his  powers  to  different  pursuits/ 

He  was  a  man  of  great  generosity  and  deep  humility, 
and  his  Christian  character  was  of  the  highest  order. 
His  catholicity  of  spirit  and  his  ardent  zeal  for  the 
truths  of  the  Gospel  and  the  cause  of  Christ  shine  out 
in  all  his  works. 

The  dying  words  of  this  great  hymra-wrkei  ought  to 
be  remembered  by  all  generations  :  '  I  would  be  wait 
ing  to  see  what  God  will  do  with  me.  It  is  good  to 


76         Account  of  First  Rank  Hymns. 

say,  as  Mr.  Baxter,  "What,  when,  and  where  God 
pleases."  The  business  of  a  Christian  is  to  do  and 
hear  the  will  of  God,  and  if  I  was  in  health  I  could  but 
be  doing  that,  and  that  I  may  be  now.  If  God  should 
raise  me  up  again  I  may  finish  some  more  of  my  papers, 
or  God  can  make  use  of  me  to  save  a  soul,  and  that 
will  be  worth  living  for.  If  God  has  no  more  service 
for  me  to  do,  through  grace  "  I  am  ready."  It  is  a 
great  mercy  to  me  that  I  have  no  manner  of  fear  or 
dread  of  death.  I  could,  if  God  please,  lay  my  head 
back  and  die  without  alarm  this  afternoon  or  night. 
My  chief  supports  are  from  my  view  of  eternal  things, 
and  the  interest  I  have  in  them ;  I  trust  all  my  sins  are 
pardoned  through  the  blood  of  Christ.'  In  this  happy 
frame  the  great  hymnist  entered  into  his  rest  in  1748, 
at  seventy-four  years  of  age. 

ii.  Holy!  Holy!  Holy!  Lord  God  Almighty ! 
Early  in  the  morning  our  song  shall  rise  to 
Thee. 

This  grand  hymn,  which  has  the  noble  swell  of  an 
anthem,  was  composed  by  Bishop  Heber,  and  appeared 
in  1827  in  Hymns  Written  and  Adapted  to  the  Weekly 
Church  Service  of  the  Year.  It  there  appears  as  the 
hymn  for  Trinity  Sunday,  and  is  founded  on  the  portion 
of  Holy  Scripture  appointed  for  the  Epistle  for  that 
day,  and  especially  on  the  words,  '  They  rest  not  day 
and  night,  saying,  Holy,  holy,  holy,  Lord  God  Almighty, 
which  was,  and  is,  and  is  to  come.'  The  popularity  of 


Account  of  First  Rank  Hymns.          77 

the  hymn  has  been  increased  by  the  magnificent  tune 
to  which  it  is  sung.  The  tune  is  called  Nicsea,  and 
was  composed  by  Dr.  Dykes  expressly  for  Heber's 
hymn.  Nicaea  in  Asia  Minor  was  the  place  where  the 
first  Christian  Ecumenical  Council  was  held  in  325.  At 
this  Council  the  Eternal  Sonship  of  Christ  and  His 
equality  with  the  Father  were  established  as  a  dogma, 
and  thus  the  doctrine  of  the  Holy  Trinity,  which  had 
been  impugned  by  the  Arians,  was  vindicated. 

Reginald  Heber,  the  well-known  hymnist,  was  the 
son  of  Reginald  Heber,  Rector  of  Malpas,  Cheshire, 
where  he  was  born  in  1783.  He  was  educated  at 
Oxford,  and  in  1801  took  the  Chancellor's  prize  for  a 
Latin  poern.  In  1803,  when  only  twenty  years  old,  he 
gained  the  University  prize  by  his  beautiful  poem 
1  Palestine/  considered  to  be  the  best  Oxford  prize 
poem  of  this  century.  In  1807  Heber  became  Rector 
of  Hodnet,  Shropshire,  where  he  laboured  for  sixteen 
years.  In  1823  he  was  made  Bishop  of  Calcutta,  and 
for  two  and  a  half  years  he  laboured  in  his  vast  diocese 
with  unflagging  zeal.  He  died  suddenly  of  apoplexy, 
and  his  end  was  very  sad.  On  3d  April  1826  the 
Bishop  was  at  Trichinopoly,  in  the  south  of  India. 
'  After  some  particular  arrangements  for  the  morning,' 
says  his  biographer,  '  he  left  me  in  order  to  undress  and 
bathe.'  'Some  time  having  elapsed,  and  the  Bishop 
not  returning,  his  servant  became  alarmed,  opened  the 
door  of  the  bath,  and  saw  his  master's  lifeless  body 
lying  below  the  surface  of  the  water.  Medical  assist 
ance  was  at  once  procured,  but  in  vain.'  It  was  the 


78         Account  of  First  Rank  Hymns. 

opinion  of  medical  men  on  the  spot  that  disease  had 
been  existing  for  some  time,  and  that  under  any  circum 
stances  his  life  could  not  have  been  a  long  one,  but 
that  the  end  was  hastened  by  excessive  labours  and  the 
effects  of  the  climate,  and  the  fatal  catastrophe  caused 
by  the  shock  of  the  cold  water  on  an  enfeebled 
frame.' 


12.  Jesus  Christ  is  risen  to-day,  Hallelujah! 
Our  triumphant  holy  day.      Hallelujah  ! 

The  author  of  this  noble  hymn  for  Easter  Day  is 
unknown.  Three  stanzas  appear  in  a  little  work  printed 
at  Northampton  in  1749,  called,  The  Compleat  Psalm- 
odist,  by  John  Arnold.  Appended  to  the  stanzas  are 
the  initials  C.  B.,  and  it  is  thought  that  the  hymn 
may  have  been  the  work  of  one  of  Doddridge's  pupils. 

Unfortunately  all  the  old  records  of  the  printers  of 
the  book  were  destroyed  by  fire  a  few  years  ago. 
Philip  Doddridge,  the  sweet  hymnist,  conducted  an 
academy  in  Northampton  for  twenty  years,  1730-1750. 
In  this  academy  he  trained  young  men  for  the  ministry, 
and  about  200  students  were  trained  by  him  in  that 
period.  It  is  known  that  some  of  the  students,  emulat 
ing  their  master,  composed  some  noble  verses,  to  wit, 
1  O  God  of  Bethel !  by  whose  hand,'  etc.  The  '  Gloria ' 
often  appended  to  it  as  a  fourth  stanza  is  certainly  from 
the  pen  of  Charles  Wesley,  and  appears  in  his  Hymns 
and  Sacred  Poems,  published  in  1743.  In  a  collection 
of  hymns  entitled  Lyra  Davidica,  published  in  1708  at 


Account  of  First  Rank  Hymns.          79 

London,  occur  'some  verses  very  much  resembling  the 
above  Easter  Hymn. 

They  appear  to  be  a  translation  of  a  Latin  hymn  of 
the  fourteenth  century  beginning,  *  Surrexit  Christus 
hodie '  ('  Christ  is  risen  to-day  '). 

It  thus  appears  that  of  the  four  stanzas  of  the 
hymn,  the  first  stanza,  beginning,  •'  Jesus  Christ  is 
risen  to-day/  is  a  translation  by  an  anonymous  writer 
circa  1708.  The  second  and  third  stanzas,  beginning 
respectively — 

*  Hymns  of  praise  then  let  us  sing,' 
'  But  the  pain  which  He  endured,' 

were  re-written  about  1749  by  C.  B. 

The  fourth  stanza,  called  the  'Gloria,'  beginning, 
'  Sing  we  to  our  God  above.  Hallelujah  ! '  is  from  the 
pen  of  Charles  Wesley,  about  1743. 

13.  Nearer,  my  God,  to  Thee, — 

Nearer  to  Thee ! 
E'en  though  it  be  a  cross 

That  raiseth  me, 
Still  all  my  song  shall  be, 
Nearer,  my  God,  to  Thee, — 

Nearer  to  Thee ! 

Sarah  Flower,  author  of  this  favourite  hymn,  was 
born  at  Cambridge  in  1805.  She  was  the  younger  of 
two  sisters,  both  distinguished  for  literary  ability.  On 
the  death  of  their  father  they  took  up  their  residence  in 
London.  In  1834  she  married  Mr.  Adams,  the  well- 


8o         Account  of  First  Rank  Hymns. 

known  civil  engineer,  and  favourably  known  also  as  a 
literary  writer.  Mrs.  Adams  became  distinguished  for  her 
religious  earnestness  and  the  moral  influence  she  exerted 
over  all  who  came  within  the  sphere  of  her  influence. 
Her  sister  died  in  1847,  and  Mrs.  Adams's  long  and 
unremitting  attention  to  her  sister  during  affliction  so 
enfeebled  her  own  health  that  she  gradually  sank,  and 
died  in  1849.  She  was  buried  at  Foster  Street,  near 
Harlaw,  Essex.  In  1840  Mrs.  Adams  composed  the 
above  well-known  hymn,  which  first  appears  in  a  volume 
of  Hymns  and  Anthems,  published  in  1841.  The 
prayer  embodied  in  the  hymn  had  been  answered  in 
her  own  experience.  She  was  a  member  of  a  Unitarian 
congregation,  and  this  accounts  for  the  fact  that  the 
hymn,  beautiful  though  it  is,  never  rises  to  the  level  of 
Christianity.  The  hymn  is  founded  on  that  part  of 
Jacob's  journey  to  Padan-Aram,  when  he  halted  for  the 
night  at  Bethel,  and  falling  asleep,  with  a  stone  for  his 
pillow,  dreamt  that  he  saw  a  ladder  let  down  from 
heaven  to  earth,  with  angels  ascending  and  descending 
upon  it.  A  few  years  ago,  while  journeying  through  the 
Holy  Land,  we  visited  the  scene  of  the  patriarch's  halting- 
place  for  the  night.  Two  hours  over  the  bleak  heights 
of  Benjamin  brought  us  to  the  venerable  ruins  of  Bethel. 
Standing  by  the  ruined  mounds,  we  remembered  that 
somewhere  near  this  spot  Abraham  pitched  his  tent,  and 
built  an  altar  on  '  the  mountain  east  of  Bethel,  having 
Bethel  on  the  west  and  Ai  on  the  east.'  A  few 
wretched  hovels,  the  remains  of  an  enormous  cistern, 
and  the  ruins  of  a  Greek  church,  are  all  that  remain 


Account  of  First  Rank  Hymns.         8 1 

to  indicate  the  position  of  ancient  Bethel.     After  sing 
ing  the  hymn, 

Nearer,  my  God,  to  Thee, 
Nearer  to  Thee  ! 

we  pursued  our  journey  northwards  towards   Central 
Palestine. 


14.  Hark,  the  glad  sound  !  the  Saviour  comes, 

The  Saviour  promised  long  : 
Let  every  heart  prepare  a  throne, 
And  every  voice  a  song. 

This  grand  Advent  hymn  is  one  of  rare  excellence, 
and  appeared  in  1755.  I*  ^s  founded  on  the  passage  of 
Scripture  which  the  Saviour  read  in  the  synagogue  of 
Nazareth,  out  of  the  Book  of  the  Prophet  Isaiah  :  '  The 
Spirit  of  the  Lord  is  upon  Me;  because  He  hath  anointed 
Me  to  preach  the  gospel  to  the  poor ;  He  hath  sent  Me 
to  heal  the  broken-hearted,  to  preach  deliverance  to 
the  captives,  and  recovering  of  sight  to  the  blind,  to  set 
at  liberty  them  that  are  bruised,  to  preach  the  accept 
able  year  of  the  Lord.' 

The  original  hymn  consists  of  seven  stanzas,  but  the 
two  following  are  seldom  seen  : — 

On  Him  the  Spirit,  largely  poured, 

Exerts  its  sacred  fire  ; 
Wisdom  and  might,  and  zeal  and  love, 

His  holy  breast  inspire. 

His  silver  trumpets  publish  loud 

The  jubilee  of  the  Lord ; 
Our  debts  are  all  remitted  now, 

Our  heritage  restored. 

F 


82         Account  of  First  Rank  Hymns. 

Philip  Doddridge,  the  well-known  hymnist,  was  born 
in  London  in  1702.  He  lost  both  his  parents  in  child 
hood,  but  the  orphan  was  befriended  by  the  Rev. 
Samuel  Clarke  and  others.  He  received  his  education 
at  Kibworth  and  Hinckley,  and  at  the  age  of  twenty  his 
earnest  piety  induced  him  to  become  an  Independent 
minister.  For  seven  years  he  was  pastor  of  the  quiet 
village  of  Kibworth.  At  the  urgent  request  of  Dr. 
Watts,  he  opened  an  academy,  first  at  Market  Har- 
borough,  and  the  following  year  at  Northampton,  for  the 
purpose  of  training  young  men  for  the  ministry.  He 
continued  his  collegiate  duties  for  twenty  years,  and 
about  200  young  students  passed  through  his  academy. 
Dr.  Isaac  Watts  was  his  contemporary  and  steadfast 
friend.  Both  were  Independent  ministers,  and  writers 
of  sacred  song,  and  throughout  life  they  continued  to 
live  in  deep  sympathy  and  brotherly  love  with  each 
other.  Dr.  Watts  was  nearly  thirty  years  his  senior,  but 
Doddridge,  through  enfeebled  health,  survived  his  more 
illustrious  compeer  three  years  only.  Doddridge's 
literary  works  are  both  voluminous  and  valuable;  the 
best  known  is  The  Rise  and  Progress  of  Religion  in  the 
Sou/,  written  at  the  suggestion  of  Dr.  Watts,  whose 
declining  strength  did  not  permit  him  to  carry  out  his 
own  design.  It  is  said  that  Baxter's  Saints'  Rest  moved 
Watts  and  Doddridge  to  write  The  Rise  and  Progress  of 
Religion.  Further,  this  book  was  of  great  spiritual 
service  to  William  Wilberforce,  and  prompted  that 
illustrious  benefactor  of  slaves  to  write  his  excellent 
treatise,  Practical  View  of  Christianity.  Thus  it 


Account  of  First  Rank  Hymns.         83 

happens  that  the  three  works  alluded  to  form  three 
consecutive  links  in  the  chain  of  the  development  of 
Christian  doctrine. 

The  Family  Expositor  is  considered  to  be  Dod- 
dridge's  greatest  prose  work,  and  was  the  fruit  of  many 
years'  earnest  study.  It  was  published  in  1739,  when 
the  author  was  only  thirty-seven  years  old.  He  exer 
cised  great  personal  influence,  and  enjoyed  the  friend 
ship  of  Bishop  Warburton,  the  Countess  of  Huntingdon, 
the  Wesleys,  Whitefield,  Hervey,  Dr.  Watts,  and  the 
other  leaders  of  religious  thought  during  the  last  cen 
tury.  His  over-wrought  life  was  brought  to  an  early 
close  by  consumption,  against  the  progress  of  which  all 
efforts  were  of  no  avail.  In  1751  he  journeyed  to 
Lisbon  for  the  benefit  of  warmer  air,  but  died  soon  after 
his  arrival,  in  his  fiftieth  year. 

Doddridge  was  undoubtedly  a  man  of  literary  talent 
and  distinguished  piety,  but  it  is  chiefly  as  a  hymn-writer 
that  his  name  is  known,  and  will  continue  to  be  handed 
down  to  posterity.  His  hymns  were  not  printed  during 
his  life,  but  they  were  written,  and  most  of  them  were 
sung  from  MSS.  at  the  close  of  the  author's  sermons. 
They  have  accordingly  been  compared  to  '  spiritual 
amber  fetched  up  and  floated  off  from  sermons  long 
since  lost  in  the  depths  of  bygone  time.'  In  1740 
Lady  Gardiner  called  them  'charming  hymns,'  and 
urged  the  author  to  publish  them.  Robert  Blair,  author 
of  The  Grave,  and  a  contemporary  poet,  expresses  him 
self  as  delighted  with  Doddridge's  hymns. 

In    1755,   four  years   after  his   death,   Doddridge's 


84         Account  of  First  Rank  Hymns. 

hymns,  364  in  number,  were  published  by  Job  Orton, 
his  friend  and  faithful  biographer;  and  James  Mont 
gomery  passes  the  following  high  encomium  upon 
them  : — '  They  shine  in  the  beauty  of  holiness ;  these 
offsprings  of  his  mind  are  arrayed  in  the  "  fine  linen, 
pure  and  white,  which  is  the  righteousness  of  saints," 
and  like  the  saints  they  are  lovely  and  acceptable,  not 
for  their  human  merit,  for  in  poetry  and  eloquence  they 
are  frequently  deficient,  but  for  that  fervent  unaffected 
love  to  God,  His  service,  and  His  people,  which  dis 
tinguishes  them.' 

— 

15.  How  sweet  the  name  of  Jesus  sounds 

In  a  believer's  ear ! 

This  favourite  hymn  by  Newton  first  appeared  in  the 
Olney  Hymns  in  1779,  entitled  'The  Name  of  Jesus.' 
It  is  founded  on  a  thought  in  Solomon's  Song  :  '  Thy 
name  is  as  ointment  poured  forth  ; '  and  it  may  also 
have  been  suggested  by  St.  Bernard's  'Jesu,  dulcis 
memoria,' — beautifully  rendered  by  Edward  Caswall  in 
his  '  Jesu,  the  very  thought  of  Thee,'  and  by  Neale  in 
his  '  Jesu,  the  very  thought  is  sweet.'  Both  Doddridge 
and  Charles  Wesley  have  written  similar  hymns,  and 
probably  they  all  drew  from  the  same  ancient  source, 
the  *  Jesu,  dulcis  memoria '  of  St.  Bernard,  written  about 
1140  A.D. 

John  Newton,  the  well-known  hymn- writer,  was  born 
in  London  in  1725.  He  lost  his  pious  mother  when 
only  seven  years  old,  and  the  boy's  education  was  sadly 


Account  of  First  Rank  Hymns.         85 

neglected.  He  was  '  much  left  to  himself,  to  mingle 
with  idle  and  wicked  boys,  and  soon  learnt  their  ways, 
and  thus  grew  up  to  be  a  libertine  and  infidel.  For 
many  years  he  led  a  wild,  profligate  life  :  entered  the 
navy,  deserted,  and  was  publicly  whipped  ;  then  became 
a  slave-trader,  and  was  for  a  while  captain  of  a  slave- 
ship.  At  the  age  of  twenty-four,  while  on  a  voyage,  he 
picked  up  a  copy  of  Thomas  a  Kempis's  Imitation  of 
Christ,  and  after  perusing  the  volume  the  thought 
struck  him,  '  What  if  these  things  should  be  true  ? ' 
That  very  night  a  terrible  storm  arose,  and  the  ship  was 
nearly  wrecked.  This  led  him  to  solemn  thought,  and 
forthwith  he  experienced  a  religious  change.  In  1764, 
at  the  age  of  thirty-nine,  he  was  ordained,  and  presented 
by  the  Earl  of  Dartmouth  to  the  curacy  of  Olney,  where 
he  ministered  with  much  earnestness  for  sixteen  years. 
There  he  became  very  intimate  with  Cowper,  and  daily 
endeavoured  to  console  the  suffering  poet.  Newton 
was  a  man  of  considerable  zeal,  and  vigorously  pro 
pagated  Calvinistic  doctrines.  Once  a  week  he  held  a 
religious  meeting  at  a  vacant  house  in  Olney,  known  as 
the  '  Great  House/  belonging  to  the  Earl  of  Dartmouth. 
He  persuaded  Cowper  to  take  a  leading  part  in  these 
meetings,  and  it  is  thought  that  the  excitement  intensi 
fied  Cowper's  dreadful  malady.  Both  wrote  hymns  for 
these  weekly  assemblies.  Newton  in  his  diary  for  1775 
says,  '  I  usually  make  one  hymn  a  week  to  expound  at 
the  Great  House.'  Together  they  composed  the  Olney 
Hymns y  published  in  1779,  a  collection  of  which 
Cowper  composed  sixty-eight,  and  Newton  two  hun- 


86         Account  of  First  Rank  Hymns. 

dred  and  eighty.  In  composing  hymns  for  public 
worship,  Newton  tells  us  that  his  great  object  was  to 
make  them  clear  and  simple,  so  that  they  might  be 
readily  understood  by  poor  and  unlearned,  as  well  as  by 
the  rich  and  cultivated.  '  Perspicuity,  simplicity,  and 
ease  should  be  chiefly  attended  to  ;  and  the  imagery 
and  colouring  of  poetry,  if  admitted  at  all,  should  be 
indulged  very  sparingly,  and  with  great  judgment.' 
Newton  subsequently  became  the  well-known  Rector  of 
St.  Mary's  Woolnoth,  London,  and  died  in  1807  at  the 
advanced  age  of  eighty-two  years. 

16.  Jerusalem,  my  happy  home  ! 

Name  ever  dear  to  me  ! 
When  shall  my  labours  have  an  end, 
In  joy,  and  peace,  and  thee  ? 

In  the  British  Museum  is  a  thin  quarto  volume, 
numbered  15,225,  with  the  name  '  Queen  Elizabeth ' 
lettered  on  the  back.  It  contains  several  pieces  of 
sacred  poetry,  evidently  written  by  Roman  Catholics. 
One  piece  is  headed,  '  Here  followeth  the  song  Mr. 
Thewlis  wrote  ; '  another,  '  Here  followeth  the  song  of 
the  death  of  Mr.  Thewlis.'  It  is  known  that  John 
Thewlis  was  a  Roman  Catholic  priest,  barbarously 
murdered  at  Manchester  in  the  year  1617.  Then 
follows  the  above  hymn,  with  the  heading,  '  A  Song 
by  F.  B.  P.  to  the  tune  of  Diana.'  Recent  criticism 
tends  to  show  that  the  initials  stand  for  Francis  Baker, 
Priest,  a  Roman  Catholic  who  suffered  persecution  in 


Account  of  First  Rank  Hymns.         87 

the  reign  of  Queen  Elizabeth.  The  late  Daniel  Sedg- 
wick,  whose  knowledge  of  English  hymnology  was 
unrivalled,  thought  the  initials  stood  for  Francis  Baker 
Porter,  a  secular  priest,  the  author  of  several  devotional 
works,  and  for  some  time  imprisoned  in  the  Tower  of 
London.  The  hymn  by  F.  B.  P.  consists  of  twenty- 
six  verses  of  four  lines  each,  and  begins  : — 

Jerusalem,  my  happy  home  ! 

When  shall  I  come  to  thee  ? 
When  shall  my  sorrows  have  an  end? 

Thy  joys  when  shall  I  see? 

As  the  hymn  is  one  of  great  beauty  and  simplicity, 
and  as  moreover  it  has  proved  a  source  of  inspiration  to 
many  hymn-writers,  who  have  reproduced  its  sublime 
sentiments  in  endless  variety,  it  seems  desirable  to 
quote  the  whole  of  F.  B.  P.'s  sacred  ode:  — 

Hierusalem  !  my  happie  home  !  Noe  dampish  mist  is  scene  in 

When  shall  I  come  to  thee  ?  thee, 

When  shall  my  sorrows  have  Noe  cold  nor  darksome  night  ; 

an  end  ?  There  everie  soul  shines  as  the 
Thy  joyes  when  shall  I  see  ?  sun  ; 

There  God  Himselfe  gives  light. 
O  happie  harbor  of  the  saints, 

O  sweete  and  pleasant  soyle,  There  lust  and  lucre  cannot 
In  thee  no  sorrow  may  be  dwell, 

found,  There  envy  bears  no  sway  ; 

Noe    greefe,    noe    care,    noe  There  is  noe  hunger,  heate,  nor 

toyle !  colde, 

But  pleasure  everie  way. 
In  thee  noe  sicknesse  may  be 

scene,  Hierusalem  !  Hierusalem  ! 

Noe  hurt,  noe  ache,  noe  sore  ;  God  grant  I  once  may  see 

There  is  noe  death,  nor  ugly  Thy  endless  joyes,  and  of  the 

dole,  same 

But  life  for  evermore.  Partaker  aye  to  bee  ! 


88         Account  of  First  Rank  Hymns. 


Thy  walls  are  made  of  pretious 

stones, 
Thy  bulwarkes  diamondes 

square, 
Thy  gates  are  of  right  orient 

pearle, 
Exceedinge  riche  and  rare. 

Thy  turrettes  and  thy  pinnacles 
With  carbuncles  doe  shine  ; 
Thy   verrie   streets  are  paved 

with  gould, 
Surpassinge  cleare  and  fine. 

Thy  houses  are  of  y vorie, 
Thy  windows  crystal  cleare  ; 
Thy  tyles  are  made  of  beaten 

gould  ; 
O  God,  that  I  were  there  ! 

Within  thy  gates  doth  nothing 

come 

That  is  not  passinge  cleane  ; 
Noe   spider's  web,   noe  durt, 

noe  dust, 
Noe  filthe  may  there  be  scene. 

Ah  !  my  sweete  Home,  Hieru- 

salem, 

Would  God  I  were  in  thee  ! 
Would  God  my  woes  were  at 

an  end, 
Thy  joyes  that  I  might  see  ! 

Thy  saints  are  crowned  with 

glory  great, 

They  see  God  face  to  face  ; 
They  triumph  still,  they  still 

rejoyce  ; 
Most  happie  is  their  case. 


Wee  that  are  heere  in  banish 
ment 

Continuallie  doe  moane  ; 
We  sigh  and  sobbe,  we  weepe 

and  waile, 
Perpetuallie  we  groane. 

Our    sweete    is    mixed    with 

bitter  gaule, 

Our  pleasure  is  but  paine  ; 
Our  ioyes  scarce  last  the  looke- 

ing  on, 
Our  sorrowes  still  remaine. 

But   there    they  live  in   such 

delight, 

Such  pleasure  and  such  play, 
As  that   to  them  a  thousand 

yeares 
Doth  seeme  as  yesterday. 

Thy  vineyardes   and   thy   or- 

chardes  are 

Most  beautifull  and  faire, 
Full  furnished  with  trees  and 

fruits, 
Exceeding  riche  and  rare. 

Thy  gardens  and  thy  gallant 

walkes 

Continually  are  greene ; 
There  growe  such  sweete  and 

pleasant  flowers 
As  noe  where  else  are  scene. 

There    nectar    and    ambrosia 

flow, 
There     muske     and     civette 

sweete, 
There  manie  a  faire  and  daintie 

drugge 
Are  trodden  under  feete. 


Account  of  First  Rank  Hymns.         89 


There   cinnamon,  there  sugar 

grow, 

There  nardeandbalme  abound; 
What  tounge  can  telle  or  harte 

containe 
The  ioyes  that  there  are  found  ? 

Quyt  through  the  streetes,  with 

silver  sound, 

The  Flood  of  Life  doth  flowe ; 
Upon  whose  bankes  on  everie 

syde, 
The  Wood  of  Life  doth  growe. 

There  trees  for  evermore  beare 

fruite, 

And  evermore  doe  springe  ; 
There  evermore  the  Angels  sit, 
And  evermore  doe  singe. 

There  David  stands,  with  harpe 

in  hands, 

As  master  of  the  queere  ; 
Tenne  thousand  times  that  man 

were  blest, 
That  might  this  musicke  heare! 


Our  Ladie  singes  Magnificat 
With      tones      surpassinge 

sweete ; 
And  all  the  Virginns  beare  their 

parte, 
Sitting  about  her  feete. 

1  Te  Deum  '  doth   Saint  Am 
brose  singe, 

Saint  Austine  doth  the  like  ; 
Ould  Simeon  and  Zacharie 
Have  not  their  songes  to  seeke. 

There  Magdalene  hath  left  her 

mone, 

And  cheerfullie  doth  singe, 
With    blessed    Saints    whose 

harmonie 
In  everie  street  doth  ringe. 

Hierusalem!  my  happie  Home! 
Would  God  I  were  in  thee  ! 
Would  God  my  woes  were  at 

an  end, 
Thy  ioyes  that  I  might  see 


The  tone  of  the  poem  indicates  that  it  is  the  work  of 
a  Roman  Catholic,  to  wit,  the  stanza — 

Our  Ladie  singes  Magnificat 
With  tones  surpassing  sweete  ; 
And  all  the  Virginns  beare  their  parte, 
Sitting  about  her  feete. 

As  Mr.  Thewlis,  mentioned  in  the  quarto,  is  known 
to  have  been  murdered  in  1617,  it  follows  that  the 
book  itself  could  not  have  been  compiled  before  that 
year,  although  it  contains  poems  of  a  much  earlier  date. 
It  is  now  generally  thought  that  the  sacred  song  by 


go         Account  of  First  Rank  Hymns. 

F.  B.  P.  is  a  rendering  of  some  old  hymn,  of  which  the 
original  text  and  author  are  unknown.  Probably  it 
was  drawn  from  several  sources,  and  especially  from  an 
ancient  Latin  hymn  of  twenty-four  long  lines  that  appears 
in  Daniel's  Thesaurus  Hymnologicus,  and  begins — 

Urbs  beata  Hierusalem,  dicta  pacis  visio, 
Quae  construitur  in  coelis  vivis  ex  lapidibus. 

This  seems  to  have  been  designed  primarily  '  In 
Dedicatione  Ecclesiae '  ('  For  the  dedication  of  a 
church').  The  author  and  date  of  the  original  text  are 
unknown,  but  it  is  believed  to  date  from  the  eighth  or 
ninth  century.  Unfortunately  the  Latin  was  tampered 
with  in  the  seventeenth  century,  and  in  consequence  the 
original  lost  much  of  its  beauty  and  spirit.  Dr.  Neale 
says :  '  This  grand  hymn  of  the  eighth  century  was 
modernised  in  the  reform  of  Pope  Urban  vin.  into  the 
"Coelestis  urbs  Jerusalem,"  and  lost  half  of  its  beauty 
in  the  process.'  This  opinion  is  amply  confirmed  by 
Archbishop  Trench,  who  in  his  Sacred  Latin  Poetry 
says : — 

'  Of  this  rugged  but  fine  old  hymn  the  author  is  not 
known,  but  it  probably  dates  from  the  eighth  or  ninth 
century.  I  have  observed  already  upon  the  manner  in 
which  these  grand  old  compositions  were  re-cast  in  the 
Romish  Church  at  the  revival  of  learning,  which  was, 
in  Italy  at  least,  to  so  large  an  extent  a  revival  of 
heathenism.  This  is  one  of  the  few  that  have  not 
utterly  perished  in  the  process ;  while  yet,  if  we  com 
pare  the  first  two  rugged  and  somewhat  uncouth  stanzas, 
but  withal  so  sweet,  with  the  smooth  iambics  which  in 


Account  of  First  Rank  Hymns.        9 1 

the  Roman  Breviary  have  taken  their  place,  we  shall 
feel  how  much  of  their  beauty  has  disappeared/ 
The  original  two  stanzas  are — 

Urbs  beata  Hierusalem,  dicta  pacis  visio, 
Quae  construitur  in  coelis  vivis  ex  lapidibus, 
Et  ab  angelis  ornata,  velut  sponsa  nobilis 
Nova  veniens  e  coelo,  nuptiali  thalamo 
Praeparata,  ut  sponsata  copuletur  Domino 
Plateae  et  muri  ejus  ex  auro  purissimo. 

These  stanzas,  rendered  into  iambics  in  the  Roman 
Breviary  of  the  seventeenth  century,  are — 

Coelestis  urbs  Jerusalem  O  sorte  nupta  prospera, 

Beata  pacis  visio,  Dotata  Patris  gloria, 

Quae  celsa  de  viventibus  Respersa  Sponsi  gratia, 

Saxis  ad  astra  tolleris  Regina  formosissima, 

Sponsaeque  ritu  congeris  Christo  jugata  Principi, 

Mille  angelorum  millibus  :  Coelo  coruscas  civitas. 

The  two  concluding  stanzas  of  the  original  hymn, 
Daniel,  in  his  Thesaurus  Hymnologicus,  conceives 
not  to  have  belonged  to  the  hymn  as  first  composed, 
but  to  have  been  added  to  it  to  adapt  it  to  a  Feast  of 
Dedication.  Not  so.  The  hymn  coheres  intimately  in 
all  its  parts,  and  in  ceasing  to  be  a  hymn  *  In  Dedica- 
tione  Ecclesiae '  it  would  lose  its  chiefest  beauty.  It 
is  most  truly  a  hymn  of  degrees,  ascending  from  things 
earthly  to  things  heavenly,  and  making  those  interpre 
ters  of  these.  The  prevailing  intention  in  the  building 
and  dedication  of  the  church,  with  the  rites  thereto 
appertaining,  was  to  carry  up  men's  thoughts  from  that 
temple  built  with  hands,  which  they  saw,  to  that  other, 
built  of  living  stones,  in  heaven,  of  which  this  was  but  a 
shadow  :  compare  two  beautiful  sermons  by  Hildebert.  A 


92          Account  of  First  Rank  Hymns. 

Sequence,  'De  Dedicatione  Ecclesiae,'  which  Daniel  him 
self  gives,  should  have  preserved  him  from  this  error  : — 

Blessed  city,  Heavenly  Salem, 
Vision  dear  of  peace  and  love. 

This  happy  rendering  by  Dr.  Neale,  dated  1851,  is  a 
translation  of  the  beautiful  old  Church  Dedication 
Hymn,  '  Urbs  beata  Hierusalem.' 

Dr.  Neale's  translation  of  the  second  part  of  the  old 
Latin  hymn  is  the  well-known  version — 

Christ  is  made  the  sure  foundation, 
Christ  the  Head  and  Corner-stone. 
Angulare  fundamentum  lapis  Christus  missus  est. 

The  Most  Reverend  E.  W.  Benson,  now  Archbishop 
of  Canterbury,  has  also  translated  the  rugged  eighth- 
century  Latin  hymn.  His  renderings  appeared  in  the 
Hymn-book  for  Wellington  College,  and  were  written 
for  the  dedication  of  the  College  in  1863.  These 
scholarly  and  elegant  translations  commence — 

Part  I.     Blessed  city,  Heavenly  Salem, 
Peaceful  vision  dim-descried. 

Part  II.  Deeply  laid  a  sure  foundation, 

Christ  the  anointed  Corner-stone. 

The  Rev.  John  Chandler  in  1837  published  an 
extremely  spirited  and  deservedly  popular  translation 
of  the  second  part,  beginning — 

Christ  is  our  Corner-stone, 
On  Him  alone  we  build. 

At  Karlsruhe  exists  a  MS.  of  a  long  Latin  hymn, 
thought  to  belong  to  the  fifteenth  century.  The  sub 
ject  of  the  poem  is  '  The  glory  of  the  Heavenly  Jeru- 


Account  of  First  Rank  Hymns.         93 

salem.'  Although  the  author  is  unknown,  yet  the 
language  and  general  ideas  indicate  that  he  belonged  to 
the  school  of  Thomas  a  Kempis.  It  is  possible  that 
the  poem  is  a  cento  and  expansion  of  the  eighth-century 
Latin  hymn.  Dr.  Neale  made  happy  translations  of 
the  three  portions  of  the  hymn,  the  more  striking 
stanzas  having  first  appeared  in  the  Hymnal  Noted. 

Part  I.  is  '  Of  the  glory  of  the  Heavenly  Jerusalem 
in  general,'  and  begins — 

If  there  be  that  skill  to  reckon  Quisquis  valet  numerare 

All  the  number  of  the  blest.  Beatorum  numerum. 

Part  II.  is  a  great  favourite,  and  is  frequently 
employed  as  a  dedication  hymn.  It  consists  of  twelve 
stanzas  of  six  lines  each,  and  in  the  original  is  entitled 
'  Of  the  glory  of  the  Heavenly  Jerusalem  as  far  as  con- 
cerneth  the  Glorified  Body  : ' — 

Light's  abode,  Celestial  Salem,         Jerusalem  luminosa 
Vision  whence  true  peace  doth          Verae  pacis  visio. 
spring. 

It  ought  to  be  noticed  that  the  opening  Latin  words 
appear  to  be  a  re-cast  of  the  eighth-century  hymn, 
*  Urbs  beata  Hierusalem,  dicta  pacis  visio.' 

The  Third  Part  of  the  hymn,  entitled  <  Of  the  glory 
of  the  Heavenly  Jerusalem,  as  concerning  the  endow 
ments  of  the  Glorified  Soul/  commences — 

Eye  hath  never  seen  the  glory,  Nee  quisquam  oculis  vidit 

Ear  hath  never  heard  the  song.  Neque  ullis  sensibus. 

Not  long  after  the  date  of  this  fifteenth-century 
hymn,  was  composed  Francis  Baker's  English  sacred 


94          Account  of  First  Rank  Hymns. 

song,  '  Hierusalem  !  my  happie  Home,'  and,  judging 
from  its  general  tone  and  language,  it  would  appear 
that  the  author  of  this  most  beautiful  song  was 
acquainted  with  the  Latin  hymns  of  the  eighth  and 
fifteenth  centuries. 

Whether  or  not  the  beautiful  hymn  of  Francis  Baker 
is  a  translation,  or  rather  cento,  of  the  rugged  old  Latin 
hymn,  it  is  certain  that  the  English  version  has  itself 
proved  a  source  of  inspiration  to  many  hymn-writers,  to 
wit — David  Dickson,  who  was  a  distinguished  Presby 
terian  minister  of  the  seventeenth  century,  and  became 
Professor  of  Divinity,  first  in  Glasgow  University,  then 
in  Edinburgh.  He  was  deprived  of  his  office  at  the 
restoration  of  Charles  IL,  because  he  refused  to  take 
the  Oath  of  Supremacy.  Dickson  had  attained  to 
manhood  when  F.  B.  P.'s  hymn  was  discovered  in  the 
British  Museum,  and  he  died  in  1663. 

He  was  a  good  hymn-writer,  and  published  about 
the  year  1650  a  volume  of  poems  on  pious  and  serious 
subjects.  Amongst  them  is  a  long  sacred  poem,  con 
sisting  of  about  250  lines,  on  the  Celestial  Jerusalem. 
It  is  evidently  a  revision  and  enlargement  of  Francis 
Baker's  hymn,  although  more  than  half  appears  to  be 
original,  inasmuch  as  Dickson's  version  is  more  than 
double  that  of  Baker's.  It  begins  with  the  well-known 

words — 

O  mother  dear  Jerusalem ! 
When  shall  I  come  to  thee  ? 

As  might  be  expected,  Dickson's  poem  expurgates 
sentiments  thought  to  savour  of  Roman  Catholicism. 


Account  of  First  Rank  Hymns.         95 

Thus  '  Our  Ladie  singes  Magnificat '  becomes  '  There 
Mary  sings  Magnificat.'  Dickson  himself  has  been 
severely  condemned  for  appropriating  to  himself 
Baker's  poem,  and  the  expansion  has  been  stigmatised 
as  'a  quantity  of  his  own  rubbish.'  This  severity  of 
language  is  not  warranted,  inasmuch  as  there  exists  no 
evidence  to  show  that  Dickson  palmed  off  his  enlarged 
cento  as  a  poem  entirely  original,  and  many  of  his 
own  stanzas,  far  from  being  rubbish,  are  pregnant  with 
sublime  thoughts. 

Robert  Wodrow  wrote  a  Life  of  Dickson  about  fifty 
years  after  his  death,  and  there  the  biographer  states 
that  he  had  *  seen  in  print  some  short  poems  published 
by  Dickson  in  1649,  an(^  among  them,  "O  mother 
dear  Jerusalem."'  Founded  on  this  testimony,  the 
public  concluded  that  the  whole  poem  was  original, 
and  this  misconception  existed  until  the  discovery  of 
Baker's  poem  in  the  British  Museum.  It  is,  however, 
unfair  to  charge  Dickson's  memory  with  the  error  of 
posterity,  unless  there  is  proof  that  he  was  guilty  of 
wilful  plagiarism. 

About  two  hundred  years  ago,  and  only  thirty  years 
after  Dickson's  death,  appeared  another  version  of 
Baker's  hymn,  by  the  Rev.  W.  Burkitt,  Vicar  of  Ded- 
ham.  The  alterations  made  were  not  very  happy,  and 
in  some  places,  indeed,  destroyed  both  the  spirit  and 
sense  of  the  original.  Thus,  where  Baker  had  written 

Thy  gardens  and  thy  gallant  walkes 
Continually  are  greene, 

was  rendered  by  Burkitt,  '  Thy  gardens  and  thy  pleasant 


96         Account  of  First  Rank  Hymns. 

fruits]  making  it  difficult  to  reconcile  'pleasant  fruit' 
with  the  fact  that  it  is  continually  green. 

The  present  very  beautiful  version,  found  in  almost 
all  modern  Hymnals, 

Jerusalem,  my  happy  home, 
Name  ever  dear  to  me, 

does  not  appear  to  be  very  old.  It  appeared  in  a 
Hymnal  dated  1801,  by  Williams  and  Boden,  entitled, 
A  Collection  of  600  Hymns>  designed  as  a  New  Supple 
ment  to  Dr.  Watts'  Psalms  and  Hymns.  The  hymn 
is  there  stated  to  be  taken  from  the  Eckington  collec 
tion,  but  unfortunately  nothing  is  said  of  the  author  of 
this  favourite  adaptation  of  Baker's  hymn.  The  Rev. 
James  Boden,  one  of  the  compilers  of  the  hymnal, 
lived  and  died  within  a  few  miles  of  Eckington,  a 
village  in  Yorkshire,  and  as  he  himself  was  a  hymn- 
writer  it  is  possible  that  he  made  this  adaptation  for 
the  Eckington  collection. 

Fragments  of  Baker's  sacred  song  are  found  in  every 
Hymnal,  and  have  gladdened  the  Christian  Church  for 
about  three  centuries.  Truly  has  it  been  remarked 
that  '  many  versions  of  this  prisoner's  hymn  have  found 
their  way  into  different  parts  of  Europe,  and  many  a 
home  and  many  a  prison  it  may  have  made  the  happier, 
by  its  simple  soothing  tones,  and  its  tuneful  alterna 
tions  of  plaintiveness  and  triumph.  Snatches  of  it 
used  to  be  heard  among  the  hills  and  glens  of  Scot 
land.  They  lived  in  the  memory  and  heart  of  many  a 
Scotch  mother,  and  seem  to  have  been  sung  as  devout 
and  cheering  accompaniments  to  the  daily  duties  of 


Account  of  First  Rank  Hymns.         97 

cottage  life.  Nor  was  this  without  good  fruit  even  in 
distant  lands,  fruit  that  sprang  up  far  away  from  the 
spot  where  the  seed  first  fell.1 

'  A  young  Scotchman  who  was  on  his  deathbed  at 
New  Orleans,'  says  the  American  biographer  of  White- 
field,  c  was  visited  by  a  Presbyterian  minister,  but  con 
tinued  for  a  time  to  shut  himself  up  against  all  the 
good  man's  efforts  to  reach  his  heart.  Somewhat 
discouraged,  at  last  the  visitor  turned  away,  and 
scarcely  knowing  why,  unless  it  were  for  his  own 
comfort,  began  to  sing  "Jerusalem,  my  happy  home." 
That  was  enough — a  tender  chord  was  touched.  The 
young  patient's  heart  was  broken,  and  with  bursting 
tears  he  said,  "  My  dear  mother  used  to  sing  that 
hymn."  The  prisoner,  too,  whose  song  went  out  from 
the  Tower  to  fulfil  such  heavenly  missions,  now  enjoys 
the  city  of  his  desire,  and  many  have  gathered  around 
him  there  whose  way  thither  had  been  brightened  by 
the  music  of  his  hymn.' 

Jerusalem  on  high 

My  song  and  city  is, 
My  home  whene'er  I  die, 

The  centre  of  my  bliss. 

This  hymn  on  the  'New  Jerusalem'  is  part  of  a 
poem,  consisting  of  fourteen  stanzas,  on  'Heaven,' 
beginning — 

Sweet  place,  sweet  place  alone  ! 
The  court  of  God  most  High. 

It  was  written  more  than  two  centuries  ago  by  Samuel 
Grossman,  a  Prebendary  of  Bristol  Cathedral;  born 

G 


98         Accoimt  of  First  Rank  Hymns. 

1624,  died  1683.  The  poem  first  appeared  in  a  little 
book  of  nine  poems  entitled  The  Young  Man's  Medita 
tion,  or  some  few  Poems  on  Select  Subjects.  The  second 
piece,  on  *  Heaven,'  is  the  best,  but,  beautiful  as  it  is, 
the  hymn  was  long  forgotten.  Its  great  popularity  at 
present  is  partly  owing  to  the  fact  that  Lord  Selborne 
specially  commended  it  at  the  York  Church  Conference 
in  1866,  and  the  York  choir  sang  the  hymn  in  the  Minster 
on  the  occasion,  to  Dr.  Croft's  soul-stirring  tune. 


17.  From  Greenland's  icy  mountains, 
From  India's  coral  strand. 

This  world-renowned  hymn  is  generally  regarded  as 
the  best  missionary  hymn  ever  written.  It  was  written 
by  Heber  under  peculiar  circumstances.  In  1819  a 
royal  letter  was  issued  requesting  that  collections 
should  be  made  in  all  the  churches  of  England  on 
behalf  of  the  Society  for  the  Propagation  of  the 
Gospel.  Heber,  then  Rector  of  Hodnet,  went  to  Wrex- 
ham  to  hear  the  Dean  of  St.  Asaph  preach  on  the 
day  appointed,  and  on  the  previous  Saturday  was 
requested  by  the  Dean  to  compose  a  hymn  for  the 
missionary  service  of  the  next  day.  In  a  short  time 
he  composed  the  above  hymn,  which  was  sung  on  the 
morrow — Whitsunday  1819 — in  the  parish  church  of 
Wrexham.  Heber  had  always  evinced  great  zeal  for 
Christian  missions,  and  his  verses  are  an  undying- 
expression  of  his  ruling  missionary  passion.  Four 
years  afterwards,  1823,  he  was  induced  to  accept  the 


Account  of  First  Rank  Hymns.         99 

Bishopric  of  the  vast  diocese  of  Calcutta,  which  then 
included  the  whole  of  India,  Ceylon,  Mauritius,  and 
Australia. 

The  hymn  acquires  additional  interest  from  the 
fact  that  it  is  the  work  of  one  who  was  willing  to  leave 
his  native  land,  his  home,  and  much  that  is  dear  to  a 
literary  man,  in  order  to  undertake  the  vast  responsi 
bility  of  a  far-reaching  diocese.  Before  setting  out  for 
India  in  1823  Bishop  Heber  met  the  Committee  of 
the  Society  for  the  Propagation  of  the  Gospel.  One 
who  was  present  on  the  occasion  says :  '  We  shall 
long  remember  the  sensation  which  he  produced  when 
he  declared  that  his  last  hope  would  be  to  be  the 
chief  missionary  of  the  Society  in  the  East,  and  the 
emotion  with  which  we  all  knelt  down  at  the  close — 
sorrowing  most  of  all  that  we  should  see  his  face  no 
more.' 

A  passage  in  his  Journal  of  a  Voyage  to  India,  Sep 
tember  1823,  throws  light  upon  the  lines,  '  What  though 
the  spicy  breezes  blow  soft  o'er  Ceylon's  isle  :'  '  Though 
we  were  now  too  far  off  Ceylon  to  catch  the  odours  of 
land,  yet  it  is,  we  are  assured,  perfectly  true  that  such 
odours  are  perceptible  to  a  very  considerable  distance. 
In  the  Straits  of  Malacca  a  smell  like  that  of  a  haw 
thorn  hedge  is  commonly  experienced;  and  from 
Ceylon,  at  thirty  or  forty  miles,  under  certain  circum 
stances,  a  yet  more  agreeable  scent  is  inhaled.'  For 
about  three  years  Heber  pursued  the  arduous  duties  of 
a  missionary  bishop  with  amazing  zeal,  but  his  consti 
tution  succumbed  to  the  over-pressure  of  labour,  and  he 


ioo       Account  of  First  Rank  Hymns. 

died  in  April  1826 — a  missionary  martyr  in  the  prime 
of  his  life. 

'  The  winds  seem  to  have  wafted  Heber's  song,  and 
the  rolling  waters  have  borne  it  forth,  till  what  was  first 
sung  in  Wrexham  Church  in  1819  now  rises  from 
human  hearts  and  lips  over  three  parts  of  the  world.' 

Further  particulars  of  the  hymn,  together  with  a 
facsimile  of  the  original  MS.,  were  printed  at  Wrexham, 
and  shown  at  the  Great  Exhibition  of  1851.  From 
this  source  we  learn  that  on  Whitsunday  1819  the  late 
Dr.  Shipley,  Dean  of  St.  Asaph  and  Vicar  of  Wrexham, 
preached  a  sermon  in  Wrexham  Church  in  aid  of  the 
Society  for  the  Propagation  of  the  Gospel  in  Foreign 
Parts.  That  day  was  also  fixed  upon  for  the  com 
mencement  of  the  Sunday  evening  lectures  intended 
to  be  established  in  that  church,  and  the  late  Bishop  of 
Calcutta  (Heber),  then  Rector  of  Hodnet,  the  Dean's 
son-in-law,  undertook  to  deliver  the  first  lecture.  In 
the  course  of  the  Saturday  previous,  the  Dean  and  his 
son-in-law  being  together  at  the  Vicarage,  the  former 
requested  Heber  to  write  something  for  them  to  sing 
in  the  morning,  and  he  retired  for  that  purpose  from 
the  table,  where  the  Dean  and  a  few  friends  were 
sitting,  to  a  distant  part  of  the  room.  In  a  short  time 
the  Dean  inquired,  'What  have  you  written?'  Heber, 
having  then  composed  the  first  three  verses,  read  them 
over.  '  There,  there  ;  that  will  do  very  well,'  said  the 
Dean.  '  No,  no ;  the  sense  is  not  complete,'  replied 
Heber.  Accordingly  he  added  the  fourth  verse,  '  Waft, 
waft,  ye  winds,  His  story,'  and  the  Dean  being  inexor- 


Account  of  First  Rank  Hymns.        101 

able  to  his  repeated  request  of  '  Let  me  add  another  ! 
O  let  me  add  another !'  the  hymn  was  thus  com 
pleted  which  has  since  become  so  celebrated.  It  was 
sung  the  next  morning  in  Wrexham  Church  for  the 
first  time. 

1 8.  Great  God,  what  do  I  see  and  hear? 
The  end  of  things  created. 

This  noble  Advent  hymn,  generally  known  by  the 
incorrect  title  of  '  Luther's  Hymn/  has  a  peculiar 
history.  The  tune  to  which  it  is  almost  invariably  sung 
is  from  a  German  air  of  the  sixteenth  century,  and  is 
called  '  Luther/  which  may,  in  part  at  least,  account  for 
the  popular  misnomer,  viz.,  'Luther's  Hymn.' 

The  original  German  hymn,  from  which  the  above  is 
drawn,  was  the  work  of  Bartholomew  Ringwaldt,  a 
Lutheran  village  pastor,  born  in  1530,  died  in  1598  at 
the  age  of  sixty-eight  years.  Ringwaldt's  German  hymn 
first  appeared  in  1585,  and  consisted  of  seven  stanzas. 
It  was,  in  style  at  least,  written  in  imitation  of  an  ancient 
Latin  hymn — '  Dies  irae,  dies  ilia/  composed  three 
centuries  before  Ringwaldt's  day  by  Thomas  of  Celano, 
a  Franciscan  monk. 

In  1722  an  English  translation  of  Ringwaldt's  hymn 
was  made  by  Jacobi,  and  appeared  in  his  Psalmodia 
Germanica.  The  first  stanza  commences  thus — '  'Tis 
sure  that  awful  time  will  come.' 

In  the  course  of  the  year  1598,  in  a  little  place  in 
Prussia  called  Langfeldt,  the  Lutheran  pastor,  a  man  of 
cheerful  courage  and  genial  spirit,  came  to  the  end  of 


iO2       Account  of  First  Rank  Hymns. 

his  earthly  course,  after  a  life  in  which  he  had  done  his 
best  to  cheer  the  spirits  of  his  flock  by  dint  of  spiritual 
song-singing.  Famine,  pestilence,  fire,  and  flood  had 
kept  him  and  his  neighbours  in  continued  suffering ; 
and  the  times  seemed  favourable  to  no  hymns  but 
those  of  penitence  and  anticipation  of  judgment.  But 
Bartholomew  Ringwaldt  brought  out  hymn  after  hymn 
on  these  subjects,  all  simple,  vigorous,  Luther-like 
hymns,  and  among  the  rest  the  stanza  beginning — 
'  Great  God,  what  do  I  see  and  hear  ? ' 

It  is  not  known  by  whom  this  stanza  was  rendered 
into  English  as  given  above  ;  but  in  1812  it  caught  the 
attention  of  the  then  well-known  Dr.  Collyer,  who 
during  the  first  half  of  this  nineteenth  century  was  the 
most  popular  dissenting  minister  in  London.  In  1812 
Dr.  Collyer  compiled,  chiefly  for  the  use  of  his  own 
congregation,  a  Hymnal,  in  which  were  57  original  hymns 
by  himself.  Among  them  was  the  above  well-known 
stanza,  which  he  erroneously  thought  to  be  a  translation 
of  part  of  a  German  hymn  written  by  Luther. 

Dr.  Collyer  had  added  to  it  three  stanzas  of  his  own, 
and  these,  with  a  few  slight  alterations,  make  up  the 
well-known  hymn  as  it  appears  in  our  present  Hymnals. 
In  a  note  to  his  Hymnal  that  appeared  in  1812  Dr. 
Collyer  says  :  *  This  hymn,  which  is  adapted  to  Luther's 
celebrated  tune,  is  universally  ascribed  to  that  great 
man.  As  I  never  saw  more  than  this  first  verse,  I  was 
obliged  to  lengthen  it  for  the  completion  of  the  subject, 
and  am  responsible  for  the  verses  that  follow.' 


Account  of  First  Rank  Hymns.        103 

19.  Our  God,  our  help  in  ages  past, 
Our  hope  for  years  to  come, 
Our  shelter  from  the  stormy  blast, 
And  our  eternal  home ! 

This  noble  metrical  version  of  the  earlier  part  of  the 
9oth  Psalm  is  by  Isaac  Watts,  and  appeared  in  1719. 
It  received  several  corrections  at  the  hands  of  John 
Wesley ;  amongst  others,  the  opening  words  '  Our  God  ' 
were  changed  to  *  O  God.'  In  its  altered  form  the 
hymn  appears  in  1738  in  Wesley's  first  Hymn-book. 
The  original  consists  of  nine  stanzas,  but  the  following 
three  are  seldom  seen  : — 

Thy  word  commands  our  flesh  to  dust — 

Return,  ye  sons  of  men  : 
All  nations  rose  from  earth  at  first, 

And  turn  to  earth  again. 

The  busy  tribes  of  flesh  and  blood, 

With  all  their  loves  and  cares, 
Are  carried  downwards  by  the  flood, 

And  lost  in  following  years. 

Like  flowery  fields  the  nations  stand, 

Pleased  with  the  morning  light ; 
The  flowers  beneath  the  mower's  hand 

Lie  withering  ere  'tis  night. 

This  hymn  is  generally  considered  to  be  the  best  ren 
dering  of  the  goth  Psalm,  and  a  writer  of  the  Oxford 
Essays  in  1858  regards  it  as  Watts's  best  paraphrase. 


IO4       Account  of  First  Rank  Hymns. 

20.  Saviour,  when  in  dust  to  Thee, 
Low  we  bow  the  adoring  knee  ; 
When  repentant  to  the  skies 
Scarce  we  lift  our  weeping  eyes. 

Sir  Robert  Grant,  author  of  this  plaintive  Litany 
hymn,  was  born  in  1785  of  an  ancient  Scotch  family. 
He  graduated  at  Cambridge  with  high  honours  in  1806, 
and  became  successively  barrister,  Member  of  Parlia 
ment,  Privy  Councillor,  and,  in  1834,  Governor  of 
Bombay.  He  held  this  exalted  position  for  four  years, 
and  died  in  India  in  1838.  At  various  periods  of  his 
life  he  wrote  several  hymns  of  a  high  order  of  merit ; 
twelve  of  them  were  published  in  1839  by  his  brother, 
Lord  Glenelg,  in  a  small  volume  entitled  Sacred  Poems. 
These  hymns  show  considerable  poetic  genius  and 
rich  spiritual  life.  The  above  appears  as  No.  2  in 
the  collection,  but  it  had  already  appeared  a  quarter 
of  a  century  before  in  the  Christian  Observer,  entitled 
'  A  Litany.'  It  is  indeed  a  hymn-prayer,  and  as  such 
must  be  accounted  as  one  of  the  best  of  its  kind.  The 
original  has  been  often  and  widely  varied,  but  with 
questionable  taste. 


21.  All  people  that  on  earth  do  dwell, 
Sing  to  the  Lord  with  cheerful  voice. 

This  grand  metrical  version  of  the   looth  Psalm  is 
supposed  to  be  the  work  of  William  Kethe,  a  native  of 


Account  of  First  Rank  Hymns.        105 

Scotland,  and  an  exile  with  Knox  at  Geneva  in  1555. 
He  was  one  of  the  translators  of  the  Geneva  Bible,  and 
twenty-five  of  his  Psalms  were  published  in  the  old 
Psalter  of  1561.  In  1563  we  find  Kethe  chaplain  to  the 
English  forces  at  Havre,  and  afterwards  Rector  of 
Okeford  in  Dorset.  A  sermon  still  exists,  printed  in 
black-letter,  preached  at  Blandford  at  the  Sessions  held 
there  in  1571,  by  'William  Kethe,  minister  and 
preacher  of  God's  Word.'  This  Psalm  is  sometimes 
assigned  to  Hopkins,  joint-editor  with  Sternhold  of  the 
first  Metrical  Psalter  attached  to  the  Prayer-Book,  but 
not  on  any  good  ground.  Of  the  sixty-two  Psalms  com 
posed  by  Hopkins,  the  looth  is  amongst  them,  but 
Hopkins's  version  is  much  inferior  to  the  above,  and 
shows  him^to  be  incapable  of  such  a  high-class  produc 
tion.  This  truly  grand  version,  which  takes  rank  with 
the  foremost  of  our  hymns,  is  a  universal  favourite. 
The  cause  of  its  popularity  is  in  a  great  measure  due  to 
the  fact  that  it  is  free  from  sectarian  doctrine  and  party 
feeling.  It  appeals  directly  to  those  fundamental  doc 
trines  of  our  common  religion,  doctrines  which  soothe 
the  deep  religious  cravings  of  the  soul, — namely,  that 
God  is  the  great  universal  Father  of  the  human  race, 
and  that  He  watches  over  His  offspring  with  the  loving 
care  that  an  Eastern  shepherd  shows  for  his  flock. 
The  purity  of  rhythm,  the  simplicity  of  language,  and 
the  dignified  music  to  which  it  is  sung,  have  doubtless 
combined  to  increase  its  popularity. 

The  tune,  commonly  known  as  the  '  Old  Hundredth/ 
takes    rank    in    the    highest    class    of    music,    and    is 


io6       Account  of  First  Rank  Hymns. 

therefore   a   fitting   accompaniment   to  Kethe's  grand 
version. 

The  melody  is  thought  to  have  been  composed  by 
Guillaume  Franc,  a  native  of  Rouen,  who  for  about  a 
quarter  of  a  century  took  a  leading  part  in  the  cathedral 
of  Lausanne,  and  died  in  1570.  Franc  is  said  to  have 
taken  the  chief  share  in  setting  to  music  the  Psalms 
for  the  Reformed  Church  at  Geneva ;  and  the  melody, 
set  originally  to  the  i34th  Psalm,  appeared  then  in 
connection  with  Franc's  work.  The  majesty  of  the 
strains  have  induced  some  musicians  to  imagine  that  it 
is  made  up  of  fragments  of  Gregorian  melodies,  but  this 
is  doubtful.  The  tune  soon  appeared  in  England,  for 
it  is  found  in  Dave's  Metrical  Psalter  of  1563.  The 
melody  is  said  to  have  been  harmonised  in  1565  by 
Claude  Goudimel,  a  musician  of  considerable  ability. 
Goudimel  established  a  school  of  music  at  Rome,  and 
the  celebrated  Palestrina  is  thought  to  have  been  one 
of  his  pupils. 

He  joined  the  Reformed  Church,  and  was  killed  in 
1572  in  the  massacre  of  the  Huguenots.  This  tune, 
originally  called  'The  Hundredth,'  now  familiarly  known 
as  'The  Old  Hundredth/  was  also  in  former  times  named 
'  Savoy,'  from  the  fact  that  it  was  sung  by  a  Huguenot 
congregation  that  worshipped  at  the  Savoy,  London, 
in  the  reign  of  Elizabeth. 


Account  of  First  Rank  Hymns.        107 


22.  Brief  life  is  here  our  portion  ; 

Brief  sorrow,  short-lived  care  ; 
The  life  that  knows  no  ending, 
The  tearless  life,  is  there. 

Hie  breve  vivitur,  hie  breve  plangitur,  hie  breve  fletur  ; 
Non  breve  vivere,  non  breve  plangere  retribuetur. 

This  lovely  and  well-known  hymn  is  an  extract  from 
'  De  Contemptu  Mundi,'  commonly  called  '  The  Rhythm 
of  Bernard  de  Morlaix,  Monk  of  Cluny,  on  the  Celestial 
Country.'  Our  English  rendering  of  the  Latin  verses  is 
the  work  of  the  Rev.  Dr.  John  Mason  Neale,  and  first 
appeared  in  1858. 

JohrTMason  Neale,  the  learned  and  voluminous  hymn- 
writer,  and  ardent  promoter  of  the  modern  High  Church 
movement,  was  born  in  London  in  1818.  He  was  the 
only  son  of  the  Rev.  Cornelius  Neale,  who  died  when 
his  boy  was  only  five  years  old.  John  however  received 
a  pious  training  from  his  mother,  and  gave  early  promise 
of  his  great  ability.  He  graduated  at  Cambridge  in  1 840, 
and  between  1845  and  1861  he  ten  times  obtained  the 
Seatonian  prize  for  an  English  sacred  poem,  a  feat  with 
out  parallel  in  the  annals  of  the  University.  In  1846  he 
was  appointed  Warden  of  Sackville  College,  East  Grin- 
stead,  a  post  he  retained  for  more  than  twenty  years,  till 
his  death  in  1866.  Neale  was  a  man  of  extraordinary 
literary  toil,  abounding  also  in  labours  of  piety  and 
benevolence.  Both  as  a  sacred  poet  and  scholar,  he 
showed  remarkable  ability,  and  possessed  a  marvellous 
power  of  translating  hymns  from  the  Latin  and  Greek,  re- 


io8       Account  of  First  Rank  Hymns. 

taining  the  beauty,  vigour,  and  often  the  rhythm  of  the 
original.  His  beautiful  translations  are  very  numerous, 
and  they  are  steadily  increasing  in  public  favour  from  year 
to  year.  It  may  truly  be  affirmed  that  Neale  has  exerted 
a  greater  influence  upon  English  Hymnody  than  any  other 
hymnist  of  the  nineteenth  century.  During  the  last 
days  of  his  life  it  was  a  source  of  comfort  and  delight 
to  him  to  listen  to  his  children  singing  his  own  sacred 
songs.  He  died  in  1866,  at  the  comparatively  early  age 
of  forty-eight,  and  was  buried  at  East  Grinstead,  the 
scene  of  his  labours,  with  great  ritualistic  splendour.  It 
has  justly  been  observed,  that  amid  all  his  mediaeval 
research,  and  erudite  knowledge  of  the  Eastern  Church, 
he  remained  steadfast  in  the  pure,  simple  faith  of  the 
Saviour.  The  following  high  tribute  of  praise  has  been 
paid  to  his  memory  : — '  Of  all  his  teachings  and  all  his 
elevating  of  the  spiritual  intellect,  the  most  edifying  to 
my  own  soul  was  when  I  saw  him  in  his  last  illness, 
laying  in  the  dust  all  his  works  and  all  his  talents,  and 
casting  himself  as  a  little  child  only  on  the  atoning  work 
of  Jesus  Christ.' 

Neale's  literary  works  are  voluminous,  and  amongst 
them  his  chief  contributions  to  Hymnology  are — 

'Mediaeval  Hymns  and  Sequences,'  published  in  1851. 
'  Hymni  Ecclesiae,'  ,,  1851. 

*  Hymns  for  Children, '  ,,  1854. 

'The  Rhythm  of  Bernard  of  Cluny,'  ,,  1858. 

'  Hymns  of  the  Eastern  Church,'  ,,  1863. 

'Joys  and  Glories  of  Paradise,'  ,,  1865. 

The  following  hymns  are  Neale's  best  known  trans- 


Account  of  First  Rank  Hymns.        109 

lations,  arranged  according   to  the  chronology   of  the 
originals : — 

Renderings  from  St.  Ambrose  :  fourth  century — 
'  O  God  of  truth,  O  Lord  of  might.' 
'  Now  that  the  daylight  fills  the  sky.' 
'  Jesu,  the  virgins'  Crown,  do  Thou.' 
'  O  Trinity,  most  blessed  light. ' 
'  Light's  glittering  morn  bedecks  the  sky.' 
'O  God,  Thy  soldiers'  great  reward.' 
'O  Lord,  most  high,  eternal  King.' 

From  Prudentius  :  fourth  century — 

'  Of  the  Father's  love  begotten. ' 

From  St.  Anatolius  :  fifth  century — 
'  The  day  is  past  and  over.' 
'Fierce  was  the  wild  billow.' 

From  Sedulius  :  fifth  century — 

'Why  doth  that  impious  Herod  fear.' 

Venantius  Fortunatus  :  sixth  century — 
'  The  royal  banners  forward  go.' 
'  The  God  whom  earth  and  sea  and  sky. ' 
'  Sing,  my  tongue,  the  glorious  battle.' 

Gregory  the  Great :  sixth  century — 
'Father  of  mercies,  hear.' 

St.  Andrew  of  Crete  :  eighth  century — 
'  O  the  mystery,  passing  wonder. ' 
'  Christians,  dost  thou  see  them.' 

Venerable  Bede  :  eighth  century — 

'  A  hymn  for  martyrs  sweetly  sing.' 
'  The  great  forerunner  of  the  morn.' 

St.  Cosmas  :  eighth  century — 

'  Christ  is  born,  tell  forth  His  fame.' 


1 10       Account  of  First  Rank  Hymns. 

St.  John  Damascene  :  eighth  century — 
"Tis  the  day  of  Resurrection.' 
'Those  eternal  bowers.' 

St.  Stephen  the  Sabaite  :  eighth  century — 
'Art  thou  weary,  art  thou  languid.' 

St.  Theodulph  :  ninth  century — 

'  All  glory,  laud,  and  honour. ' 

St.  Joseph  of  the  Studium  :  ninth  century — 
'  Let  our  choir  new  anthems  raise.' 
'And  wilt  Thou  pardon,  Lord?' 
'  Stars  of  the  morning,  so  gloriously  bright. ' 
'  O  happy  band  of  pilgrims.' 
'Jesus,  Lord  of  life  eternal.' 
'  Safe  home,  safe  home  in  port. ' 

Theoctistus  of  the  Studium  :  ninth  century— 
'  Jesu  !  name  all  names  above.' 

Godescalcus  :  ninth  century — 

'  The  strain  upraise  of  joy  and  praise.     Alleluia.' 

Metrophanes  of  Smyrna  :  tenth  century — 
'  O  Unity  of  threefold  light.' 

Peter  Damiani :  eleventh  century — 

'  O  what  terror  in  thy  forethought. ' 

'O  Cross,  whereby  the  earth  is  blessed.' 

St  Bernard  of  Clairvaux  :  twelfth  century — 
'Jesu  !  the  very  thought  is  sweet.' 

Bernard  of  Cluny  :  twelfth  century — 
'  Brief  life  is  here  our  portion.' 
'  For  thee,  O  dear,  dear  country. ' 
'  Jerusalem  the  golden. ' 
'  Jerusalem  the  glorious. ' 
'Jerusalem  exulting.' 


Account  of  First  Rank  Hymns.       1 1 1 

Adam  of  St.  Victor  :  twelfth  century — 

'The  church  on  earth,  with  answering  love.' 
'  The  praises  that  the  blessed  know.' 

St.  Thomas  Aquinas  :  thirteenth  century — 
*  Sing,  my  tongue,  the  Saviour's  glory.' 
'  Humbly  I  adore  Thee,  hidden  Deity.' 


23.  Come,  Holy  Ghost,  our  souls  inspire, 
And  lighten  with  celestial  fire. 

This  celebrated  hymn,  found  in  the  Ordination 
Service,  is  a  translation  made  by  Bishop  Cosin  from 
an  ancient  Latin  hymn  commencing  '  Veni,  Creator 
Spiritus.'  John  Cosin  was  born  at  Norwich  in  1594. 
He  became  Chaplain  to  Charles,  and  shortly  after  the 
Restoration  in  1660  he  was  made  Bishop  of  Durham. 
He  continued  Bishop  for  twelve  years,  and  died  at 
Westminster  in  1672. 

As  early  as  1627  Cosin  published  a  Collection  of 
Private  Devotions,  and  among  the  collection  is  found 
'  Prayers  for  the  Third  Hour.'  In  the  latter  appears 
the  above  beautiful  rendering  of  'Veni,  Creator  Spiritus,' 
the  translation  being  by  Cosin  himself.  The  Anglican 
Church  has  recognised  in  this  hymn  deep  spirituality 
and  extraordinary  dignity.  It  has  therefore  been  sig 
nally  distinguished  as  the  only  metrical  hymn  retained 
in  the  Book  of  Common  Prayer.  It  is  used  in  the 
Offices  for  the  Ordering  of  Priests  and  Consecration  of 
Bishops,  as  well  as  at  the  coronation  of  our  English 
monarchs.  In  the  Romish  Church  the  original  Latin 
hymn  is  used  at  the  creation  of  the  Pope,  and  on  other 


1 12       Account  of  First  Rank  Hymns. 

occasions  of  peculiar  solemnity.  The  original  probably 
dates  from  the  Ambrosian  era,  which  is  the  second  half 
of  the  fourth  century,  and  its  majestic  dignity  tends  to 
prove  that  there  is  a  calm  and  steady  glow  in  these 
early  Latin  hymns,  a  straightforward  plainness  of 
speech  and  an  unconscious  force  which  grows  on  the 
mind.  They  have  a  Roman  majesty  of  their  own,  the 
majesty  of  a  national  anthem,  the  subdued  fire  of  the 
battle-song  of  a  disciplined  army.  They  are  grand 
national  anthems  of  the  Church  militant,  and  their 
practical  plainness,  their  healthy  objective  life,  are 
bracing  as  mountain  air. 

Some  assign  the  authorship  of  the  '  Veni,  Creator 
Spiritus,'  to  Gregory  the  Great,  who  died  in  604,  and 
others  erroneously  assign  it  to  the  Emperor  Charle 
magne. 

The  hymn  found  a  place  in  the  ancient  Ordinal,  and 
its  first  recorded  use  in  public  was  in  898  A.D.,  at  the 
translation  of  some  saint's  relics,  as  recorded  in  the 
Annals  of  the  Benedictine  monks.  In  the  Sarum 
Breviary  it  is  directed  to  be  used  at  the  hour  of  Tierce, 
that  is,  9  o'clock  A.M.,  on  the  three  days  after  the 
Festival  of  Whitsunday. 

The  Latin  contains  eight  stanzas  short  metre ;  while 
Cosin's  celebrated  translation  contains  four  stanzas  of 
long  metre. 

The  second  and  longer  rendering  in  the  Ordina 
tion  Service  first  appeared  in  the  Second  Edwardian 
Prayer-Book  in  1552,  and  was  the  work  of  an  early 
Reformer. 


Account  of  First  Rank  Hymns.       1 13 

24.  My  God,  my  Father,  while  I  stray 

Far  from  my  home  on  life's  rough  way, 
O  teach  me  from  my  heart  to  say, 
'  Thy  will  be  done.' 

Miss  Charlotte  Elliott,  the  authoress  of  this  favourite 
hymn,  was  the  daughter  of  Mr.  Charles  Elliott,  and 
granddaughter  of  the  Rev.  Henry  Venn,  a  celebrated 
preacher  of  the  last  century.  Her  two  brothers,  the 
Rev.  Henry  Venn  Elliott,  and  the  Rev.  E.  B.  Elliott, 
were  well-known  Brighton  clergymen.  She  was  born 
in  1789,  and  for  many  years  resided  at  Torquay,  where 
she  was  distinguished  for  her  piety  and  benevolence. 
She  always  manifested  great  sympathy  for  those  in  sor 
row  and  sickness.  As  a  hymn-writer  her  efforts  have 
been  highly  appreciated,  and  many  of  them  are  de 
servedly  popular.  Several  of  the  hymns  were  written 
in  an  arbour  overlooking  the  beautiful  bay  at  Torquay. 

Her  later  years  were  spent  at  Brighton,  where  she 
died  in  1871  at  the  advanced  age  of  eighty-two. 

The  above  hymn,  with  the  familiar  refrain,  'Thy 
will  be  done,'  at  the  end  of  each  stanza,  first  appeared 
in  1835  in  her  well-known  collection,  The  Invalid's 
Hymn-book.  Two  different  forms  of  this  hymn  after 
wards  appeared  under  the  authoress's  own  sanction,  and 
the  three  texts  differ  considerably  from  each  other. 

This  comforting  hymn,  provoking  to  Christian  resig 
nation,  gains  additional  beauty  from  a  consideration  of 
Miss  Elliott's  own  experience.  In  a  letter  to  her  sister 
she  writes  :  '  Even  in  the  vale  of  suffering  there  are 

H 


1 14       Account  of  First  Rank  Hymns. 

blessed  companions  to  associate  with,  sweet  consola 
tions  to  partake  of,  heavenly  privileges  to  enjoy.  For 
myself,  I  am  well  content  to  tread  it,  and  to  remain  in 
it  till  my  weary  feet  stand  on  the  brink  of  Jordan.  But 
I  have  been  many  years  learning  this  difficult  lesson, 
and  even  now  am  but  little  skilled  in  this  blessed 
alchemy.  How  many  hard  struggles,  and  apparently 
fruitless  ones,  has  it  cost  me  to  become  resigned  to 
this  appointment  of  my  Heavenly  Father !  But  the 
struggle  is  now  over.'  The  death  of  her  dear  brother 
Henry  in  1865  was  to  her  a  heavy  affliction,  for  '  she 
had  always  hoped  and  expected  that  he  would  minister 
to  her  in  her  dying  hours.'  Her  meek  submission 
under  the  severe  chastisement  is  well  set  forth  in  the 
language  of  her  own  well-known  hymn : — 

What  though  in  lonely  grief  I  sigh 
For  friends  beloved  no  longer  nigh  ? 
Submissive  still,  would  I  reply, 
'  Thy  will  be  done.' 

Though  Thou  hast  called  me  to  resign 
What  most  I  prized, — it  ne'er  was  mine  ; 
I  have  but  yielded  what  was  Thine, 
'  Thy  will  be  done.' 

25.  Hail  the  day  that  sees  Him  rise     Alleluia! 
To  His  throne  above  the  skies.       Alleluia ! 

This  hymn  was  written  by  Charles  Wesley  for  Ascen 
sion  Day.  It  glows  with  a  fine  elevated  strain,  and  is 
the  most  popular  of  our  English  Ascension-tide  hymns. 
The  original  appeared  in  1739  in  Hymns  and  Sacred 


Account  of  First  Rank  Hymns.        115 

j  and  consisted  of  ten  stanzas,  four  of  which  are 
usually  omitted  in  modern  Hymnals.  '  Hallelujah '  is 
generally  sung  at  the  end  of  each  line.  The  hymn 
appeared,  with  some  slight  alterations,  in  Madan's  col 
lection  in  1760.  The  original  line,  *  There  the  pompous 
triumph  waits,'  was  changed  to  <  There  for  Him  high 
triumph  waits.'  Wesley  was  fond  of  the  words  '  pomp  ' 
and  '  pompous/  judging  from  their  frequent  use  in  his 
hymns, — thus,  '  And  lead  the  pompous  triumph  on,' 
'  By  the  pomp  of  Thine  ascending.'  These  words 
somewhat  grate  upon  our  ears,  but  it  ought  to  be 
noticed  that  Wesley  uses  the  terms  in  the  sense  of  the 
Greek  original, — TTO/UTT^  among  the  Greeks  being  a  reli 
gious  word,  meaning  a  '  religious  procession.'  The  four 
stanzas  of  the  original  usually  omitted  are  as  follows  : — 

Circled  round  with  angel  powers, 
Their  triumphant  Lord  and  ours, 
Conqueror  over  death  and  sin, 
Take  the  King  of  Glory  in. 

Master,  will  we  ever  say, 
Taken  from  our  heart  to-day, 
See  Thy  faithful  servants,  see, 
Ever  gazing  up  to  Thee. 

Ever  upward  let  us  move, 
Wafted  on  the  wings  of  love, 
Looking  when  our  Lord  shall  come, 
Longing,  grasping  after  home. 

There  we  shall  with  Thee  remain, 
Partners  of  Thy  endless  reign  ; 
There  Thy  face  unclouded  see, 
Find  our  Heaven  of  heavens  in  Thee. 


1 1 6       Account  of  First  Rank  Hymns. 

26.  Hail  to  the  Lord's  Anointed, 
Great  David's  greater  Son  ! 
Hail,  in  the  time  appointed, 
His  reign  on  earth  begun  ! 

This  grand  missionary  hymn  was  written  by  James 
Montgomery,  Christmas  1821,  and  was  first  printed 
privately  on  a  leaflet  for  the  use  of  the  congregation 
at  Fulneck,  Yorkshire,  of  which  congregation  the 
author  was  a  member.  It  is  an  admirable  para 
phrase  of  the  72d  Psalm,  full  of  the  spirit  of  David's 
inspired  words.  Four  months  after  it  was  written  the 
poet  repeated  it  at  the  close  of  a  speech  which  he 
delivered  at  a  missionary  meeting  held  in  a  Wesleyan 
school-room,  Liverpool,  in  1822.  Dr.  Adam  Clarke 
occupied  the  chair,  and  being  much  struck  with  the 
beauty  of  the  piece,  begged  the  MS.  of  the  author,  and 
inserted  it  in  his  '  Commentaries '  in  connection  with 
the  72d  Psalm.  The  rendering  of  '  The  mountains 
shall  bring  peace  to  the  people,  and  the  little  hills,  by 
righteousness '  is  exquisitely  beautiful— 

Before  Him,  on  the  mountains, 

Shall  peace,  the  herald,  go  ; 
And  righteousness,  in  fountains, 

From  hill  to  valley  flow. 

James  Montgomery,  sometimes  called  *  the  Cowper 
of  the  nineteenth  century/  was  born  at  Irvine,  Ayrshire, 
in  1771.  His  father  was  a  Moravian  minister,  and 
James,  when  only  seven  years  old,  was  sent  to  school 
to  the  Moravian  seminary  of  Fulneck,  Yorkshire.  Here 
for  nine  years  he  enjoyed  a  liberal  and  religious  edu- 


Account  of  First  Rank  Hymns.       1 1 7 

cation.  When  only  a  young  man,  twenty-three  years 
old,  'he  undertook  the  editorship  of  The  Sheffield  Iris, 
and  continued  to  edit  that  newspaper  for  above  thirty 
years.  In  early  manhood  the  poet  was  subject  to  fits 
of  despondency,  as  Cowper  was,  but  his  Christian  faith 
increased  with  his  age.  When  forty-three  years  old  he 
became  a  professed  member  of  the  Moravian  Church, 
and  in  all  his  subsequent  writings  he  approved  himself 
a  strong  advocate  of  Christianity  as  the  fruitful  source 
of  '  things  pure,  lovely,  and  of  good  report.'  None  of 
his  hymns  were  published  until  1822,  when  the  poet 
was  over  fifty  years  old.  His  works  have  enriched  our 
poetry  and  general  literature,  and  his  literary  labours 
were  publicly  rewarded  in  1833  by  a  Government  pen 
sion  of  .£200  a  year.  He  enjoyed  this  pension  for 
twenty  years,  and  died  at  Sheffield  in  1854  at  the 
venerable  age  of  eighty-two. 

*  His  poetry  appeals  to  universal  principles,  imperish 
able  affections,  and  to  the  elements  of  our  common  nature.' 
He  wrote  a  great  number  of  hymns,  and  few  hymn- 
writers  have  attained  as  great  popularity.  His  flashes 
of  genius  and  flights  of  fancy  show  him  to  be  a  poet  of 
a  high  order,  while  '  his  hymns  illustrate  the  close  con 
nection  there  is  between  a  pure  heart  and  a  fine  fancy.' 

27.  Hosanna  to  the  living  Lord  ! 

Hosanna  to  the  Incarnate  Word ! 

This  grand  hymn,  consisting  of  five  stanzas  in  the 
original,  is  by  Bishop  Heber,  and  first  appeared  in  the 


1 1 8       Account  of  First  Rank  Hymns. 

Christian  Observer  for  October  1811.  In  his  collec 
tion  published  in  1827,  called  Hymns  Written  and 
Adapted  to  the  Weekly  Church  Service  of  the  Year,  the 
above  is  assigned  to  the  First  Sunday  in  Advent.  It 
forms  a  fitting  welcome  to  the  coming  Saviour,  and  is 
founded  on  the  Gospel  for  this  Sunday,  which  describes 
the  triumphal  entry  of  Christ  into  Jerusalem  :  l  And 
the  multitudes  that  went  before,  and  that  followed, 
cried,  saying,  Hosanna  to  the  Son  of  David :  Blessed 
is  He  that  cometh  in  the  name  of  the  Lord ;  Hosanna 
in  the  highest.' 

As  the  triumphal  procession  occurred  on  Palm  Sun  day, 
the  hymn  is  suitable  for  that  day  also. 

28.  Oft  in  danger,  oft  in  woe, 

Onward,  Christians,  onward  go  ! 
Fight  the  fight,  maintain  the  strife, 
Strengthened  with  the  bread  of  life. 

Henry  Kirke  White,  author  of  the  above,  was  born 
of  humble  parents  at  Nottingham  in  1785.  In  boy 
hood  he  gave  indications  of  poetic  genius,  for  when 
only  fifteen  years  old  he  gained  a  silver  medal  for  a 
translation  from  Horace,  and  at  nineteen  published  a 
volume  of  his  poems.  He  became  anxious  to  prepare 
himself  for  the  Church,  and  some  generous  friends, 
seeing  that  he  was  a  young  man  of  great  promise, 
enabled  him  to  enter  Cambridge  in  1804.  There  he 
was  known  as  a  diligent  student,  and  for  two  successive 
years  he  was  placed  at  the  examinations  as  first  man  of 


Account  of  First  Rank  Hymns.       1 1 9 

his  year.  Excessive  study  undermined  his  frail  consti 
tution,  and  in  his  third  College  year  the  tight-strung  cord 
snapped,  and  in  October  1806  he  sank  into  an  early 
grave  at  the  age  of  twenty-two.  Like  a  beam  of  light 
Henry  Kirke  White  appeared  upon  the  earth,  and  thus 
suddenly  passed  away. 

Truly  has  it  been  said  :  c  This  poet  of  promise,  who 
has  been  named  "  the  Crichton  of  Nottingham,"  averts 
the  arrows  of  criticism  by  the  melancholy  brevity  of  his 
career.  We  think  more  of  what  he  would  have  accom 
plished  than  of  the  works  he  had  actually  produced. 
Before  the  critic  with  searching  eye  had  had  time  to 
find  spots  in  the  sun,  he  weeps  because  that  sun  has  set 
to  rise  no  more.'  As  a  hymnist  he  is  known  by  his 
'  Christiad,'  an  epic  poem,  and  ten  hymns  published  in 
1812,  many  years  after  his  death. 

The  above  hymn  was  found  after  his  decease,  scribbled 
on  the  back  of  a  mathematical  paper,  and  seems  to  have 
been  written  by  the  young  man  while  pursuing  his 
mathematical  studies  by  the  light  of  the  midnight  lamp. 
The  original  consisted  of  only  ten  lines,  and  ran  thus — 

Much  in  sorrow,  oft  in  woe, 
Onward,  Christians,  onward  go  ! 
Fight  the  fight,  and  worn  with  strife, 
Steep  with  tears  the  Bread  of  Life. 

Onward,  Christians,  onward  go  ! 
Join  the  war  and  face  the  foe  ; 
Faint  not  ;  much  doth  yet  remain  ; 
Dreary  is  the  long  campaign. 

Shrink  not,  Christians  !  will  ye  yield  ? 
Will  ye  quit  the  painful  field  ? 


120       Account  of  First  Rank  Hymns. 

This  unfinished  hymn  was  completed  in  1827  by 
Frances  Fuller  Maitland,  and  then  appeared  substan 
tially  in  the  same  form  in  which  it  is  now  usually  sung. 

29.  Thou,  whose  almighty  word 
Chaos  and  darkness  heard. 

The  Rev.  John  Marriott,  M.A.,  author  of  the  above 
hymn,  was  born  in  Leicestershire  in  1780.  He  was 
educated  at  Oxford,  and  after  taking  holy  orders  be 
came  a  private  tutor  in  the  family  of  the  Duke  of 
Buccleuch.  He  was  subsequently  presented  with  a 
living  in  Warwickshire,  where  he  laboured  for  many 
years,  but  on  account  of  his  wife's  delicate  health  he 
was  obliged  to  resign  his  charge  in  order  to  remove  to 
the  more  genial  clime  of  Devonshire.  He  died  near 
Exeter  in  1825,  aged  forty-five  years.  The  above  was 
composed  in  1813,  but  such  was  the  humility  of  the 
author  that  he  declined  to  permit  this  beautiful  hymn 
to  appear  in  print.  For  twelve  years  it  remained  almost 
unknown,  until  at  length  some  of  the  author's  private 
friends,  conscious  of  its  high  merits,  obtained  permission 
to  print  it  in  a  small  religious  magazine  called  the 
Family  Visitor.  It  was  speedily  copied  into  many  col 
lections,  and  is  now  a  general  favourite. 

30.  Come,  let  us  join  our  cheerful  songs 
With  angels  round  the  throne. 

This  grand  hymn  of  praise  was  composed  by  Watts, 
and  appeared  in  1709. 


Account  of  First  Rank  Hymns.        1 2 1 

It  is  founded  on  Rev.  v.  n,  12  :  'I  beheld,  and  I 
heard  the  voice  of  many  angels  round  about  the  throne, 
and  the  beasts,  and  the  elders :  and  the  number  of  them 
was  ten  thousand  times  ten  thousand,  and  thousands 
of  thousands ;  saying  with  a  loud  voice,  Worthy  is  the 
Lamb  that  was  slain  to  receive  power,  and  riches,  and 
wisdom,  and  strength,  and  honour,  and  glory,  and  bless 
ing.'  The  original  consists  of  five  stanzas,  all  of  which 
are  usually  retained  in  our  modern  Hymnals.  It  is  one 
of  the  most  popular  hymns  of  invitation  to  the  Church 
Militant  to  join  in  the  praises  of  the  Church  Triumphant. 

Keble's  well-known  hymn,  '  Behold  the  glories  of  the 
Lamb,'  is  simply  a  variation  from  Watts's  '  Come,  let  us 
join  our  cheerful  songs.' 

31.  Glorious  things  of  thee  are  spoken, 
Zion,  city  of  our  God. 

This  noble  hymn  by  Newton  appeared  in  the 
Olney  Hymns  in  1779,  entitled,  'Zion,  or  the  City  of 
God.' 

It  is  a  paraphrase  of  the  87th  Psalm,  *  His  founda 
tion  is  in  the  holy  mountains.  The  Lord  loveth  the 
gates  of  Zion  more  than  all  the  dwellings  of  Jacob. 
Glorious  things  are  spoken  of  thee,  O  city  of  God.' 

This  Psalm  always  had  a  great  charm  for  the  author. 
Rahab  and  Babylon  represented  his  former  profligate 
life,  while  Zion  was  the  emblem  of  his  renewed  state. 


1 2  2       Account  of  First  Rank  Hymns. 

32.  O  worship  the  King  all-glorious  above  ! 
O  gratefully  sing  His  power  and  His  love ! 
Our  Shield  and  Defender,  the  Ancient  of  Days, 
Pavilioned  in  splendour,  and  girded  with  praise. 
This   spirited   hymn   of  praise   was   written   by  Sir 
Robert  Grant,  and  first  appeared  in  1839,  a  vear  after 
the  author's  death.     It  is  a  free  metrical  version  of  a 
portion  of  the    io4th  Psalm,  beginning,  '  O  my  God, 
Thou  art  very  great;  Thou  art  clothed  with  honour 
and  majesty.' 

33.  The  Son  of  God  goes  forth  to  war, 

A  kingly  crown  to  gain, 
His  blood-red  banner  streams  afar  ; 
Who  follows  in  His  train  ? 

This  well-known  hymn  by  Bishop  Reginald  Heber  is 
a  glorious  triumph-song  suitable  for  the  Festivals  of 
Martyrs.  It  was  written  for  St.  Stephen's  Day,  the  proto- 
martyr,  and  appeared  in  the  collection  of  Heber's  hymns 
published  in  1827,  the  year  after  the  author's  death. 

'Heber's  hymns  are  dear  to  every  section  of  the 
Christian  Church,  elegant  in  structure,  flowing  in 
rhythm,  and  charged  with  Christian  sentiment.'  He 
wrote  most  of  his  hymns  during  the  tranquil  years  he 
spent  as  pastor  of  Hodnet,  from  1807  to  1823.  Here 
in  peaceful  retirement  he  cherished  the  desire  to  im 
prove  our  devotional  poetry  and  introduce  a  Hymnal 
into  the  Church  of  England.  Accordingly  he  composed 
a  number  of  hymns,  which  first  appeared  in  the  Chris- 


Account  of  First  Rank  Hymns.        123 

tian  Observers  1811.  Amongst  these  were  the  well- 
known  hymns  commencing  '  Brightest  and  best  of  the 
sons  of  the  morning/  *  Hosanna  to  the  living  God,' 
'  Lord  of  mercy  and  of  might/  '  O  Saviour,  is  Thy 
promise  fled/  '  O  Saviour,  whom  the  holy  morn/  etc. 

The  Bishop  of  London  for  a  time  dissuaded  him 
from  publishing  a  general  Church  Hymn-book,  but  in 
1812  Heber  published  a  small  volume  entitled  Poems 
and  Translations  for  Weekly  Church  Service.  The  work 
went  through  several  editions. 

After  Heber's  death,  his  widow,  Mrs.  Amelia  Heber, 
published,  in  1827,  Hymns  Written  and  Adapted  to  the 
Weekly  Church  Service  of  the  Year.  This  volume  was 
arranged  on  the  same  principle  as  the  subsequently 
published  volume,  Keble's  Christian  Year,  and,  besides 
Heber's  own  compositions,  contained  hymns  by  Jeremy 
Taylor,  Addison,  Sir  Walter  Scott,  Dean  Milman,  and 
others. 

In  Heber's  Poetical  Works,  published  in  1842,  there 
appear  forty-nine  hymns  written  for  Sundays  and  Fes 
tivals  of  the  Christian  year,  and  eight  additional  ones 
for  special  occasions,  making  a  total  of  fifty-seven  hymns 
composed  by  this  sacred  poet.  Heber  was  amongst 
the  first  to  suggest  the  idea  of  introducing  a  Hymnal 
into  the  public  service  of  the  Church.  Since  Heber's 
death,  half  a  century  ago,  thousands  of  Hymnals  have 
been  compiled,  some  for  local,  some  for  general  use ; 
but,  on  the  principle  of  '  the  survival  of  the  fittest/  a 
few  excellent  Hymnals  have  forced  the  great  majority 
into  comparative  obscurity. 


124       Account  of  First  Rank  Hymns. 

34.  Christ,  whose  glory  fills  the  skies, 
Christ,  the  true,  the  only  Light. 

This  beautiful  morning  hymn  by  Charles  Wesley  is 
founded  on  Mai.  iv.  2  :  '  Unto  you  that  fear  My  name 
shall  the  Sun  of  Righteousness  arise  with  healing  in  His 
wings.' 

It  was  written  in  1740,  and  appeared  in  1743  in 
Hymns  and  Sacred  Poems. 

Speaking  of  the  above,  James  Montgomery,  no  mean 
judge,  says  'it  is  one  of  Charles  Wesley's  loveliest 
progeny.'  The  original  consists  of  three  stanzas,  and 
they  are  usually  quoted  without  alteration  in  modern 
Hymnals ;  but,  strangely  enough,  in  the  Methodist 
Hymn-book  the  first  stanza  is  omitted  altogether,  and 
one  of  a  nature  entirely  different  is  substituted.  It 
runs  thus — 

O  disclose  Thy  lovely  face, 
Quicken  all  my  drooping  powers. 
Gasps  my  fainting  soul  for  grace, 
As  a  thirsty  land  for  showers  ; 
Haste,  my  Lord,  no  more  delay ; 
Come,  my  Saviour,  come  away. 

35.  Lord,  when  we  bend  before  Thy  throne, 
•  And  our  confessions  pour. 

Joseph  Dacre  Carlyle,  B.D.,  the  author  of  the  above, 
was  born  at  Carlisle  in  1759.  From  the  Cathedral 
School  of  that  city  he  went  to  Cambridge,  and  gained  a 
fellowship  at  Queen's  College.  He  studied  Oriental 
literature,  and  became  an  eminent  Oriental  scholar.  He 


Account  of  First  Rank  Hymns.        125 

was  appointed  Professor  of  Arabic  in  the  University  of 
Cambridge  in  1794,  and  the  next  year  he  succeeded 
Paley  as  Chancellor  of  the  Diocese  of  Carlisle.  In  1799 
this  learned  and  accomplished  divine  accompanied  the 
Earl  of  Elgin  to  Constantinople,  when  that  nobleman 
was  appointed  ambassador  to  the  Porte,  that  he  might 
examine  the  literary  treasures  of  the  East.  The  Pro 
fessor  visited  also  Asia  Minor  and  the  Isles  of  Greece. 
On  his  return  to  England  he  was  made  Vicar  of  New- 
castle-on-Tyne  and  Chaplain  to  the  Bishop  of  Durham. 
When  in  residence  at  Carlisle  he  regularly  attended  St. 
Cuthbert's  Church.  John  Fawcett,  the  Vicar,  was  a 
very  intimate  friend  of  the  Professor,  and  on  the  occasion 
of  his  compiling  a  Hymn-book  for  Public  Worship, 
Carlyle  sent  him  the  above  hymn.  It  appeared  first 
in  the  collection  published  1802,  and  is  headed  '  Intro 
ductory  to  Public  Worship.'  The  Professor  died  in 
1804,  and  the  year  after  his  poems  were  published  in  a 
volume  entitled  Poems  suggested  chiefly  by  Scenes  in  Asia 
Minor  and  Syria.  The  above  hymn,  with  two  others, 
appears  at  the  end  of  the  volume. 

36.  Sweet  the  moments,  rich  in  blessing, 

Which  before  the  Cross  I  spend  ; 

Life  and  health  and  peace  possessing 

From  the  sinner's  dying  Friend. 

The  above  in  its  present  form  is  from  the  pen  of  the 
Honourable  and  Rev.  Walter  Shirley,  and  first  appeared 
in  1770.  It  is  really  a  re-cast  of  a  hymn  beginning, 


126       Account  of  First  Rank  Hymns. 

'  While  my  Saviour  I  'm  possessing.'  The  original  was 
written  by  James  Allen,  a  native  of  Gayle,  Wensleydale, 
Yorkshire,  born  in  1734.  In  1757  ehe  edited  a  col 
lection  of  hymns  known  as  'The  Kendal  Hymn-book. 
Allen  connected  himself  with  Benjamin  Ingham,  an 
erratic  preacher  of  the  Wesleyan  revival,  and  afterwards 
became  successively  a  member  of  the  Church  of  Eng 
land,  a  Wesleyan,  a  Moravian,  and  an  adherent  of  Lady 
Huntingdon's  sect.  He  ultimately  built  a  chapel  on 
his  own  estate  in  Wensleydale,  where  he  preached  till 
his  death  in  1804. 

Allen's  hymn  is  poor,  but  Shirley's  alterations  are  so 
many  and  important  that  the  re-cast  is  virtually  a  new 
hymn,  and  as  such  the  above  has  deservedly  gained  its 
present  popularity. 

37.  '  Christ  the  Lord  is  risen  to-day,'  Hallelujah  ! 
Sons  of  men  and  angels  say.  Hallelujah  ! 

This  hymn  for  Easter  Day  was  written  by  Charles 
Wesley  in  1739,  and  appears  in  his  Hymns  and  Sacred 
Poems.  The  original  consists  of  eleven  stanzas,  but 
seldom  more  than  six  are  used.  When  this  hymn  is 
set  to  the  old  noble  tune  known  as  '  Easter  Hymn,' 
each  line  requires  '  Hallelujah '  at  the  end  of  it. 

The  hymn  must  be  distinguished  from  two  resembling 
it.  First,  from  one  ascribed  to  Jane  Leeson,  which  is 
really  a  translation  from  a  twelfth-century  c  Prose,'  and 
begins  the  same  as  the  above  : — 

Christ  the  Lord  is  risen  to-day  ; 
Christians,  haste  your  vows  to  pay. 


Account  of  First  Rank  Hymns.        127 

Secondly,  from  the  more  popular  Easter  hymn  com 
mencing — 

Jesus  Christ  is  risen  to-day,  Hallelujah ! 
Our  triumphant  holy-day, 

which  appeared  first  at  Northampton,  ten  years  after 
the  publication  of  Wesley's,  and  is  supposed  to  be  the 
composition  of  one  of  Doddridge's  pupils. 

38.  For  thee,  O  dear,  dear  country, 
Mine  eyes  their  vigils  keep. 

O  bona  Patria,  lumina  sobria  te  speculantur. 
This  lovely  hymn,  consisting  of  ten  stanzas  of  four 
lines  each,  is  from  the  '  Rhythm  of  Bernard  of  Cluny  on 
the  Heavenly  Country,'  translated  from  the  Latin  by 
Dr.  Neale  in  1858.  It  sets  forth  the  heavenly  home 
sickness  of  the  Cluniac  monk,  and  indeed  that  deep 
yearning  of  souls  in  all  ages  who  '  declare  plainly  that 
they  seek  a  country,  and  desire  a  better  country,  that  is, 
an  heavenly.' 

39.  God,  that  madest  earth  and  heaven, 

Darkness  and  light ; 
Who  the  day  for  toil  hast  given, 

For  rest  the  night. 

The  first  stanza  of  this  hymn,  consisting  of  eight 
lines,  is  by  Bishop  Heber,  and  appeared  in  1827,  the 
year  after  the  author's  death. 

He  had  spent  sixteen  years  of  his  ministerial  life  at 
Hodnet,  Shropshire,  on  the  borders  of  the  Principality  of 
Wales,  and  this  hymn  was  probably  written  to  be  sung 


128       Account  of  First  Rank  Hymns. 

to  a  well-known  popular  Welsh  air.  This  may  also 
account  for  the  peculiar  metre  in  which  it  is  written. 
There  is  a  German  morning  hymn  by  Heinrich  Albert, 
rendered  into  English  in  the  Lyra  Germanica,  with  a 
similar  beginning,  but  Heber's  hymn  is  not  a  translation 
of  this.  The  second  stanza,  beginning  '  Guard  us 
waking,  guard  us  sleeping,'  was  composed  by  Richard 
Whately,  Archbishop  of  Dublin,  born  1787,  died  1863. 
It  appeared  in  1855,  and  was  appended  to  his  Lectures 
on  Prayer  in  1860.  The  verse  seems  to  be  a  free 
translation  of  an  ancient  antiphon  used  at  the  service  of 
Compline  i — '  Salva  nos  Domine  vigilantes,  custodi  nos 
dormientes,  ut  vigilemus  in  Christo,  et  requiescamus  in 
pace.'  (Preserve  us,  O  Lord,  waking,  guard  us  sleeping, 
that  we  may  wake  in  Christ,  and  rest  in  peace.) 

40.  Jesus  shall  reign  where'er  the  sun 
Does  his  successive  journeys  run. 

This  deservedly  popular  hymn  is  a  rendering  by 
Watts  of  the  72d  Psalm.  It  is  entitled  'Christ's 
Kingdom  among  the  Gentiles,'  and  it  gives  promin 
ence  to  the  thoughts  contained  in  '  He  shall  have 
dominion  also  from  sea  to  sea,  and  from  the  river  unto 
the  ends  of  the  earth.  In  His  days  shall  the  righteous 
flourish,  and  abundance  of  peace  so  long  as  the  moon 
endureth.  All  kings  shall  fall  down  before  Him ;  all 
nations  shall  serve  Him.'  Watts  laboured  at  his 
Metrical  Psalter  from  1712  till  1716,  during  the  period 
that  he  was  unable  to  pursue  his  public  duties  through 


Account  of  First  Rank  Hymns.        129 

bodily  infirmity.  The  whole  Psalter  was  published  in 
1719,  and  soon  the  above  became  a  favourite  missionary 
hymn.  The  original  consists  of  eight  stanzas,  of  which 
the  second  and  third  are  almost  invariably  omitted. 
They  run  thus  : — 

Behold  the  islands  with  their  kings, 
And  Europe  her  best  tribute  brings  ; 
From  north  to  south  the  princes  meet, 
And  pay  their  homage  at  His  feet. 

There  Persia,  glorious  to  behold, 
There  India  shines  in  Eastern  gold, 
And  barbarous  nations  at  His  word 
Submit  and  bow,  and  own  their  Lord.' 

*  Perhaps  one  of  the  most  interesting  occasions  on 
which  this  hymn  was  used  is  that  on  which  King 
George  the  Sable,  of  blessed  memory,  gave  a  new  Con 
stitution  to  his  people,  exchanging  a  heathen  for  a 
Christian  form  of  government.  Under  the  spreading 
branches  of  the  banyan-trees  sat  some  fwe  thousand 
natives  from  Tonga,  Fiji,  and  Samoa,  on  Whitsunday 
1862,  assembled  for  divine  worship.  Foremost  among 
them  all  sat  King  George  himself.  Around  him  were 
seated  old  chiefs  and  warriors  who  had  shared  with  him 
the  dangers  and  fortunes  of  many  a  battle,— men  whose 
eyes  were  dim,  and  whose  powerful  frames  were  bowed 
down  with  the  weight  of  years.  But  old  and  young 
rejoiced  alike  together  in  the  joys  of  that  day,  their  faces 
most  of  them  radiant  with  Christian  joy,  love,  and  hope. 
It  would  be  impossible  to  describe  the  deep  feeling 
manifested  when  the  solemn  service  began  by  the 
entire  audience  singing  Dr.  Watts's  hymn,  "  Jesus  shall 

i 


130       Account  of  First  Rank  Hymns. 

reign  where'er  the  sun."  Who  as  much  as  they  could 
realise  the  full  meaning  of  the  poet's  words  ? — for  they 
had  been  rescued  from  the  darkness  of  heathenism  and 
cannibalism,  and  they  were  that  day  met  for  the  first 
time  under  a  Christian  king,  and  with  Christ  Himself 
reigning  in  the  hearts  of  most  of  those  present.  That 
was  indeed  Christ's  kingdom  set  up  in  the  earth.' 

41.  My  God,  and  is  Thy  table  spread  ? 

And  doth  Thy  cup  with  love  o'erflow  ? 
Thither  be  all  Thy  children  led, 

And  let  them  all  Thy  sweetness  know. 

This  very  beautiful  hymn  by  Philip  Doddridge  is  the 
most  popular  of  our  Communion  hymns.  It  was 
inserted  at  the  end  of  the  Prayer-Book  about  the  begin 
ning  of  this  century  under  the  following  circumstances : 
The  University  printer  was  a  dissenter,  and  he  filled  up 
the  blank  leaves  at  the  end  of  the  Supplement  to  the 
'  New  Version  '  with  such  hymns  as  he  thought  would 
be  acceptable  to  the  public.  Amongst  them  was  '  My 
God,  and  is  Thy  table  spread  ? '  This  was  done  without 
authority,  but  as  no  one  interfered,  the  hymns  were 
allowed  to  remain.  Although  the  above  is  the  work  of 
a  Nonconformist  preacher,  the  sacramental  doctrine  is 
very  pronounced ;  and  it  is  curious  to  notice  how  this 
has  offended  some  compilers  of  Church  of  England 
Hymnals.  Thus,  in  the  beautiful  lines — 

Hail,  sacred  feast,  which  Jesus  makes, 
Rich  banquet  of  His  flesh  and  blood, 

*  memorial '  is  sometimes  substituted  for  '  rich  banquet.' 


Account  of  First  Rank  Hymns.        1 3 1 

42.  O  Thou  from  whom  all  goodness  flows, 

I  lift  my  soul  to  Thee  ; 
In  all  my  sorrows,  conflicts,  woes, 
Good  Lord,  remember  me. 

Thomas  Haweis,  author  of  this  hymn,  was  born  at 
Truro  in  1732.  He  was  educated  at  Cambridge, 
became  a  physician,  subsequently  took  holy  orders, 
was  appointed  Chaplain  to  the  Countess  of  Huntingdon, 
and  rector  of  a  parish  in  Northamptonshire.  Haweis 
was  a  distinguished  popular  preacher,  and  one  of  the 
founders  of  the  Church  Missionary  Society.  The  above 
hymn  first  appeared  in  1792,  in  his  Carmina  Christo,  or 
Hymns  to  the  Saviour,  a  collection  containing  about 
250  original  hymns  by  the  author.  The  original  con 
sisted  of  six  stanzas,  and  the  words  'remember  me'  at  the 
end  of  each  stanza  were  probably  suggested  by  the  words 
of  the  dying  thief  on  the  cross,  '  Lord,  remember  me.' 

43.  When  our  heads  are  bowed  with  woe, 
When  our  bitter  tears  o'erflow, 
When  we  mourn  the  lost,  the  dear, 
Jesu,  Son  of  Mary,  hear  ! 

Henry  Hart  Milman,  author  of  this  hymn,  was  the 
youngest  son  of  Sir  Francis  Milman,  physician  to 
George  in.,  and  was  born  in  London  in  1791.  He  was 
educated  at  Eton  and  Oxford,  and  shortly  after,  being 
ordained  in  1817,  he  was  appointed  Vicar  of  St.  Mary's, 
Reading.  For  ten  years,  from  1821  till  1831,  he  was 
Professor  of  Poetry  in  Oxford.  Subsequently  he  was 


132       Account  of  First  Rank  Hymns. 

appointed  Canon  of  Westminster,  and  in  1849  promoted 
to  be  Dean  of  St.  Paul's.  He  died  in  1868,  much 
regretted.  '  The  charm  of  his  conversation  was  missed 
from  the  social  circle,  and  the  Church  felt  that  a  prince 
and  a  great  man  had  fallen  in  Israel.' 

His  talents  and  writings  were  of  a  high  order.  His 
chief  prose  works  are :  Christianity  from  the  Birth  of  Christ 
to  the  Abolition  of  Paganism  in  the  Roman  Empire ;  a 
History  of  Latin  Christianity;  and  a  History  of  the  Jews. 
His  poetical  works  also  enjoy  a  high  reputation,  and  his 
hymns  are  of  great  excellence.  The  above  beautiful  and 
affecting  hymn  first  appeared  in  1827  in  the  hymn-book 
published  by  Heber's  widow  after  his  death.  In  this 
collection  it  is  appointed  for  the  sixteenth  Sunday  after 
Trinity ;  the  Gospel  for  that  day — being  an  account  of 
the  funeral  procession  of  the  son  of  the  widow  of  Nain, 
'When  the  Lord  saw  her  He  had  compassion  on  her,  and 
said  unto  her,  Weep  not' — strikes  the  key-note  to  the 
spirit  of  the  hymn.  Of  all  hymns  it  is  the  most  appro 
priate  to  introduce  into  the  Funeral  Service,  and  often 
has  it  proved  to  be  a  comfort  to  sorrowing  mourners. 

44.  Where  high  the  heavenly  temple  stands, 
The  house  of  God  not  made  with  hands, 
A  great  High  Priest  our  nature  wears, 
The  Guardian  of  mankind  appears. 

Michael  Bruce,  author  of  this  hymn,  was  born  of 
humble  pious  parents  at  Kinnesswood,  Kinross-shire,  in 
1746.  In  youth  he  was  distinguished  for  his  piety  and 


Account  of  First  Rank  Hymns.       133 

abilities;  and  some  friends,  recognising  his  talents, 
supplied  him  with  the  works  of  the  great  poets,  and 
encouraged  him  in  literary  pursuits.  His  parents'  means 
being  very  limited,  Bruce  had  to  contend  with  hard 
ship  and  poverty. 

He  conducted  a  small  school  for  some  time,  and  by 
practising  much  self-denial  succeeded  in  spending  four 
sessions  in  Edinburgh  University  as  a  Divinity  student. 
Self-denial,  poor  fare,  and  mental  exertions,  proved  too 
much  for  his  frail  constitution,  and  brought  on  a  rapid 
consumption.  Thus  in  1766,  when  only  twenty  years 
old,  he  returned  to  his  native  village  to  die.  In  the 
spring  of  1767,  conscious  that  his  end  was  approaching, 
he  wrote  the  pathetic  'Elegy  on  Spring,'  and  very 
affecting  is  the  sixteenth  stanza,  where,  referring  to  his 
own  declining  health,  he  writes — 

Now,  Spring  returns  ;  but  not  to  me  returns 
The  vernal  joy  my  better  years  have  known  ; 
Dim  in  my  breast  life's  dying  taper  burns, 
And  all  the  joys  of  life  with  health  are  flown. 

In  July  1767,  at  the  early  age  of  twenty-one,  the 
youthful  sacred  poet  with  calm  resignation  passed  to 
his  eternal  rest. 

'  The  life  of  this  poet  was  almost  a  counterpart  of 
that  of  Henry  Kirke  White,  who  flourished  a  generation 
later.  In  both  instances  the  light  of  genius  shone  forth 
for  a  time,  and  then  was  all  too  suddenly  put  out.' 

The  above  much-prized  hymn  was  added  to  the 
Scottish  Paraphrases  in  1781.  Sometimes  it  is  attri 
buted  to  John  Logan,  who  ignobly  published  it  under 


134       Account  of  First  Rank  Hymns. 

his  own  name  sixteen  years  after  Bruce's  death.  Recent 
investigations  have  established  Bruce's  claim  to  its 
authorship  beyond  all  reasonable  doubt. 

Other  hymns  found  in  the  Scottish  Paraphrases  by 
the  same  author  are  those  beginning,  'Few  are  thy 
days  and  full  of  woe/  '  O  happy  is  the  man  who  hears/ 
'  Behold,  the  mountain  of  the  Lord/  and  '  The  hour  of 
my  departure's  come.' 

45.  While  shepherds  watched  their  flocks  by  night, 
All  seated  on  the  ground. 

The  Metrical  Psalter  known  as  the  '  New  Version  '  is 
the  joint  work  of  two  Irishmen — Nahum  Tate  and 
Nicholas  Brady.  Three  of  the  hymns  of  the  New 
Version  have  found  a  place  among  '  First  Rank  Hymns/ 
viz.,  'While  shepherds  watched  their  flocks  by  night/ 
'  Through  all  the  changing  scenes  of  life/  and  '  As  pants 
the  hart  for  cooling  streams.' 

Nahum  Tate  was  born  in  Dublin  in  1652,  and 
educated  at  Trinity  College  of  that  city.  His  father 
was  a  clergyman,  distinguished  as  one  of  the  chief 
writers  on  sacred  poetry  of  the  Elizabethan  era. 
Nahum  made  his  way  to  London,  where  he  soon 
became  known  as  a  literary  man  and  writer  of  poems, 
sacred  and  profane.  In  1690  he  was  made  Poet- 
Laureate  to  King  William  in.,  and  held  this  position 
for  a  quarter  of  a  century  till  his  death  in  1715. 

Nicholas  Brady,  born  in  1659  at  Bandon,  Cork,  was 
educated  at  Westminster,  Oxford,  and  Dublin.  He 
was  a  zealous  partisan  of  the  Prince  of  Orange,  and 


Account  of  First  Rank  Hymns.       135 

was  made  Chaplain  to  King  William.  He  held  a  living 
at  Richmond,  Surrey,  and  '  here,  in  one  of  the  pleasant 
retreats  of  that  charming  neighbourhood,  he  translated 
some  of  the  Psalms.' 

Tate  and  Brady,  Poet-Laureate  and  Royal  Chaplain 
respectively,  were  co-workers  and  fellow-Psalmists  in 
the  production  of  the  '  New  Version.'  This  Metrical 
Psalter  was  authorised  by  King  William  in  1696,  and 
for  nearly  two  centuries  it  has  been  annexed  to  the  Book 
of  Common  Prayer  as  the  authorised  Psalter  of  the 
Church  of  England. 

The  two  Irish  poets  worked  in  such  harmony  that 
it  is  not  known  which  Psalms  are  by  Tate  and  which  by 
Brady.  The  poetry  of  the  New  Version  is  not  of  a 
high  order  for  the  most  part,  but  the  rendering  is  literal, 
simple,  and  suitable  for  public  worship.  The  following 
Psalms  are  general  favourites,  and  will  always  occupy 
a  place  in  our  Hymnals  : — 

Through  all  the  changing  scenes  of  life,          .         Ps.  34. 
As  pants  the  hart  for  cooling  streams  .         Ps.  42. 


Have  mercy,  Lord,  on  me, 

To  bless  Thy  chosen  race, 

O  God  of  Hosts,  the  mighty  Lord, 

With  one  consent  let  all  the  earth, 

Ye  boundless  realms  of  joy,     . 


Ps.  51. 
Ps.  67. 
Ps.  84. 
Ps.  ioo. 
Ps.  148. 


In  1703,  that  is,  seven  years  after  the  publication  of 
the  New  Version,  appeared  a  Supplement,  called 
'  The  Appendix,  with  Hymns.'  The  hymns  are  by 
Tate,  and  the  best-known  hymn  in  the  collection  is  the 
familiar  Christmas  one — 

While  shepherds  watched  their  flocks  by  night. 


136       A ccount  of  First  Rank  Hymns. 

46.  All  hail  the  power  of  Jesus'  name  ! 

Let  angels  prostrate  fall ; 
Bring  forth  the  royal  diadem, 
And  crown  him  Lord  of  all. 

This  hymn  was  written  a  hundred  years  ago  by 
Edward  Perronet.  In  Charles  Wesley's  diary,  about 
1750,  are  found  frequent  references  to  one  in  whom  he 
took  a  deep  interest,  and  whom  he  familiarly  calls  'Ned.' 
This  was  Edward  Perronet,  son  of  the  Rev.  Vincent 
Perronet,  Vicar  of  Shoreham,  Kent,  for  half  a  century. 
Edward  became  a  preacher,  first  in  Wesley's  Connexion, 
then  under  the  direction  of  Lady  Huntingdon,  and 
ultimately  was  appointed  minister  to  a  small  Noncon 
formist  congregation  at  Canterbury.  He  died  in  1792, 
and  his  dying  words  were  :  '  Glory  to  God  in  the  height 
of  His  divinity ;  glory  to  God  in  the  depth  of  His 
humanity  ;  glory  to  God  in  His  all-sufficiency  :  and 
into  His  hands  I  commend  my  spirit.'  The  above 
hymn  was  first  published  anonymously  in  the  Gospel 
Magazine  in  1780.  It  was  entitled  'On  the  Resurrec 
tion,'  and  contained  eight  stanzas.  The  stanza 
beginning  '  O  that  with  yonder  sacred  throng '  does  not 
appear  in  the  original,  and  is  an  addition  of  some  later 
hymnist.  Perronet's  well-known  hymn  is  founded  on 
the  latter  part  of  Revelation  xix. :  *  On  His  head  were 
many  crowns,  and  on  His  vesture  and  on  His  thigh  a 
name  written,  King  of  kings,  and  Lord  of  lords.' 

The  familiar  tune  '  Miles  Lane  '  was  composed  for 
this  hymn  by  Shrubsole,  organist  at  Spafields  Chapel, 


Account  of  First  Rank  Hymns.       137 

and  it  is  said  that  Perronet  at  his  death  left  a  large  sum 
of  money  for  Shrubsole. 

47.  Come,  ye  thankful  people,  come, 
Raise  the  song  of  Harvest-home  ! 
All  is  safely  gathered  in 
Ere  the  winter  storms  begin. 

Henry  Alford,  author  of  this  jubilant  harvest  hymn, 
was  born  in  London  in  1810.  He  graduated  at  Cam 
bridge,  and  became  a  Fellow  of  Trinity  College. 
Having  taken  holy  orders,  he  soon  distinguished 
himself  both  as  an  eloquent  preacher  and  profound 
scholar.  His  great  work,  by  which  he  will  be  best 
known  to  posterity,  is  The  Greek  Testament,  with 
Notes,  a  scholarly  production  of  great  value.  The 
first  volume  was  issued  in  1849,  and  the  whole  work 
was  completed  in  1861.  Alford  has  attained  to  some 
celebrity  as  a  hymn-writer.  In  1831  he  published  a 
volume  entitled  Poems  and  Poetical  Fragments.  Again 
in  1844  appeared  a  small  collection  called  Psalms  and 
Hymns  adapted  to  the  Sundays  and  Holy  days  throughout 
the  Year.  In  1867  he  published  The  Year  of  Praise, 
a  hymnal  containing  326  hymns,  of  which  55  were 
written  by  himself  at  various  intervals  of  his  laborious 
life.  In  1857  he  was  made  Dean  of  Canterbury,  an 
office  he  held  till  his  death  in  1871. 

The  harvest  hymn,  consisting  of  four  double  stanzas, 
appeared  in  1 844,  and,  in  a  revised  form,  appeared  in 
his  Year  of  Praise. 

It  is  founded  on  the  passage,  '  He  shall  come  again 


138       Account  of  First  Rank  Hymns. 

with  rejoicing,  bringing  his   sheaves  with  him '   (Ps. 
cxxvi.  6). 

48.   Father  of  Heaven,  whose  love  profound 
A  ransom  for  our  souls  hath  found. 

This  hymn  appeared  in  Cotterill's  Selection  of  Psalms 
and  Hymns  in  1810.  In  some  of  the  copies  the  name 
J.  Cooper  is  appended,  and  therefore  the  hymn  is 
ascribed  to  him.  Cooper  was  rector  of  a  small  parish 
in  Staffordshire,  and  died  in  1833,  about  a  quarter  of  a 
century  after  the  appearance  of  the  hymn. 

The  original  consists  of  four  stanzas,  respectively 
addressed  to  *  Father  of  Heaven/  '  Almighty  Son,7 
1  Eternal  Spirit,'  '  Mysterious  Godhead,'  and  is  there 
fore  a  hymn  suitable  for  Trinity  Sunday. 

49.  God  moves  in  a  mysterious  way 
His  wonders  to  perform. 

Composed  by  William  Cowper  in  1773,  when  fifty 
years  of  age,  during  a  solitary  walk  in  the  fields  around 
Olney.  Ten  years  before,  the  poet  had  been  afflicted 
with  madness,  and  for  eight  months  had  been  confined 
in  a  lunatic  asylum.  While  sauntering  alone  in  a 
meditative  mood,  he  had  a  presentiment  of  another 
attack  of  his  awful  malady.  Trusting  in  God  to  guide 
him  through  the  gloom,  he  wrote  this  matchless  hymn, 

assured  that 

Behind  a  frowning  providence 
He  hides  a  smiling  face. 

During  the  six  years  he  resided  at  Olney  he  composed 


Account  of  First  Rank  Hymns.       139 

sixty-seven  hymns  for  the  Olney  collection,  of  which 
the  above  was  the  last.  Shortly  afterwards  he  was 
bereft  of  reason,  and  compelled  to  give  up  all  literary 
pursuits  for  seven  years. 

Of  this  hymn  Montgomery  says,  '  It  is  a  lyric  of  high 
tone  and  character,  and  rendered  awfully  interesting  by 
the  circumstances  under  which  it  was  written,  in  the 
twilight  of  departing  reason.' 

50.   How  bright  these  glorious  spirits  shine  ! 
Whence  all  their  white  array  ? 

This  well-known  hymn  is  the  composition  of  William 
Cameron,  founded  on  a  hymn  of  Dr.  Watts.  William 
Cameron  was  born  in  1751,  and  studied  at  Aberdeen 
University.  In  1745,  a  few  years  before  his  birth, 
there  had  been  appended,  without  authority,  to  the 
Scotch  Psalter  a  collection  of  hymns  known  as  the 
*  Paraphrases.'  In  1775  the  General  Assembly  com 
missioned  William  Cameron,  John  Logan,  and  others, 
to  revise  the  collection.  This  they  did,  and  in  1781 
appeared  the  revised  and  enlarged  edition  of  the 
Paraphrases,  consisting  of  sixty-seven  hymns.  The 
above,  from  the  pen  of  Cameron,  appeared  in  the 
collection.  In  1785  he  was  ordained  minister  to  the 
parish  of  Kirknewton,  and  there  he  ministered  until 
his  death  in  1811.  The  first  stanza  is  only  slightly 
varied  from  Watts,  which  runs  thus — 

These  glorious  minds,  how  bright  they  shine  ! 

Whence  all  their  white  array?  .  ' 

How  came  they  to  the  happy  seats 

Of  everlasting  day  ? 


140       Account  of  First  Rank  Hymns. 

In  the  other  stanzas  the  wording  is  wholly  Cameron's, 
and  the  hymn,  as  a  re-cast,  is  a  great  improvement  on 
Watts.  Other  Paraphrases  by  Cameron  are,  '  While 
others  crowd  the  house  of  mirth/  and  '  Ho  !  ye  that 
thirst,  approach  the  spring.' 

51.  Jesus  lives  !  no  longer  now 

Can  thy  terrors,  death,  appal  us  ; 
Jesus  lives  !  by  this  we  know 

Thou,  O  grave,  canst  not  enthrall  us. 

Alleluia  ! 

This  hymn  is  a  translation  from  the  German  by  Miss 
F.  E.  Cox,  and  first  appeared  in  1841  in  Sacred  Hymns 
from  the  German.  Miss  Cox's  first  translation  con 
sisted  of  six  stanzas  of  six  lines  each,  but  as  early  as 
1852  the  hymn  was  re-cast,  the  two  last  lines  of  each 
stanza  being  omitted,  and  '  Alleluia '  added  after  each 
stanza.  The  original  German  was  composed  by 
Christian  F.  Gellert,  son  of  a  Lutheran  pastor,  born 
in  Saxony  in  1697.  He  became  Professor  of  Moral 
Philosophy  in  the  University  of  Leipzig,  where  he 
died  in  1769.  Gellert  was  a  man  of  deep  piety  and 
unfeigned  humility,  but  unfortunately,  like  his  English 
contemporary  William  Cowper,  was  subject  to  constant 
attacks  of  melancholy.  He  was  justly  regarded  as  an 
eloquent  lecturer  and  tender  hymnist.  That  his  life 
was  a  constant  struggle  against  poverty  and  ill-health 
must  add  to  the  interest  we  feel  in  his  works.  Before 
composing  a  hymn  he  always  prayed  that  his  soul  might 


Account  of  First  Rank  Hymns.        141 

be  prepared  aright  for  the  subject.  On  one  occasion  he 
writes  :  '  I  will  for  a  time  lay  aside  this  work ;  perhaps 
God  of  His  grace  will  inspire  my  mind  with  new  vigour, 
and  improve  my  present  dispositions.' 


52.  O  Lord,  turn  not  Thy  face  from  me, 

Who  lie  in  woeful  state, 

Lamenting  all  my  sinful  life, 

Before  Thy  mercy-gate. 

This  favourite  hymn,  entitled  '  The  Lamentation  01 
a  Sinner,'  first  appeared  in  1562,  appended  to  the  first 
complete  edition  of  the  Old  Version  of  the  Psalter  by 
Sternhold  and  Hopkins.  The  initial  M.  was  attached 
to  the  hymn  in  the  earlier  editions  of  the  Psalter,  as  well 
as  to  several  Psalms.  It  was  therefore  thought  to  be 
written  by  Mardley,  a  contemporary  hymnist ;  but  in  a 
copy  of  the  Old  Version  found  in  the  British  Museum, 
dated  1563,  the  name  Markant  appears  instead  of  the 
initial  M.  Markant,  therefore,  and  not  Mardley,  is 
probably  the  author  of  the  hymn.  John  Markant,  or 
Marchant,  is  known  also  as  the  compiler  of  a  volume  of 
poems,  published  in  1580,  entitled  Verses  to  Divers 
Good  Purposes.  The  present  form  of  the  hymn  is  a 
cento  by  Bishop  Heber,  founded  on  the  original  eleven 
stanzas,  which,  although  somewhat  bald  and  prosaic, 
yet  possess  a  vigorous  ruggedness.  The  last  verse  of 
the  quaint  original  ought  to  be  better  known — 

Mercy,  good  Lord,  mercy  I  ask,     For  mercy,  Lord,  is  all  my  suit, 
This  is  the  total  sum  :  Lord,  let  Thy  mercy  come. 


142       Account  of  First  Rank  Hymns. 

53.   Our  blest  Redeemer,  ere  He  breathed 
His  tender  last  farewell. 

'  This  most  beautiful  hymn,  the  very  rhythm  of  which 
is  peace,'  was  composed  by  Miss  Harriet  Auber,  born 
in  London  1773.  This  talented  lady  lived  in  quietude 
and  seclusion,  and  spent  the  greater  part  of  her  long 
life  at  Hoddesdon,  near  London,  where  her  memory  is 
still  cherished  with  affection.  In  1829  she  published 
The  Spirit  of  the  Psalms,  a  metrical  version  of  select 
portions  of  the  Psalms  of  David.  The  work  contains, 
besides  her  own  translations,  a  number  of  hymns  by 
various  authors,  as  Heber's  hymn  for  Easter  Day,  and 
pieces  selected  for  the  leading  Church  seasons.  Miss 
Auber  wrote  much  lyric  poetry,  as  well  as  devotional, 
and  both  kinds  are  distinguished  for  high  merit  and 
beauty.  Her  rendering  of  the  75th  Psalm,  beginning, 
*  That  Thou,  O  Lord,  art  ever  near,'  is  an  admirable 
translation,  retaining  the  grandeur  and  simplicity  of 
the  original.  Miss  Mackenzie,  the  authoress  of  a 
beautiful  tale  called  Private  Life,  and  other  literary 
contributions,  was  a  much  valued  friend  of  Miss 
Auber.  They  lived  together  during  the  latter  years 
of  life,  and  were  buried  side  by  side  in  the  quiet 
cemetery  of  Hoddesdon.  Truly  they  were  '  lovely  and 
pleasant  in  their  lives,  and  in  their  death  they  were 
not  divided.'  Miss  Auber  died  in  1862,  having 
attained  to  the  venerable  age  of  nearly  fourscore  and 
ten. 


Account  of  First  Rank  Hymns.       143 

54.  Through  the  day  Thy  love  hath  spared  us  ; 

Now  we  lay  us  down  to  rest ; 
Through  the  silent  watches  guard  us, 
Let  no  foe  our  peace  molest ! 
Jesus,  Thou  our  Guardian  be  ! 
Sweet  it  is  to  trust  in  Thee. 

Thomas  Kelly,  author  of  this  beautiful  evening 
hymn,  was  the  son  of  an  Irish  judge,  and  was  born  in 
Dublin  in  1769.  He  graduated  with  honours  in  Trinity 
College,  Dublin,  and  being  designed  for  the  bar,  he 
entered  the  Temple.  While  in  London  he  enjoyed 
the  friendship  of  Edmund  Burke.  He  began  to  enter 
tain  very  serious  religious  views,  and  consequently, 
renouncing  the  law  as  a  profession,  he  took  holy 
orders  in  1792,  when  twenty-three  years  of  age.  His 
doctrines  were  somewhat  extreme,  and  his  opinions, 
publicly  proclaimed  against  the  Church  of  England, 
were  so  strong,  that  the  Archbishop  of  Dublin  deemed 
it  expedient  to  inhibit  Kelly  from  preaching  in  the 
Dublin  churches.  He  consequently  left  the  Church, 
and  became  a  Nonconformist  minister.  Possessed  of 
an  ample  fortune,  and  filled  with  godly  zeal,  he  built 
several  chapels,  and  gradually  rallied  around  him  a 
strong  Evangelical  party.  Kelly  died  in  Dublin  in 
1855,  at  the  advanced  age  of  eighty-six.  His  dying 
words  were,  '  Not  my  will,  but  Thine,  be  done.' 

Kelly  will  be  remembered  chiefly  as  a  hymn-writer. 
His  hymns  first  appeared  in  1804,  in  a  volume  entitled 
Hymns  on  Various  Passages.  In  the  first  edition  there 


144       Account  of  First  Rank  Hymns. 

were  only  96  hymns,  but  in  each  subsequent  issue 
the  number  greatly  increased,  until  in  the  seventh 
edition,  published  in  1853,  when  the  author  was  eighty- 
four  years  of  age,  there  appeared  767  hymns.  A  few 
written  in  his  earlier  days  were  omitted ;  but  in  the 
Preface  to  this  edition  the  aged  hymnist  writes :  *  It 
will  be  perceived  by  those  who  read  these  hymns  that 
though  there  is  an  interval  between  the  first  and  last  of 
nearly  sixty  years,  both  speak  of  the  same  great  truths, 
and  in  the  same  way.  In  the  course  of  that  long 
period  the  author  has  seen  much  and  heard  much,  but 
nothing  that  he  has  seen  or  heard  has  made  the  least 
change  in  his  mind  that  he  is  conscious  of  as  to  the 
grand  truths  of  the  Gospel.'  The  above  evening  hymn 
is  perhaps  the  best  known  of  all  Kelly's  hymns.  It 
consists  of  two  stanzas  of  six  lines  each,  and  first 
appeared  in  1806.  The  hymn  is  very  popular,  and  has 
found  its  way  into  most  Hymnals ;  but  the  line  c  Now 
we  lay  us  down  to  rest '  seems  to  indicate  that  it  was 
designed  rather  for  private  use  than  for  public  worship. 

55.  Children  of  the  Heavenly  King, 
As  ye  journey,  sweetly  sing  ; 
Sing  your  Saviour's  worthy  praise, 
Glorious  in  His  works  and  ways  ! 

John  Cennick,  author  of  the  above,  was  born  of  a 
Quaker  family  in  1717,  at  Reading,  where  for  some 
years  he  was  a  land-surveyor.  He  suffered  much 
spiritual  distress,  but,  through  the  preaching  of  George 


Account  of  First  Rank  Hymns.       145 

Whitefield,  obtained  light  and  peace.  He  then  devoted 
his  energies  to  the  service  of  God,  and  became  a 
preacher  among  the  Wesleyans.  After  a  while  he  left 
the  Wesleyans,  and,  together  with  his  friend  William 
Hammond,  joined  the  Moravians.  John  Wesley  spoke 
of  him  as  'that  weak  man,  John  Cennick,  who  con 
founded  the  poor  people  with  strange  doctrines.'  He 
died  in  1755,  when  thirty-eight  years  of  age.  He  is 
favourably  known  as  a  hymn-writer.  The  above  ap 
peared  in  1742  in  his  Sacred  Hymns  for  the  Children 
of  God  in  the  Day  of  their  Pilgrimage.  The  original 
consists  of  twelve  stanzas,  but  these  have  been  subjected 
to  many  variations. 

56.  Glory  be  to  Jesus, 

Who,  in  bitter  pains, 
Poured  for  me  the  Life-blood 

From  His  sacred  veins. 

This  plaintive  hymn  on  the  Passion  of  Christ  is  a 
translation  by  Edward  Caswall  of  an  Italian  Indulgence 
hymn,  beginning  '  Viva  !  Viva  !  Gesu.'  The  original 
probably  dates  from  the  eighteenth  century,  and  is 
found  in  Aspirazioni  Divote.  The  English  version  first 
appeared  in  the  Masque  of  Mary  and  other  Poems,  a 
work  by  Caswall,  published  in  1858. 

57.  Go  to  dark  Gethsemane, 

Ye  that  feel  the  tempter's  power, 
Your  Redeemer's  conflict  see  ; 
Watch  with  Him  one  bitter  hour  : 
K 


146      .  Account  of  First  Rank  Hymns. 

Turn  not  from  His  griefs  away ; 
Learn  of  Jesus  Christ  to  pray. 

This  favourite  Passion  hymn,  appropriate  to  Holy 
Week,  was  written  by  James  Montgomery  in  1820,  and 
first  appeared  in  the  Christian  Psalmist  \x\  1825,  headed 
*  Christ  our  Example  in  Suffering.'  The  original  has 
undergone  many  alterations,  which  have  considerably 
improved  the  hymn. 

A  few  years  ago,  while  making  a  sojourn  in  Jerusalem, 
we  set  out  for  the  Mount  of  Olives  on  the  evening  of 
Holy  Thursday,  that  we  might  visit  the  Garden  of 
Gethsemane  by  moonlight,  and  tread  the  scene  of  the 
Saviour's  Agony  on  the  very  night,  and  at  the  very  hour, 
when  His  '  soul  was  exceeding  sorrowful,  even  unto 
death.'  Gethsemane  means  an  olive  and  wine-press, 
and  here  were  fulfilled  the  dark  words  of  the  prophet, 
'  I  have  trodden  the  wine-press  alone,  the  great  wine 
press  of  the  wrath  of  God,  the  wine-press  trodden 
without  the  city.'  Passing  Gethsemane,  we  walked  a 
few  paces  up  the  Mount  of  Olives,  and  sat  down  on  a 
rock  overlooking  the  Garden.  The  moon  was  still 
bright,  and  the  venerable  olive-trees  were  casting  dark 
shadows  across  the  sacred  ground.  The  silence  of 
night  increased  the  solemnity.  No  human  voice  was 
heard,  and  the  stillness  was  only  broken  by  the  occa 
sional  barking  of  dogs  in  the  city.  We  read  by  the 
light  passages  bearing  on  the  Agony,  and  James  Mont 
gomery's  solemn  hymn, 

Go  to  dark  Gethsemane, 

Ye  that  feel  the  tempter's  power. 


Account  of  First  Rank  Hymns.        147 

58.  Guide  me,  O  Thou  great  Jehovah  ! 
Pilgrim  through  this  barren  land. 

William  Williams,  author  of  the  above,  called  the 
Watts  of  Wales,  was  born  in  1717,  near  Llandovery, 
Carmarthenshire.  He  received  a  good  education,  and 
underwent  a  course  of  study  for  the  medical  profession, 
but  on  hearing  an  eloquent  sermon  preached  in  a  village 
churchyard,  his  soul  was  stirred  within  him,  and  he  forth 
with  resolved  to  devote  his  life  to  the  work  of  the  ministry. 
He  was  accordingly  ordained  a  deacon  of  the  Estab 
lished  Church,  but  shortly  afterwards  became  an  itiner 
ant  preacher  amongst  the  Welsh  Calvinistic  Methodists. 
*  In  this  capacity  he  laboured  perseveringly  for  nearly 
half  a  century,  incessantly  hastening  from  place  to  place 
in  every  part  of  the  Principality  to  preach  the  Gospel  to 
listening  thousands.  His  sermons,  warm  with  his  own 
fervour,  bright  with  the  vivid  picturing  of  his  lively 
imagination,  and  always  radiant  with  the  presence  of 
his  Divine  Master,  produced  a  most  powerful  effect 
upon  his  impressible  fellow-countrymen,  and  Williams, 
working  with  such  men  as  Rowlands  and  Harris,  was 
felt  as  a  power  in  the  association  meetings  of  the  Con 
nexion  to  which  he  belonged.  He  was  as  much  cele 
brated  for  his  poetry  in  his  native  tongue  as  he  was  for 
his  talent  and  usefulness  in  preaching  the  Gospel.  The 
popularity  of  the  preacher  opened  the  way  for  the 
reception  of  his  poems,  and  the  excellence  of  the 
pieces  themselves  made  them  retain  their  place  when 
once  received.  They  are  now  generally  used  by  all 


148       Account  of  First  Rank  Hymns. 

denominations  of  Christians  in  the  Principality,  and 
held  in  the  highest  veneration  by  the  people.'  Williams 
wrote  several  works  on  Theology,  and  published  in 
Welsh  four  series  of  hymn-books  consisting  of  his  own 
pieces.  He  also  published  two  English  hymn-books 
entitled  respectively  Hosannah  to  the  Son  of 'David and 
Gloria  in  Excelsis.  After  enduring  much  suffering,  this 
excellent  hymn-writer  and  preacher  departed  to  his  rest 
in  1791,  aged  seventy-four. 

His  best-known  hymn,  '  Guide  me,  O  Thou  great 
Jehovah/  was  originally  written  in  Welsh  about  the 
year  1760.  In  1771  it  was  translated  into  English  by 
the  Rev.  Peter  Williams,  and  the  next  year  appeared 
another  rendering  by  the  author  himself.  Shortly  after 
wards  it  was  printed  by  Lady  Huntingdon  on  a  leaflet, 
with  the  heading,  'A  favourite  hymn  sung  by  Lady 
Huntingdon's  young  collegians.  Printed  by  the  de 
sire  of  many  Christian  friends.  Lord,  give  it  Thy 
blessing ! ' 

The  hymn  also  appeared  in  Whiter! eld's  collection, 
dated  1774. 

Another  favourite  hymn  by  Williams  is  that  com 
mencing 

O'er  the  gloomy  hills  of  darkness, 
Look,  my  soul,  be  still  and  gaze. 

It  appeared  in  his  Gloria  in  Excelsis,  1772;  and  as 
this  noble  hymn  was  composed  before  our  great  Mis 
sionary  Societies  were  called  into  existence  it  may 
justly  be  regarded  as  the  ancestor  of  many  excellent 
missionary  hymns  written  since  Williams's  time. 


Account  of  First  Rank  Hymns.        149 

59.  Jesu,  the  very  thought  of  Thee 

With  sweetness  fills  the  breast, 
But  sweeter  far  Thy  face  to  see, 
And  in  Thy  presence  rest 

Jesu,  dulcis  memoria  Sed  super  mel,  et  omnia, 

Dans  vera  cordi  gaudia,  Ejus  dulcis  praesentia. 

Seven  Latin  poems  are  ascribed  to  St.  Bernard  of 
Clairvaux,  the  best  known  being  'Jubilus  rhythmicus 
de  nomine  Jesu '  (Jubilee  rhythm  on  the  name  of  Jesus). 
The  original  poem  consists  of  forty-eight  stanzas  of  four 
lines  each,  that  is,  about  200  lines  (verses),  and  is  dis 
tinguished  for  its  deep  spirituality,  ardent  love,  and 
poetic  beauty.  The  above,  with  Parts  n.  and  in.  of 
Hymn  178,  Hymns  Ancient  andModern^  is  a  portion  of 
St.  Bernard's  Latin  poem  beautifully  rendered  in  Eng 
lish  by  Edward  Caswall,  M.A.,  and  first  appeared  in 
his  Lyra  Catholica  in  1849.  The  original  was  composed 
by  St.  Bernard  about  1140  A.D.,  so  that  this  ancient 
hymn  is  seven  and  a  half  centuries  old. 

St.  Bernard  of  Clairvaux,  known  as  the  great  Bernard, 
was  born  at  Fontaine  in  Burgundy  in  1091.  His  father 
was  a  nobleman,  and  his  mother  was  the  well-known 
Lady  Aletta,  distinguished  alike  for  piety  and  benevol 
ence.  Bernard's  childhood  was  spent  in  company  with 
several  brothers  amidst  the  vineyards  and  corn-fields  of 
his  father,  and  his  early  training  was  conducted  by  his 
pious  mother.  In  early  youth  he  was  sent  to  the 
Cathedral  School  of  Chatillon,  where  he  acquired  a 
sufficient  knowledge  of  Latin  to  preach  extempore  in 
that  language,  and  write  Latin  hymns  with  grace  and 


150       Account  of  First  Rank  Hymns. 

fluency.  Lady  Aletta  died  while  Bernard  was  still  a 
boy,  and  the  mother's  death-chamber  made  a  serious 
impression  on  the  youth's  mind.  Feeling  that  her 
strength  was  almost  exhausted,  she  requested  some 
priests  to  recite  the  '  Litany  of  the  Dying.'  With  feeble 
voice  she  lisped  after  them  the  petition,  '  By  Thy  Cross 
and  Passion,  good  Lord,  deliver  us,'  and  suddenly 
falling  back,  expired.  At  the  age  of  twenty-two  Bernard 
became  a  monk  in  the  Convent  of  Citeaux,  near  Dijon, 
where  for  three  years  he  practised  much  austerity.  At 
the  age  of  twenty-five  he  was  sent  as  the  leader  of 
twelve  monks  to  found  a  new  monastery.  They  jour 
neyed  northward,  and  at  length  settled  in  a  lonely 
valley  surrounded  by  pathless  forests,  known  as  the 
'Valley  of  Wormwood.'  By  dint  of  hard  manual 
labour  the  monks  soon  transformed  the  desolate  un- 
tilled  land  into  a  smiling  garden,  and  the  '  Valley  of 
Wormwood '  was  named  '  Clairvaux ' — the  bright  valley. 

Of  the  labours  of  these  pious  men  it  may  truly  be 
said,  'The  wilderness  and  the  solitary  place  shall  be 
glad  for  them ;  and  the  desert  shall  rejoice,  and  blossom 
as  the  rose.  It  shall  blossom  abundantly,  and  rejoice 
even  with  joy  and  singing.' 

The  Abbey  of  Clairvaux  rose  to  the  sound  of  sacred 
song,  and  Bernard  became  first  Abbot  of  the  new 
monastery.  By  the  monks  he  was  beloved  as  a  father  ; 
his  influence  was  extraordinary,  and  his  reputation 
spread  over  all  Christendom.  Popes  and  kings  sought 
his  counsel,  monasteries  after  the  Clairvaux  model  were 
founded  in  every  part  of  Europe,  while  the  Catholic 
Church  began  to  regard  Bernard  as  the  champion  of 


Account  of  First  Rank  Hymns.        1 5 1 

orthodoxy.  Five  of  his  brothers  became  monks  of 
Clairvaux,  and  Bernard's  lamentation  on  the  death  of 
his  much-beloved  brother  Gerard  is  a  touching  outpour 
ing  of  affection  and  resignation  : — '  Who  could  ever  have 
loved  me  as  he  did  ?  He  was  a  brother  by  blood,  but 
far  more  by  religion.  Thou,  Gerard,  art  in  the  eternal 
presence  of  the  Lord  Jesus,  and  hast  angels  for  thy 
companions ;  but  what  have  I  to  fill  up  the  void  thou 
hast  left  ?  Fain  would  I  know  thy  feelings  towards  me, 
my  brother,  my  beloved,  if  indeed  it  is  permitted  to 
one  bathing  in  the  Divine  radiance  to  call  to  mind  our 
misery,  to  be  occupied  with  our  grief.  Thou  hast  laid 
aside  thy  infirmities,  but  not  thy  love,  for  love  abideth, 
and  through  eternity  thou  wilt  not  forget  me.  He  hath 
given,  He  hath  taken  away,  and  while  we  deplore  the 
loss  of  Gerard,  let  us  not  forget  that  he  was  given.  God 
grant,  Gerard,  I  may  not  have  lost  thee,  but  that  thou 
hast  preceded  me,  and  I  may  be  with  thee  where  thou 
art.  For  of  a  surety  thou  hast  rejoined  those  whom  on 
thy  last  night  below  thou  didst  invite  to  praise  God, 
when  suddenly,  to  the  great  surprise  of  all,  thou  with  a 
serene  countenance  and  a  cheerful  voice  didst  com 
mence  chanting  "  Praise  ye  the  Lord  from  the  heavens ; 
praise  Him,  all  ye  angels."  At  that  moment,  O  my 
brother,  the  day  dawned  on  thee,  though  it  was  night  to 
us ;  the  night  to  thee  was  all  brightness.  And  so  he 
died,  and  so  dying  he  wellnigh  changed  my  grief  into 
rejoicing,  so  completely  did  the  sight  of  his  happiness 
overpower  the  recollection  of  my  own  misery.  O  Lord, 
Thou  hast  but  called  for  Thine  own.  Thou  hast  but 
taken  what  belonged  to  Thee.  And  now  my  tears  put 


152       Account  of  First  Rank  Hymns. 

an  end  to  my  words.  I  pray  Thee,  teach  me  to  put  an 
end  to  my  tears.' 

Bernard  moved  much  about  in  the  world,  and  his  life 
was  a  very  busy  one,  but  the  tranquil  monastery  of 
Clairvaux  was  his  home  for  the  long  period  of  thirty-eight 
years.  When  on  his  deathbed  the  monks  stood  weeping 
around  him,  and  Bernard  with  tears  in  his  eyes  mur 
mured,  1 1  am  in  a  strait  betwixt  two,  having  a  desire  to 
depart  and  be  with  Christ,  which  is  far  better ;  never 
theless  the  love  of  my  children  urgeth  me  to  remain 
here  below.'  '  These  were  his  last  words.  Then  fixing 
his  dove-like  eyes  on  heaven,  his  spirit  passed  away 
from  earth  to  be  where  Gerard  and  his  mother  were  for 
ever  with  the  Lord.'  He  died  in  1153  A.D.,  aged  62. 

Earnest,  self-denying,  spiritually-minded,  St.  Bernard  is 
regarded  as  one  of  the  chief  saints  of  the  Romish  Church, 
and  Luther  called  him  'the  best  monk  that  ever  lived.' 

60.  O  God  of  Bethel !  by  whose  hand 

Thy  people  still  are  fed  ; 
Who  through  this  weary  pilgrimage 
Hast  all  our  fathers  led. 

This  beautiful  hymn,  founded  on  Jacob's  vow  at 
Bethel  (Gen.  xxviii.  20,  21),  is  from  the  pen  of  Philip 
Doddridge,  although  some  think  it  was  composed  by 
Darracott,  one  of  his  pupils.  It  has  also  been 
erroneously  attributed  to  John  Logan,  appointed 
a  minister  at  Leith  in  1770.  In  Doddridge's  own 
manuscript  the  hymn  bears  date  1736-7,  so  that  it  was 


Account  of  First  Rank  Hymns.        153 

written  before  Logan  was  born.  It  appears  however 
that  Logan  in  1775  altered  and  improved  the  original, 
but  unfortunately  in  1781  he  adopted  it  as  his  own 
without  any  acknowledgment. 

At  an  early  period  it  found  a  place  in  the  Scotch 
Paraphrases,  and  in  its  present  form  the  hymn  has  been 
generally  accepted  for  a  hundred  years.  It  was  an 
especial  favourite  with  David  Livingstone,  who  as  a 
Scotch  boy  had  become  familiar  with  the  Paraphrases 
in  the  days  of  youth.  Often  did  the  great  African 
traveller,  when  wandering  o'er  the  desert  wastes,  far  from 
human  habitations,  and  fearful  lest  his  scant  provisions 
should  fail  him  in  his  pilgrimage,  take  from  his  pocket 
a  small  copy  of  the  Paraphrases,  and  amid  the  solitude 
read  aloud — 

O  God  of  Bethel  !  by  whose  hand 

Thy  people  still  are  fed  ; 
Who  through  this  weary  pilgrimage 

Hast  all  our  fathers  led. 

Through  each  perplexing  path  of  life 

Our  wand'ring  footsteps  guide  ; 
Give  us  each  day  our  daily  bread, 

And  raiment  fit  provide. 


61.  Ride  on,  ride  on  in  majesty  ! 
In  lowly  pomp  ride  on  to  die ! 
O  Christ,  Thy  triumphs  now  begin 
O'er  captive  death  and  conquered  sin. 

This  hymn,  by  Dean  Milman,  first  appeared  in  1827 
in   the  hymn-book   projected   by  Bishop  Heber,  and 


154       Account  of  First  Rank  Hymns. 

published  by  his  widow  the  year  after  Heber's  death.  In 
this  collection  it  is  appointed  as  the  hymn  for  the  Sunday 
before  Easter,  usually  called  Palm  Sunday,  and  it  is  a 
fitting  introduction  to  the  account  of  the  Saviour's 
suffering  during  Passion  Week.  The  original  consists  of 
five  stanzas,  of  which  the  first  is  almost  invariably 
omitted  in  modern  Hymnals.  It  is — 

Ride  on,  ride  on  in  majesty  ! 
Hark  !  all  the  tribes  Hosanna  cry  ! 
Thine  humble  beast  pursues  his  road, 
With  palms  and  scattered  garments  strewed. 

Milman  wrote  this  and  his  other  well-known  hymns 
between  1820  and  1830,  while  he  was  Professor  of 
Poetry  in  Oxford,  at  a  period  when  he  reached  the 
zenith  of  his  fame  as  a  poetical  writer. 


62.  Songs  of  praise  the  angels  sang, 
Heaven  with  Hallelujahs  rang, 
When  Jehovah's  work  begun, 
When  He  spake,  and  it  was  done.  -, 

This  joyous  hymn,  consisting  of  six  stanzas,  was 
written  by  James  Montgomery,  and  first  appeared  in 
1819  in  Cotterill's  Selection  of  Hymns.  It  appears  that 
Montgomery  was  associated  with  Cotterill  in  the  com 
pilation  of  this  Hymnal. 

The  hymn  is  founded  on  Job  xxxviii.  7,  '  The  morn 
ing  stars  sang  together,  and  all  the  sons  of  God 
shouted  for  joy,'  and  is  full  of  exhortation  to  pro- 


Account  of  First  Rank  Hymns.       155 

voke   an    expression  of  gratitude  to  God  for  all  His 
mercies. 

63.  Through  all  the  changing  scenes  of  life, 
In  trouble  and  in  joy. 

This  hymn  occurs  in  the  New  Version  by  Tate  and 
Brady,  and  is  their  rendering  of  the  34th  Psalm.  It 
bears  date  1696. 

64.  Just  as  I  am,  without  one  plea, 

But  that  Thy  blood  was  shed  for  me, 
And  that  Thou  bidst  me  come  to  Thee, 
O  Lamb  of  God,  I  come  ! 

This  immortal  hymn  was  written  by  Charlotte 
Elliott  in  1836,  and  appeared  in  the  first  edition  of  her 
Hours  of  Sorrow  cheered  and  comforted. 

'  With  its  rich  evangelical  doctrine,  its  candour  and 
simplicity,  its  personal  confession  of  sin,  and  expressions 
of  trust,  it  has  taken  a  great  hold  on  the  public  mind.' 
The  Rev.  Henry  Venn  Elliott,  brother  of  the  gifted 
authoress,  said  of  this  hymn  :  *  In  the  course  of  a  long 
ministry  I  hope  I  have  been  permitted  to  see  some 
fruit  of  my  labours,  but  I  feel  that  far  more  has  been 
done  by  a  single  hymn  of  my  sister's/  It  has  been 
translated  into  almost  every  language  of  Europe,  as 
well  as  into  Arabic,  and  it  is  said  to  be  used  in  Southern 
Europe  as  in  England.  In  1822  Charlotte  Elliott, 
when  thirty-three  years  of  age,  was  introduced,  at  her 
father's  house  in  Clapham,  to  Dr.  Malan,  a  pastor  of 


1 56       Account  of  First  Rank  Hymns. 

Geneva.     The  conversation  of  this  spiritually-minded 
clergyman  made  a  deep  religious  impression   on   her 
mind.     She  had  been   much   troubled   with    religious 
doubts  and  fears.     So  in  one  of  Dr.  Malan's  letters  to 
her  he  writes,  '  Dear  Charlotte,  cut  the  cable ;  it  will 
take  too  long  to  unloose  it ;  cut  it,  it  is  a  small  loss ; 
the  wind  blows,  and  the  ocean  is  before  you — the  Spirit 
of  God  and  eternity.'     Her  state  of  mind  is  reflected  in 
her  own  touching  words- 
Just  as  I  am,  though  tossed  about 
With  many  a  conflict,  many  a  doubt, 
Fightings  and  fears  within,  without, 
O  Lamb  of  God,  I  come  ! 


65.  New  every  morning  is  the  love 
Our  wakening  and  uprising  prove ; 
Through  sleep  and  darkness  safely  brought, 
Restored  to  life,  and  power,  and  thought. 

This  admirable  morning  hymn  is  the  opening  poem 

of  The  Christian    Year,  and  is  deservedly  very  popular. 
The  original  consists  of  sixteen  stanzas,  beginning — 

Hues  of  the  rich  unfolding  morn, 

That,  ere  the  glorious  sun  be  born  .   .  . 

The  whole  piece  is  an  admirable  exposition  of  the 
words,  *  His  compassions  fail  not ;  they  are  new  every 
morning.'  One  writer  truly  remarks  :  '  For  the  under 
standing  of  those  verses,  which  are  sung  in  church,  it 
will  be  found  very  useful  to  become  thoroughly  familiar 
with  the  rest,  especially  the  introductory  verses,  which 


Account  of  First  Rank  Hymns.        157 

raise  the  soul  to  the  realisation  of  the  feelings  expressed 
in  the  hymn.  The  true  difficulty  of  actually  feeling  and 
entering  into  the  spirit  of  the  morning  hymn  is  thaTlfo 
few  persons  are  really  familiar  with  sunrise  in  summer, 
and  that  for  so  many  the  "  hues  of  the  rich  unfolding 
morn,"  the  "  rustling  breeze,"  the  'Qragrant  clouds  of 
dewy  steam,"  are  indeed  but  wasted  treasures  of  delight. 
If  only  we  had  more  experience  of  these  things,  if  they 
greeted  us  hastening  early  to  the  sanctuary  of  God,  we 
should  gain  much  more  from  our  daily  lives.  But 
evening  hymns  are  much  more  real  to  us,  because  they 
refer  to  a  time  when  we  are  more  frequently  alive  to 
the  beauties  of  nature/ 

66.  Praise,  my  soul,  the  King  of  Heaven, 
To  His  feet  thy  tribute  bring. 

This  jubilant  hymn  by  Lyte  first  appeared  in  1834, 
in  his  Spirit  of  the  Psalms ',  and  is  a  paraphrase  on  the 
1 03d  psalm. 

On  visiting  the  land  of  Lyte  in  Devon,  one  writer 
says  :  '  It  was  evening  when  we  arrived  at  Brixham,  and 
I  sauntered  to  enjoy  a  look  at  the  waters  of  Torbay,  the 
sea  which  the  parish  psalmist  used  to  look  upon  so  lov 
ingly.  I  stood  gazing  until  the  moon  arose  and  flung 
her  train  of  light  over  the  waves.  Then  the  stars  came 
out,  and  as  I  watched  them  brightening,  voices  of  chil 
dren  arose  from  the  village.  While  the  charm  was  still 
upon  me,  a  clear  mature  voice  from  near  the  shore  com 
menced  singing  one  of  Lyte's  hymns.  It  seemed  as  if  the 
poet  had  imbued  that  shore  with  his  Spirit  of  the  Psalms? 


158       Account  of  First  Rank  Hymns. 

67.  Praise  the  Lord  !  ye  heavens,  adore  Him, 

Praise  Him,  angels,  in  the  height ; 
Sun  and  moon,  rejoice  before  Him, 
Praise  Him,  all  ye  stars  of  light. 

This  hymn  is  a  paraphrase  of  the  i48th  Psalm, 
which  begins  :  '  Praise  ye  the  Lord.  Praise  ye  the 
Lord  from  the  heavens  :  praise  Him  in  the  heights.' 
It  has  been  traced  to  a  collection  of  Psalms,  Hymns  ^ 
and  Anthems  for  the  Foundling  Chapel  The  collection 
bears  date  1796,  but  the  hymn  seems  to  have  been 
printed  on  a  sheet  of  paper,  and  inserted  in  the  Hymnal, 
as  has  been  proved  not  later  than  1806.  It  has 
sometimes  been  attributed  to  the  Rev.  John  Kemp- 
thorne,  a  clergyman  of  Gloucester  ;  sometimes  to  Bishop 
Mant,  but  not  on  any  good  authority.  Nothing  is 
really  known  of  its  author. 

68.  Soldiers  of  Christ,  arise, 

And  put  your  armour  on. 

This  hymn,  suitable  for  Confirmation,  is  by  Charles 
Wesley.  It  is  founded  on  Eph.  vi.  1 1  - 1 8,  '  Put  on  the 
whole  armour  of  God,'  etc.,  and  is  indeed  a  spirited 
paraphrase  of  that  passage,  descriptive  of  the  Christian 
soldier. 

The  original  first  appeared  in  1749,  in  Hymns  and 
Sacred  Poems,  and  consisted  of  sixteen  stanzas  of  eight 
lines  each.  The  hymn,  as  it  appears  in  modern 
Hymnals,  is  a  selection  of  a  few  of  the  original  stanzas. 


Account  of  First  Rank  Hymns.        159 

69.  The  strain  upraise  of  joy  and  praise. 

Alleluia ! 

Cantemus  cuncti  melodum.     Alleluia  ! 


This  famous  hymn  is  a  translation  by  Dr.  Neale, 
and  first  appeared  in  the  Hymnal  Noted  in  1858.  The 
original  Latin  is  generally  thought  to  be  the  work  of 
Godescalcus,  although  Mone  contends  that  it  is  a 
Sequence  of  the  eleventh  century. 

Godescalcus,  or  Gottschalk,  was  a  monk  of  the 
famous  Abbey  of  St.  Gall,  near  Constance.  His  sacred 
songs  show  that  he  had  deep  sympathy  with  Nature  and 
accurate  Scriptural  knowledge.  Few  particulars  are 
known  of  his  life,  but  he  died  in  868  A.D. 

The  above  is  called  the  Alleluiatic  Sequence,  a  name 
that  requires  some  little  explanation.  In  the  Western 
Church,  an  anthem  called  the  Gradual  was  sung 
between  the  Epistle  and  Gospel,  and  at  the  end  of 
this  anthem  was  sung  '  Alleluia,'  which  was  often  pro 
longed  to  a  great  extent,  somewhat  after  the  'Amen3 
in  the  Hallelujah  Chorus  of  'The  Messiah.'  Notker,  a 
monk  of  St.  Gall,  the  monastery  of  Godescalcus,  about 
the  year  900  A.D.,  caused  a  species  of  anthem  to  take 
the  place  of  this  Alleluia.  The  words  of  the  anthem 
were  rhythmical  but  not  metrical,  and  they  were 
called  a  Sequence,  literally,  'following,'  because  they 
followed  the  Gradual,  and  they  are  also  named  a  Prose, 
because  they  were  not  metrical. 

The  above  is  named  Alleluiatic  Sequence,  because 
each  verse  is  followed  by  Alleluia. 


160       Account  of  First  Rank  Hymns. 

The  celebrated  Sequence  by  Notker  begins  '  Media 
vita  in  morte  sunt,'  etc.  From  this  Sequence  were 
taken  the  impressive  words  of  our  Burial  Service  :  '  In 
the  midst  of  life  we  are  in  death  :  of  whom  may  we 
seek  for  succour,  but  of  Thee,  O  Lord,  who  for  our  sins 
art  justly  displeased  ?  '  and  the  sentences  following.  The 
words  are  said  to  have  been  suggested  to  Notker  by 
his  seeing  persons  climb  the  dangerous  cliffs  near  the 
monastery  in  search  of  the  samphire. 

70.  There  is  a  land  of  pure  delight, 
Where  saints  immortal  reign. 

This  favourite  hymn  was  written  by  Isaac  Watts  when 
he  was  only  twenty-two  years  old.  The  original  con 
sists  of  six  stanzas,  and  is  entitled  'A  Prospect  of 
Heaven  makes  Death  easy.'  It  is  founded  on  one  of  the 
last  scenes  in  the  life  of  Moses.  Not  being  permitted 
to  enter  the  Promised  Land  with  the  hosts  of  Israel,  God 
allowed  His  servant  to  behold  a  distant  prospect  of 
Canaan  from  the  top  of  Mount  Pisgah.  So  '  Moses  went 
up  from  the  plains  of  Moab  unto  the  mountain  of  Nebo, 
to  the  top  of  Pisgah.'  There  on  the  summit  stood  the 
veteran  leader  of  Israel.  *  His  eye  was  not  dim,  nor 
his  natural  force  abated,'  as,  looking  across  the  swell 
ings  of  Jordan,  he  gazed  upon  the  land  promised  to 
Abraham  and  his  seed  for  ever. 

Sweet  fields,  beyond  the  swelling  flood, 

Stand  dressed  in  living  green  ; 
So  to  the  Jews  old  Canaan  stood, 

While  Jordan  rolled  between. 


Account  of  First  Rank  Hymns.        161 

According  to  a  local  tradition,  this  hymn  is  intimately 
connected  with  the  scenery  around  Southampton.  It 
appears  that  the  author,  seated  in  his  home,  could  see 
the  arm  of  the  sea  known  as  Southampton  Water,  and 
'  beyond  the  swelling  flood '  stood  the  green  glades  of 
the  New  Forest.  According  to  another  account,  Watts 
could  see  the  waters  of  the  river  Itchen,  with  the  rich 
landscape  of  the  Isle  of  Wight  in  the  far-distant  view. 
The  varied  beauties  of  the  noble  prospect  suggested  to 
the  poet  thoughts  of  the  river  Jordan,  *  the  narrow 
stream  of  death/  and  the  glories  of  the  Heavenly 
Canaan  '  beyond  the  swelling  flood.' 

Could  we  but  climb  where  Moses  stood, 

And  view  the  landscape  o'er, 
Not  Jordan's  stream,  nor  death's  cold  flood, 

Should  fright  us  from  the  shore. 

71.  Thou  art  gone  up  on  high 

To  mansions  in  the  skies, 
And  round  Thy  throne  unceasingly 
The  songs  of  praise  arise. 

Emma  Toke,  author  of  the  above,  wrote  several 
hymns  at  the  request  of  a  friend  who  was  collecting 
suitable  hymns  for  the  Committee  of  the  Society  for 
Promoting  Christian  Knowledge  when  they  were  com 
piling  their  Hymn-book.  The  compositions  were  sent 
anonymously,  but  were  considered  sufficiently  good  to 
be  published  in  the  Society's  Hymnal  in  1851.  The 
late  Dr.  Dykes  composed  for  the  above  Ascension-tide 
hymn  the  noble  tune  called  '  Olivet,'  from  the  scene  of 

L 


1 62       Account  of  First  Rank  Hymns. 

the  Ascension,  and  when  sung  to  this  tune  '  few  hymns 
touch  a  deeper  chord.'  Mrs.  Toke  is  the  wife  of  the 
Rev.  Nicholas  Toke,  Rector  of  Godington,  Ashford, 
Kent. 

72.  Ye  servants  of  the  Lord, 

Each  in  his  office  wait, 
Observant  of  His  heavenly  word, 
And  watchful  at  His  gate. 

This  Advent  hymn,  by  Philip  Doddridge,  was  pub 
lished  in  1755,  shortly  after  the  author's  death.  It 
contains  good  admonitions  to  Christian  hope  and 
watchfulness. 

73.  As  with  gladness  men  of  old 
Did  the  guiding  star  behold; 
As  with  joy  they  hailed  its  light, 
Leading  onward,  beaming  bright, — 
So,  most  gracious  God,  may  we 
Evermore  be  led  to  Thee. 

William  Chatterton  Dix,  author  of  this  favourite 
hymn,  was  the  son  of  John  Dix,  a  surgeon  at  Bristol, 
and  was  born  in  that  city  in  1837.  He  was  educated 
at  Bristol  Grammar  School,  and  trained  for  mercantile 
pursuits.  The  above  hymn,  consisting  of  five  stanzas, 
has  received  special  commendation  from  Lord  Selborne, 
who  quotes  it  as  a  proof  that  the  power  of  writing  good 
hymns  is  not  wanting  in  our  own  day.  It  is  an  Epiphany 
hymn,  founded  on  the  passage  in  St.  Matthew  ii.  i,  2  : 


Account  of  First  Rank  Hymns.        163 

1  Now  when  Jesus  was  born  in  Bethlehem  of  Judaea  in 
the  days  of  Herod  the  king,  behold,  there  came  wise 
men  from  the  east  to  Jerusalem,  saying,  Where  is  He 
that  is  born  King  of  the  Jews  ?  for  we  have  seen  His 
star  in  the  east,  and  are  come  to  worship  Him.' 

74.  Love  Divine,  all  love  excelling, 

Joy  of  heaven,  to  earth  come  down  ! 
This  well-known  hymn  by  Charles  Wesley  is  founded 
on  Col.  i.  27,  '  Christ  in  you,  the  hope  of  glory.'  The 
original  consists  of  three  double  stanzas,  and  these 
appear  without  alteration,  except  that  '  loves '  is  made 
singular.  The  original  ran,  '  Love  divine,  all  loves 
excelling.'  The  hymn  was  written  in  1743,  and  ap 
peared  in  one  of  Wesley's  collections  in  1747. 

75.  O  come,  all  ye  faithful, 
Joyful  and  triumphant, 
O  come  ye,  O  come  ye  to  Bethlehem  ; 

Come  and  behold  Him,  etc. 

This  favourite  Christmas  hymn  is  a  translation  by 
Canon  Oakeley  from  a  Latin  hymn  beginning  '  Adeste 
fideles,  Laeti  triumphantes,'  said  to  have  been  taken 
from  a  c  Graduale  '  of  the  Cistercian  monks. 

The  author,  the  Rev.  Frederick  Oakeley,  graduated 
at  Oxford  about  fifty  years  ago,  and  took  a  lively  interest 
in  the  '  Tractarian  Movement '  of  that  time.  He  took 
holy  orders,  and  was  promoted  to  be  a  Prebendary  of 
Lichfield  Cathedral,  but  in  1845  seceded  to  the  Church 
of  Rome. 


164       Account  of  First  Rank  Hymns. 

He  translated  the  above  hymn  in  1841  while  he  was 
incumbent  of  St.  Margaret's,  London.  The  original 
Latin  is  by  some  attributed  to  Bonaventura,  an  Italian 
saint  of  the  thirteenth  century. 

76.  O  help  us,  Lord,  each  hour  of  need, 

Thy  heavenly  succour  give  ; 
Help  us  in  thought,  and  word,  and  deed, 
Each  hour  on  earth  we  live  ! 

This  hymn,  by  Dean  Milman,  was  written,  with 
many  others,  for  a  hymn-book  compiled  by  Bishop 
Heber,  entitled  Hymns  Adapted  to  the  Weekly  Church 
Service  of  the  Year,  and  published  by  Heber's  widow 
in  1827. 

The  above  hymn  is  appointed  for  the  second  Sunday 
in  Lent,  and  the  first  words  of  each  stanza,  '  O  help 
us,'  are  evidently  taken  from  the  Gospel  for  that  Sunday, 
wherein  the  poor  Syro-Phcenician  woman  with  great 
earnestness  says  to  Christ,  '  Lord,  help  me.'  The 
original  consists  of  six  stanzas,  but  two  of  them  are 
usually  omitted  in  modern  Hymnals. 

77.  Thou  art  the  Way  ;  to  Thee  alone 
^       From  sin  and  death  we  flee  ; 
And  he  who  would  the  Father  seek, 
Must  seek  Him,  Lord,  by  Thee. 

Bishop  Doane,  author  of  this  hymn,  was  born  in  the 
United  States  in  1799.  He  distinguished  himself  in 
youth  during  his  College  career,  and  having  entered  the 


Account  of  First  Rank  Hymns.        165 

ministry  he  was  soon  after  appointed  to  be  Rector  of 
Holy  Trinity,  Boston.  In  1832  he  was  consecrated 
Bishop  of  New  Jersey,  an  office  he  filled  with  much 
efficiency.  He  died  in  1859.  As  a  hymn-writer  he  is 
known  by  several  hymns  composed  for  the  festivals. 
The  above  appeared  in  1824  in  Songs  by  the  Way, 
although  from  the  Preface  it  appears  to  have  been 
written  some  years  previously.  The  hymn  is  founded 
on  St.  John  xiv.  6  :  '  I  am  the  way,  the  truth,  and  the 
life  :  no  man  cometh  unto  the  Father  but  by  Me/ 

78.  Forth  in  Thy  name,  O  Lord,  I  go, 
My  daily  labour  to  pursue. 

This  hymn,  by  Charles  Wesley,  appeared  in  Hymns 
and  Sacred  Poems,  1749. 

In  the  Methodist  Hymn-book  it  is  entitled  '  A 
Hymn  before  Work,'  and  it  is  indeed  a  good  practical 
hymn,  which  might  be  used  with  advantage  in  the 
morning  before  beginning  the  labours  of  the  day. 

79.  Lord,  dismiss  us  with  Thy  blessing, 

Fill  our  hearts  with  joy  and  peace  : 
Let  us  each,  Thy  love  possessing, 
Triumph  in  redeeming  grace. 

The  Hon.  and  Rev.  Walter  Shirley,  author  of  the 
above,  belonged  to  the  Earl  Ferrers  family,  and  was 
born  in  1725.  His  three  elder  brothers  were  succes 
sively  Earls,  and  he  was  cousin  to  the  celebrated 
Countess  of  Huntingdon.  Having  taken  holy  orders, 


1 66       Account  of  First  Rank '  Hymns. 

he  manifested  great  interest  in  the  Evangelical  move 
ment  of  the  last  century,  and  was  the  intimate  friend 
of  Whitefield  and  the  Wesleys.  He  obtained  the 
living  of  Loughrea,  in  the  county  of  Gal  way,  Ireland, 
where,  after  suffering  much  bodily  affliction,  he  died  in 
1786.  As  a  hymnist  he  compiled  Lady  Huntingdon's 
Hymn-book  in  1764,  and  is  best  known  as  the  author 
of  two  favourite  hymns,  '  Sweet  the  moments,  rich  in 
blessing,'  and  '  Lord,  dismiss  us  with  Thy  blessing.' 
The  latter  is  sometimes  ascribed  to  Rev.  George 
Burder  and  others,  but  Shirley's  son,  the  Rev.  Walter 
Shirley,  asserted  that -his  father  was  author,  and  this 
opinion  is  universal  among  his  offspring.  It  first 
appeared  in  A  Collection  of  Hymns,  published  in 
1774,  and  afterwards  in  Lady  Huntingdon's  Hymn- 
book. 

About  ninety  years  ago  a  venerable  man,  who  had 
passed  his  threescore  years,  and  was  evidently  so  great 
a  sufferer  as  not  to  be  able  to  take  a  pulpit,  or  even  to 
lie  down,  used  to  be  found  sitting  in  his  chair  preaching 
with  his  latest  breath  in  a  crowded  drawing-room,  and 
to  those  who  filled  the  lobby  and  staircase  of  a  spacious 
dwelling,  in  order  to  catch  his  last  earnest  tones.  He 
was  a  hymnist,  and  composed  a  hymn  for  the  use  of 
those  who  then  gathered  to  hear  him,  that  they  might 
sing  on  parting  from  under  the  sound  of  his  loved 
voice.  It  has  become  a  part  of  the  Christian  service  of 
song,  and  is  the  well-known  dismissal  hymn,  "  Lord, 
dismiss  us  with  Thy  blessing."  The  author  was  the 
Honourable  and  Rev.  Walter  Shirley,  the  friend  of 


Account  of  First  Rank  Hymns.        167 

Whitefield  and  the  Wesleys,  a  lover  of  fissions,  and 
co-worker  of  his  relative,  Lady  Huntingdon.' 

80.  Lord  of  mercy  and  of  might, 
Of  mankind  the  life  and  light. 

This  beautiful  Lenten  hymn,  by  Heber,  first  appeared 
in  the  Christian  Observer  to*  November  1811.  In  his 
collection  of  1827  it  is  assigned  to  Quinquagesima. 
The  hymn  is  indeed  a  short  touching  Litany,  each 
stanza  ending  with  the  supplication,  '  Jesus,  hear  and 
save !'  The  Gospel  for  Quinquagesima  gives  an 
account  of  the  healing  of  the  blind  man  who  sat  by  the 
wayside  begging,  and  who,  on  hearing  that  Jesus  of 
Nazareth  passed  by,  earnestly  and  importunately  called 
out,  '  Jesus,  thou  Son  of  David,  have  mercy  on  me.' 

8 1.  When  gathering  clouds  around  I  view, 
And  days  are  dark,  and  friends  are  few. 

This  affecting  hymn  is  from  the  pen  of  Sir  Robert 
Grant,  and  first  appeared  in  the  Christian  Observer 
in  1806.  As  Sir  Robert  was  born  in  1785,  he  could 
not  have  been  more  than  twenty- one  years  of  age 
when  he  composed  the  hymn.  It  is  perhaps  better 
suited  for  private  use  than  public  worship. 

82.  Brightest  and  best  of  the  sons  of  the  morning  ! 
Dawn  on  our  darkness,   and    lend   us    Thine 
aid! 

This  well-known  and  favourite  Christmas  hymn  is  by 
Bishop  Heber,  and  first  appeared  in  the  Christian 


i68       Account  of  First  Rank  Hymns. 

Observer  in  1811.  In  his  collection  of  hymns  published 
in  1827  the  above  is  assigned  to  'Epiphany/  or  Mani 
festation  of  Christ  to  the  Gentiles.  It  is  founded  on 
the  Gospel  narrative  for  that  day  :  '  Behold,  there  came 
wise  men  from  the  east  to  Jerusalem,  saying,  Where  is 
He  that  is  born  King  of  the  Jews  ?  for  we  have  seen 
His  star  in  the  east,  and  are  come  to  worship  Him.' 
It  is  sometimes  urged  against' the  hymn  that  it  contains 
an  apostrophe  to  the  Star  of  Bethlehem  to  be  our 
guide;  but  the  poetic  fancy  of  addressing  inanimate 
nature  is  not  without  sanction  in  the  Inspired  Word, 
e.g.  in  Psalm  148  :  c  Praise  Him,  ye  waters  that  be 
above  the  heavens ;  fire  and  hail ;  snow  and  vapour  ; 
stormy  wind  fulfilling  His  word.'  When  in  1824  Bishop 
Heber  was  making  a  missionary  tour  through  the  north 
ern  provinces  of  India,  he  spent  Christmas-tide  at 
Meerut,  where  on  iQth  December  he  consecrated  a 
large  church.  On  the  occasion  he  writes  :  '  I  had  the 
gratification  of  hearing  my  own  hymns,  "  Brightest  and 
best  of  the  sons  of  the  morning/'  and,  that  for  St. 
Stephen's  Day,  sung  better  than  I  ever  heard  them  sung 
in  a  church  before.' 

83.  Christians,  awake  !  salute  the  happy  morn 
Whereon  the  Saviour  of  the  world  was  born  ; 
Rise  to  adore  the  mystery  of  love 
Which  hosts  of  angels  chanted  from  above. 

John  Byrom,  author  of  this  Nativity  hymn,  was  born 
at  Manchester  in  1691.     He  graduated  at  Cambridge, 


Account  of  First  Rank  Hymns.        169 

and  became  Fellow  of  Trinity  College  in  1714.  His 
ancestors  held  a  good  position  in  Lancashire ;  and  on 
the  death  of  his  brother  he  succeeded  to  the  family 
estates.  Byrom  was  a  scientific  and  religious  layman, 
and  a  man  of  mark  in  his  day.  He  was  a  friend  of  the 
Wesleys ;  and  John  Wesley  says  of  him  :  '  In  my  jour 
ney  from  Liverpool  to  Birmingham  I  read  Dr.  Byrom's 
Poems.  He  has  all  the  wit  and  humour  of  Dr.  Swift, 
together  with  much  more  learning,  a  deep  and  strong 
understanding,  and  above  all,  a  serious  vein  of  piety.  We 
have  some  of  the  finest  sentiments  that  ever  appeared 
in  the  English  tongue;  some  of  the  noblest  truths 
expressed  with  the  utmost  energy  of  language  and  the 
strongest  colours  of  poetry.'  The  original  of  the  above, 
consisting  of  forty-eight  lines,  was  published  in  1773, 
after  the  author's  death.  The  hymn  attained  great 
popularity  in  Lancashire — the  author's  native  county — 
and  for  upwards  of  a  century  has  held  its  high  position 
in  our  hymn-books.  Byrom  died  in  1763,  in  his  seventy- 
second  year. 

84.  Lord  of  the  worlds  above, 
How  pleasant  and  how  fair 
The  dwellings  of  Thy  love, 
Thy  earthly  temples  are! 

This  hymn,  by  Dr.  Isaac  Watts,  is  his  third  metrical 
version  of  the  first  portion  of  the  84th  Psalm  :  '  How 
amiable  are  Thy  tabernacles,  O  Lord  of  hosts  !  My 
soul  longeth,  yea,  even  fainteth  for  the  courts  of  the 
Lord ;  my  heart  and  my  flesh  crieth  out  for  the  living 


1 70       Account  of  First  Rank  Hymns. 

God.'  The  original  consists  of  four  long  stanzas,  and 
first  appeared  in  1719  under  the  heading,  '  Longing  for 
the  house  of  God.' 

85.  O  for  a  closer  walk  with  God  ! 

A  calm  and  heavenly  frame  ; 
A  light  to  shine  upon  the  road 
That  leads  me  to  the  Lamb. 

This  affecting  hymn,  consisting  of  six  stanzas,  was 
written  by  William  Cowper  in  1772,  and  gives  expres 
sion  to  his  own  inward  fears  and  conflicts.  Its  pathetic 
words  bear  indication  of  the  impending  melancholy 
which  shortly  afterwards  fell  upon  him.  The  above 
hymn,  and  '  God  moves  in  a  mysterious  way,'  were 
written  in  the  '  twilight  of  departing  reason ; '  for  in 
1773  Cowper  sank  into  a  state  of  despondency,  and 
continued  so  for  five  years.  Under  these  circumstances 
how  affecting  it  is  to  ponder  the  last  verse — 

So  shall  my  walk  be  close  with  God, 

Calm  and  serene  my  frame  ; 
So  purer  light  shall  mark  the  road 

That  leads  me  to  the  Lamb. 

86.  Rejoice,  the  Lord  is  King! 

Your  Lord  and  King  adore. 

This  hymn  was  written  by  Charles  Wesley  in  1743, 
and  appeared  in  1746  in  Hymns  for  our  Lord's  Resur 
rection,  a  tract  containing  sixteen  hymns. 

The  original  consists  of  six  stanzas ;  the  two  last, 
usually  omitted  in  modern  Hymnals,  are — 


A  ccount  of  First  Rank  Hymns.        1 7 1 

He  all  His  foes  shall  quell, 

Shall  all  our  sins  destroy, 
And  every  bosom  swell 

With  pure  seraphic  joy  ; 
Lift  up  your  heart,  lift  up  your  voice  ; 
Rejoice,  again  I  say,  Rejoice. 

Rejoice  in  glorious  hope  ! 

Jesus,  the  Judge,  shall  come, 
And  take  His  servants  up 

To  their  eternal  home  ; 
We  soon  shall  hear  the  archangel's  voice, 
The  trump  of  God  shall  sound,  Rejoice  ! 


87.  The  Lord  will  come,  the  earth  shall  quake, 
The  hills  their  fixed  seat  forsake. 

This  Advent  hymn  was  one  of  four  sent  by  Heber 
to  the  Christian  Observer  in  October  1811,  with  the 
initials  D.  R.,  the  extreme  letters  of  his  Christian  name 
Reginald  with  D  reversed.  '  They  were  accompanied 
by  a  letter  complaining  of  the  defects  in  existing  Church 
hymns,  such  as  the  too  familiar  epithets  applied  to  the 
Divine  Being,  and  similar  blemishes,  and  asking  sugges 
tions  for  improvement.'  In  Heber's  collection  of  1827 
the  above  is  assigned  to  the  Second  Sunday  in  Advent, 
and  is  founded  on  the  Gospel  for  this  Sunday,  which 
describes  the  second  coming  of  Christ :  c  Men's  hearts 
failing  them  for  fear,  and  for  looking  after  those  things 
which  are  coming  on  the  earth  :  for  the  powers  of 
heaven  shall  be  shaken.  And  then  shall  they  see  the 
Son  of  Man  coming  in  a  cloud  with  power  and  great 
glory.' 


172       Account  of  First  Rank  Hymns. 

88.  Angels,  from  the  realms  of  glory, 

Wing  your  flight  o'er  all  the  earth. 

This  magnificent  Christmas  hymn,  by  James  Mont 
gomery,  appeared  in  1819.  One  writer  says:  'For 
comprehensiveness,  appropriateness  of  expression,  force, 
and  elevation  of  sentiment,  this  hymn  may  challenge 
comparison  with  any  hymn  that  was  ever  written  in  any 
language  or  country.' 

89.  As  pants  the  hart  for  cooling  streams, 

When  heated  in  the  chase. 

This  is  a  beautiful  rendering  of  the  1426.  Psalm, 
taken  from  the  New  Version  by  Tate  and  Brady.  It 
appeared  in  1696,  and  is  therefore  about  two  centuries 
old.  The  hymn  is  deservedly  a  favourite,  and  its 
popularity  has  been  increased  by  means  of  the  music 
of  Spohr's  glorious  anthem. 

90.  Come,  gracious  Spirit,  Heavenly  Dove, 
With  light  and  comfort  from  above  ; 

Be  Thou  our  Guardian,  Thou  our  Guide, 
O'er  every  thought  and  step  preside. 

Simon  Browne,  author  of  the  above,  was  born  at 
Shepton  Mallet,  Somerset,  in  1680,  and  was  thus  a  con 
temporary  of  Dr.  Watts.  In  1716  he  became  pastor  of 
the  Independent  Chapel  in  Old  Jewry,  London.  During 
the  last  years  of  his  life  he  suffered  from  a  peculiar 
species  of  aberration,  and  died  in  1732.  His  hymns 


Account  of  First  Rank  Hymns.         1 73 

were  published  in  a  small  volume  entitled  Hymns  and 
Spiritual  Songs,  in  three  books,  designed  as  a  supple 
ment  to  Dr.  Watts'.  The  Preface  is  interesting  in  the 
history  of  hymnology,  as  it  gives  an  account  of  the 
earlier  hymn-writers.  The  above  is  the  best  known  in 
the  collection.  It  was  written  about  1720,  and  is 
headed,  '  The  soul  giving  itself  up  to  the  conduct  and 
influence  of  the  Holy  Ghost.'  The  original,  which 
has  been  much  altered,  began — 

Come,  Holy  Spirit,  Heavenly  Dove, 
My  sinful  maladies  remove. 

The  hymn  must  be  distinguished  from  one  by  Dr. 
Watts  beginning — 

Come,  Holy  Spirit,  Heavenly  Dove, 
With  all  Thy  quickening  powers. 

91.  For  Thy  mercy  and  Thy  grace, 
Faithful  through  another  year, 
Hear  our  song  of  thankfulness  ; 
Father,  and  Redeemer,  hear. 

The  Rev.  Henry  Downton,  author  of  this  hymn, 
graduated  at  Cambridge  in  1840,  and  was  ordained  in 
1843.  For  many  years  he  was  incumbent  of  St.  John's, 
Chatham,  and  subsequently  British  Chaplain  at  Geneva. 
He  is  now  Rector  of  Hopton,  Suffolk.  The  above 
beautiful  hymn  for  New  Year's  Eve  first  appeared  in 
1843  in  the  Church  of  England  Magazine.  It  originally 
consisted  of  seven  stanzas,  but  many  of  these  have  been 
considerably  altered. 


1 74       Account  of  First  Rank  Hymns. 

92.  Lead  us,  Heavenly  Father,  lead  us 
O'er  the  world's  tempestuous  sea  ; 

Guide  us,  guard  us,  keep  us,  feed  us, 
For  we  have  no  help  but  Thee  : 

Yet  possessing  every  blessing, 
If  our  God  our  Father  be. 

James  Edmeston,  author  of  this  hymn,  was  born  in 
1791.  He  was  educated  at  Hackney,  where  his  parents 
lived.  His  grandfather  by  the  mother's  side  was  the 
Rev.  Samuel  Brewer,  for  fifty  years  an  Independent 
minister  in  Stepney :  and  the  young  poet  was  brought 
up  an  Independent.  He  afterwards  joined  the  Church 
of  England,  and  in  a  letter  dated  1866,  shortly  before 
his  death,  he  writes,  '  From  early  years  I  had  a  strong 
leaning  towards  the  Church  of  England,  the  service  of 
which  I  always  found  more  congenial  to  my  own  feelings.' 

He  wrote  a  very  great  number  of  hymns,  and  thus 
largely  contributed  to  our  modern  hymnology.  He 
died  in  1867,  in  the  seventy-sixth  year  of  his  age.  The 
above  favourite  hymn  appeared  in  his  Sacred  Lyrics  in 
1821.  Another  well-known  hymn  of  Edmeston's  is — 

Saviour,  breathe  an  evening  blessing, 
Ere  repose  our  spirits  seal. 

93.  Lord,  as  to  Thy  dear  Cross  we  flee, 

And  plead  to  be  forgiven, 
So  let  Thy  life  our  pattern  be, 

And  form  our  souls  for  heaven. 
John  Hampden  Gurney,  author  of  the  above,  was  the 


Account  of  First  Rank  Hymns.        1 75 

son  of  John  Gurney,  a  Baron  of  the  Exchequer,  and 
was  born  in  London  in  1802.  After  graduating  at 
Cambridge,  he  took  holy  orders  in  1827.  For  seven 
teen  years  he  was  Curate  of  Lutterworth,  and  in  1847 
he  was  appointed  Rector  of  St.  Mary's,  Marylebone,  an 
appointment  he  held  till  his  death  in  1862. 

In  1850  he  compiled,  together  with  Thomas  Gamier 
and  Charles  Baring,  late  Bishop  of  Durham,  a  collection 
of  hymns  for  use  in  some  of  the  Marylebone  churches 
The  above  hymn,  on  the  imitation  of  Christ,  bears  date 
1838,  and  appeared  in  the  Marylebone  collection  in 
1851. 

94.  Lord,  in  this  Thy  mercy's  day, 
Ere  it  pass  for  aye  away, 
On  our  knees  we  fall  and  pray. 

This  striking  penitential  hymn  is  the  composition  of 
the  Rev.  Isaac  Williams,  B.D.,  born  in  1802.  He 
graduated  at  Oxford,  and  became  a  Fellow  of  Trinity 
College,  and  subsequently  Rector  of  Bisley,  Gloucester 
shire.  With  Keble  and  Newman  he  contributed  several 
sacred  odes  to  the  Lyra  Apostolica,  and  wrote  several 
of  the  Tracts  for  the  Times. 

In  1839  appeared  his  Hymns  translated  from  the 
Parisian  Breviary,  a  collection  from  which  many 
beautiful  hymns  have  found  their  way  into  our  modern 
Hymnals.  Among  them  are  the  following : — 

O  Heavenly  Jerusalem,  Coelestis,  O  Jerusalem. 

Of  everlasting  halls. 

Great  mover  of  all  hearts,  whose  hand.      Supreme  motor  cordium. 


176       Account  of  First  Rank  Hymns. 

The  original  found  in  the  Paris  Breviary  is  by  Charles 
Coffin. 
Lo  !  from  the  desert  homes.      Nunc  suis  tandem  novus  e  latebris. 

The  original  Latin  is  also  by  Charles  Coffin. 

'  Morn  of  morns,  and  day  of  days/  founded  on  a 
Latin  hymn  in  the  Paris  Breviary. 

In  1842  Mr.  Williams  published  The  Baptistery,  or 
the  Way  of  Eternal  Life,  in  Verse,  a  long  poem,  con 
sisting  of  105  stanzas,  and  among  them  the  plaintive 
hymn,  'Lord,  in  this  Thy  mercy's  day.' 

95.  O  God,  unseen  yet  ever  near, 
Thy  Presence  may  we  feel  ; 
And,  thus  inspired  with  holy  fear, 
Before  Thy  footstool  kneel. 

Edward  Osier,  author  of  this  favourite  Communion 
hymn,  was  born  at  Falmouth  in  1798.  His  parents 
were  dissenters,  but  soon  he  became  devotedly  attached 
to  the  Church  of  England.  He  possessed  considerable 
talent,  and  so  retentive  was  his  memory  that  he  could 
repeat  the  whole  of  the  New  Testament  in  the  original 
Greek.  Osier  entered  the  medical  profession,  but  much 
of  his  time  was  devoted  to  literary  and  religious  pur 
suits.  He  died  at  Truro  in  1863,  much  beloved  by  a 
wide  circle  of  friends. 

The  above  hymn  was  written  in  1837,  and  first 
appeared  in  a  monthly  magazine  called  Church  and 
King,  a  work  to  which  Osier  contributed  about  seventy 
original  psalms  and  hymns. 


Account  of  First  Rank  Hymns.        1 7  7 
96.  That  day  of  wrath,  that  dreadful  day. 

Dies  irae,  dies  ilia. 

All  the  great  mediaeval  hymn-writers,  with  one  excep 
tion,  were  cowled  monks,  and  their  sacred  songs  were 
composed  within  the  convent  walls.  Their  hymns  on 
the  Celestial  Country  will  gladden  the  Christian  Church 
as  long  as  the  sun  and  moon  endureth ;  but  the  lives  of 
the  cloistered  writers  are  for  the  most  part  hidden  from 
our  knowledge,  inasmuch  as  they  pursued  the  noiseless 
tenor  of  their  ways  in  the  cells  of  tranquil  monasteries. 
We  have  already  noticed  that  the  first  half  of  the  twelfth 
century — the  era  of  the  Crusades — was  the  great  har 
vest  season  of  mediaeval  hymns.  Sweet  singers  preceded 
and  sweet  singers  followed  this  period  ;  but  their  songs 
were  only  the  first-fruits  and  after-gleanings  of  the 
great  harvest  of  sacred  song.  Hildebert,  Archbishop 
of  Tours  ;  Bernard,  monk  of  Cluny  ;  St.  Bernard,  Abbot 
of  Clairvaux ;  Adam  of  St.  Victor,  a  member  of  the 
renowned  religious  house  of  St.  Victor  of  Paris ;  and 
Peter  the  Venerable,  the  gentle  Abbot  of  Cluny,  united 
to  chant  the  grand  chorus,  and  filled  the  Church  with 
songs  of  gladness  throughout  the  twelfth  century. 
After  this  chorus  comes  a  subdued  silence;  but  scarcely 
had  the  echoes  of  the  loud  burst  of  song  died  away, 
until  they  blend  and  are  lost  in  the  rising  tones  of  the 
magnificent  mediaeval  chant,  the  *  Dies  Irae.' 

Thomas  of  Celano,  called  by  his  countrymen  Tommaso 
da  Celano,  is  named  from  his  birthplace,  Celano,  a  small 
town  near  Lake  Fucino,in  the  further  Abruzzi,  a  province 

M 


1 78       Account  of  First  Rank  Hymns. 

in  the  northern  part  of  the  kingdom  of  Naples.  Thomas 
was  the  scholar  and  intimate  friend  of  St.  Francis  of 
Assisi,  the  founder  of  the  Franciscan  Order  of  monks,  and 
was  one  of  the  eleven  disciples  who  formed  the  nucleus 
of  that  religious  body  in  1208  A.D.  The  members 
of  the  order  were  named  Fratres  Minores,  'Lesser 
Brethren,'  to  remind  them  that  humility  was  their  car 
dinal  virtue.  In  England  they  were  called  Minorites 
and  Grey  Friars,  from  the  grey  colour  of  their  habit.  The 
Order  spread  rapidly,  and  it  is  said  that  within  fifty 
years  the  members  numbered  200,000,  and  possessed 
at  least  a  thousand  monasteries.  St.  Francis  himself 
died  in  1226  A.D.,  and  the  splendid  memorial  church 
erected  on  the  site  of  the  chapel  where  he  worshipped 
at  Assisi  is  considered  to  be  one  of  the  very  finest 
specimens  of  Gothic  architecture  of  the  Middle  Ages. 

Thomas  of  Celano  enjoyed  the  implicit  confidence 
of  his  master,  and  was  therefore  appointed  custos  or 
guardian  of  those  branches  of  the  Order  in  the  Rhenish 
provinces.  On  the  death  of  the  saint,  Thomas  returned 
to  Rome,  and  by  command  of  Pope  Gregory  wrote  an 
account  of  his  master's  life,  a  biography  which  is  still 
regarded  as  the  most  authentic  record  of  the  times  and 
labours  of  St.  Francis.  It  is,  however,  as  a  hymn- 
writer,  and  especially  as  the  author  of  that  sublime  and 
awful  judgment  hymn,  the  '  Dies  Irae,'  that  the  name 
of  Thomas  of  Celano  is  of  world-wide  renown.  This 
precious  hymn  lay  neglected  for  above  half  a  century, 
and  any  writer  might  then  have  appropriated  it  as  his 
own.  Even  at  the  present  day  its  authorship  is  some- 


Account  of  First  Rank  Hymns.        i  79 

times  ascribed  to  Gregory  the  Great,  but  without  any 
good  authority.  The  Latin  rhythm  is  much  superior  to 
that  of  such  an  early  age ;  and  as  Gregory  flourished 
about  600  A.D,,  it  is  highly  improbable  that  any  hymn 
of  his  would  lie  neglected  for  about  seven  hundred 
years.  It  has  also  been  ascribed  to  St.  Bernard  of 
Clairvaux,  but  those  who  are  acquainted  with  the  sub 
jective  loveliness  of  this  hymnist  will  readily  perceive 
that  the  'Dies  Irae'  is  too  austere  in  tone,  and  too 
masculine  in  character,  to  be  the  work  of  the  tender 
hearted  Abbot  of  Clairvaux.  Moreover,  so  high  was 
the  reputation  of  the  saint,  both  in  life  and  after  death, 
that  no  composition  of  his  would  remain  unnoticed  for 
a  hundred  years.  Other  names  have  been  claimed  as 
authors,  but  on  so  slight  authority  that  their  claims  are 
scarcely  worthy  of  investigation.  In  former  ages  a 
bitter  rivalry  existed  between  the  two  religious  Orders, 
the  Dominicans  and  Franciscans,  and  it  is  well  known 
that  members  of  the  former  have  actually  stigmatised 
the  noble  hymn  as  a  '  rhythmus  inconditus,'  *  an  uncouth 
poem.'  This  fact  alone  is  a  strong  presumption  that 
the  '  Dies  Irae '  was  the  work  of  a  Franciscan.  The 
question  of  authorship  has  been  thoroughly  investigated 
of  late  years  by  Mohnike,  and  the  results  are  stated  in 
Daniel's  Thesaurus  Hymnologicus.  The  evidence  is 
overwhelming  in  favour  of  Thomas  of  Celano,  so  that  it 
may  be  regarded  as  a  moral  certainty  that  he  is  the 
author  of  this,  the  greatest  and  noblest  of  Latin  hymns. 
Of  all  hymns  of  the  Western  Church  the  *  Dies  Irae ' 
has  obtained  the  widest  fame,  and  not  only  has  this 


i  So       Account  of  First  Rank  Hymns. 

unapproachable  Sequence  distanced  other  hymns,  but  its 
popularity  has  increased  from  generation  to  generation. 
Several  causes  have  contributed  to  this.  First,  the 
Latin  is  happily  written  in  triple  rhyme,  or  triplets,  and 
the  three  verses  of  each  stanza  have  fitly  been  compared 
to  three  successive  blows  of  a  hammer  upon  an  anvil. 
Secondly,  the  theme  is  expressed  with  such  sublimity 
and  unadorned  simplicity  that  it  can  readily  be  under 
stood  by  both  the  young  and  the  aged.  Thirdly,  the 
subject-matter  is  of  individual  interest  to  every  member 
of  the  human  race.  '  It  is  appointed  unto  men  once  to 
die,  and  after  that  the  judgment.'  As  all  must  appear 
at  the  tribunal  of  final  doom,  so  each  soul  feels  a 
personal  concern  in  the  awful  picture  here  drawn  of  the 
scene  of  the  Last  Judgment.  These  merits  and  many 
others  have  conspired  to  form  a  unanimous  verdict  that 
the  '  Dies  Irae  '  is  the  great  mediaeval  masterpiece  of 
sacred  song.  Its  influence  upon  European  literature  has 
been  greater  than  that  of  any  other  hymn,  and  it  has 
been  translated  into  all  the  languages  of  civilised  coun 
tries.  It  was  introduced  into  the  Liturgy  of  the  Roman 
Church  in  the  fourteenth  century,  previous  to  the  year 
1385  A.D.,  and  it  has  ever  since  formed  a  solemn 
requiem  or  mass  for  the  souls  of  the  departed.  It  is 
known  to  be  one  of  the  highest  and  most  difficult  tasks 
of  musicians  to  compose  music  worthy  of  the  awful 
solemnity  of  the  '  Dies  Irae,'  and  yet  this  task  has  been 
successfully  accomplished  by  Cherubini,  Mozart,  Pales- 
trina,  and  other  musical  celebrities. 

The  grandeur  of  the  Latin  original  has  induced  many 


Account  of  First  Rank  Hymns.        1 8 1 

English  hymnists  to  render  it  into  our  own  language. 
Jeremy  Taylor,  in  a  letter  to  his  friend  John  Evelyn, 
writes  :  '  I  was  thinking  to  have  begged  of  you  a 
translation  of  that  well-known  hymn,  "  Dies  irae,  dies 
ilia,"  which,  if  it  were  a  little  changed,  would  make  an 
excellent  divine  song.'  It  does  not  appear  that  Evelyn 
complied  with  his  friend's  request.  We  have,  however, 
several  English  renderings  at  an  early  period.  One  of 
the  first  now  extant  is  that  of  Sylvester,  a  hymnist  of 
the  reign  of  James  L,  published  in  1621.  About  thirty 
years  after  we  find  a  very  good  translation  by  Richard 
Crashaw,  son  of  an  eminent  London  divine,  and  a 
hymnist  of  Charles  the  First's  reign.  This  translation 
of  the  *  Dies  Irae '  is  pronounced  by  Pope  to  be  the 
best  of  Crashaw's  compositions.  The  first  stanza  runs 

thus  :— 

Hear'st  thou,  my  soul,  what  serious  things 
Both  the  Psalm  and  Sibyl  sings, 
Of  a  sure  Judge,  from  whose  sharp  ray 
The  world  in  flames  shall  fly  away  ? 

The  above  appeared  in  1648  in  Crashaw's  Steps  to 
the  Temple. 

Another  English  rendering  that  ought  to  be  noticed 
is  that  by  Wentworth  Dillon,  Earl  of  Roscommon,  a 
hymnist  of  the  reign  of  Charles  n.  Although  living  in 
a  corrupt  age  his  writings  are  singularly  pure ;  so  that 
Pope  says  of  him — 

In  all  Charles's  days, 
Roscommon  only  boasts  unspotted  lays. 

Some  stanzas  from  his  translation  are  still  to  be  found 
in  our  modern  Hymnals,  to  wit : — 


1 82       Account  of  First  Rank  Hymns. 

The  last  loud  trumpet's  wondrous  sound 
Shall  wake  the  nations  under  ground  ; 
Where  then,  my  God,  shall  I  be  found, 
When  all  shall  stand  before  Thy  throne ; 
When  Thou  shalt  make  their  sentence  known  ; 
And  all  Thy  righteous  judgment  own  ? 

Dr.  Johnson,  in  his  Life  of  Roscommon,  says  :  'At  the 
moment  in  which  he  expired  he  uttered,  with  an  energy 
of  voice  that  expressed  the  most  fervent  devotion,  two 
lines  of  his  own  version  of  u  Dies  Irae" ' — 

My  God,  my  Father,  and  my  Friend, 
Do  not  forsake  me  in  my  end.' 

The  poet  died  in  1684,  and  was  buried  with  great 
pomp  in  Westminster  Abbey. 

Dr.  Johnson,  his  biographer,  always  wept  when  he 
attempted  to  repeat  the  old  hymn  of  Thomas  of 
Celano. 

About  the  middle  of  last  century  appeared  a  hymn 
founded  on  the  '  Dies  Irae,'  commencing,  '  Lo  !  He 
cometh,  countless  trumpets.'  This  hymn  was  by  a 
Moravian  minister  named  John  Cennick.  In  1758, 
eight  years  after  its  publication,  Charles  Wesley  pub 
lished  a  cento  founded  on  Cennick's  hymn.  This  is 
now  the  popular  hymn  beginning  with  Wesley's  stanza, 
'  Lo  !  He  comes  with  clouds  descending.'  The  third 
and  fourth  stanzas,  commencing  respectively,  'Every 
island,  sea,  and  mountain/  and  '  Now  redemption,  long 
expected,'  are  from  Cennick's  hymn.  In  1805,  em 
bodied  in  The  Lay  of  the  Last  Minstrel,  appeared  a 
translation  of  a  few  stanzas  of  the  '  Dies  Irae/  It  is 
happily  introduced  as  sung  in  Melrose  Abbey  by  the 


Account  of  First  Rank  Hymns.        183 

holy  fathers  as  a  solemn  requiem  or  hymn  for  the 
dead.  The  stanzas  are  a  free  translation  of  the  original 
Latin,  but  they  are  generally  considered  to  possess 
more  of  the  spirit  and  tone  of  an  English  hymn  than 
the  more  literal  translations  of  the  same.  It  is  well 
known  that  Sir  Walter  was  very  fond  of  the  '  Dies  Irae/ 
and  speaking  of  it  on  one  occasion  he  said,  '  To  my 
Gothic  ear  this  old  hymn  is  more  solemn  and  affecting 
than  fine  classical  poetry ;  it  has  the  gloomy  dignity  of 
the  Gothic  Church.' 

*  The  awful  burthen  of  the  song/ 

Dies  irae,  dies  ilia 
Solvet  saeclum  in  favilla, 

represented  as  sung  by  the  monks  of  Melrose  Abbey  in 
their  solemn  requiem  for  the  dead,  is — 

That  day  of  wrath,  that  dreadful  day, 
When  heaven  and  earth  shall  pass  away, 
What  power  shall  be  the  sinner's  stay  ? 
How  shall  he  meet  that  dreadful  day  ? 

When,  shrivelling  like  a  parched  scroll, 
The  flaming  heavens  together  roll ; 
When  louder  yet,  and  yet  more  dread, 
Swells  the  high  trump  that  wakes  the  dead  ; 

O  !  on  that  day,  that  dreadful  day, 
When  man  to  judgment  wakes  from  clay, 
Be  Thou  the  trembling  sinner's  stay, 
Though  heaven  and  earth  shall  pass  away. 

Throughout  life  this  hymn  was  an  especial  favourite 
with  the  illustrious  novelist,  and  his  biographer  relates 
a  most  affecting  incident  of  his  last  days,  how  that  in 
his  last  moments  he  frequently  repeated  portions  of 
the  '  Dies  Irae  : ' — 


184       Account  of  First  Rank  Hymns. 

'  He  seemed  to  suffer  no  bodily  pain,  and  his  mind, 
though  hopelessly  obscured,  appeared,  when  there  was 
any  symptom  of  consciousness,  to  be  dwelling,  with 
rare  exceptions,  on  serious  and  solemn  things.  .  .  . 
Whatever  we  could  follow  him  in  was  a  fragment  of  the 
Bible,  especially  the  prophecies  of  Isaiah  and  the  Book 
of  Job,  or  some  petition  in  the  Litany,  or  a  verse  of 
some  Psalm  in  the  old  Scotch  metrical  version,  or  of 
some  of  the  magnificent  hymns  of  the  Romish  ritual, 
in  which  he  had  always  delighted,  but  which  probably 
hung  on  his  memory  now  in  connection  with  the 
church  services  which  he  had  attended  while  in  Italy. 
We  very  often  heard  distinctly  the  cadence  of  the 
"  Dies  Irae." ' 

Of  all  the  translations  of  the  '  Dies  Irae '  the  most 
effective  English  rendering  is  that  of  the  Rev.  William 
Josiah  Irons,  D.D.,  published  in  1848.  The  translator 
was  the  son  of  an  eminent  dissenting  minister,  and  rose 
to  be  Vicar  of  Brompton,  and  a  Prebendary  of  St.  Paul's, 
London.  His  version  is  now  regarded  as  the  accepted 
rendering  for  church  use  of  the  grandest  mediaeval 
hymn,  and  justly  so,  for  his  version  embodies  all  those 
features  that  constitute  a  perfect  translation.  The 
original  Latin  consists  of  seventeen  triplets  and  two 
couplets,  making  in  all  fifty-five  lines,  and  Dr.  Irons 
has  preserved  this  form  of  rhythm,  and  rendered  the 
poem  in  nineteen  triplets,  or  fifty-seven  lines.  As  our 
remarks  are  rather  suggestive  than  exhaustive,  it  would 
be  beyond  the  province  of  this  brief  notice  to  criticise 
the  whole  poem  ;  but  since  the  first  triplet  suggests 


Account  of  First  Rank  Hymns.        185 

many  interesting  questions,  it  seems  desirable  to  make 
a  few  remarks  on  the  opening  stanza — 

Dies  irae,  dies  ilia  Day  of  wrath  !  O  day  of  mourning  ! 

Sol  vet  saeclum  in  fa  villa,         See  fulfilled  the  prophets'  warning ! 
Teste  David  cum  Sibylla.        Heaven  and  earth  in  ashes  burning. 

It  has  been  truly  observed  that  the  opening  words, 
1  Dies  irae,'  *  Day  of  wrath  !'  strike  the  key-note  to  the 
whole  poem.  This  expression  is  borrowed  from  the 
Vulgate  version  of  Zephaniah  i.  15,  and  many  thoughts 
in  the  poem  are  suggested  by  that  passage  :  '  That  day 
is  a  day  of  wrath,  a  day  of  trouble  and  distress,  a  day  of 
wasteness  and  desolation,  a  day  of  darkness  and  gloomi 
ness,  a  day  of  clouds  and  thick  darkness.'  In  mediaeval 
sacred  verse  it  was  usual  to  speak  of  the  Day  of 
Judgment  as  the  '  Dies  irae,'  or  '  Day  of  wrath.' 

The  third  line,  <  Teste  David  cum  Sibylla,'  literally, 
'  David  being  a  witness,  together  with  the  Sibyl,'  that 
is,  to  the  reality  of  the  Day  of  Judgment,  has  been 
objected  to.  It  has  been  urged  that  a  Sibyl,  who  in 
Pagan  mythology  was  accounted  a  prophetess,  but  who 
in  fact  was  little  better  than  a  fortune-teller,  ought  not 
to  be  called  upon  as  a  witness  to  Christian  truth,  and 
spoken  of  in  terms  of  equality  with  David,  the  Psalmist 
of  Israel.  It  ought,  however,  to  be  remembered  that 
in  the  Middle  Ages  the  Sibylline  verses  were  regarded 
as  second  only  to  the  Holy  Scriptures  in  prophetic 
authority,  and  therefore  the  fact  that  the  coming 
judgment  was  attested  by  the  Sibyl  would  exercise 
considerable  influence  with  those  who  regarded  the 
Sibylline  verses  as  inspired.  Consequent,  however, 


1 86       Accoiint  of  First  Rank  Hymns. 

upon  this  objection,  we  find  that  in  the  Paris  Breviary 
and  elsewhere  the  line  is  omitted,  and  in  its  stead  are 
inserted,  '  Crucis  expandens  vexilla,'  '  Unfurling  the 
banners  of  the  Cross/  in  accordance  with  a  prevailing 
expectation  that  a  banner  with  an  inscribed  Cross 
would  appear  in  the  sky  on  the  Day  of  Judgment. 
This  expectation  was  founded  upon  St.  Matthew  xxiv. 
30,  '  Then  shall  appear  the  sign  of  the  Son  of  Man  in 
heaven.' 

Sometimes  we  find  the  reading  '  Teste  Petro,'  instead 
of  « Teste  David,'  probably  from  the  fact  that  St.  Peter 
bears  special  witness  to  the  final  conflagration,  saying, 
'  The  heavens  shall  pass  away  with  a  great  noise,  and 
the  elements  shall  melt  with  fervent  heat.' 

Although  it  has  been  said  that  the  *  Dies  Irae '  is  too 
austere,  and  too  full  of  awful  solemnity,  there  is  yet, 
in  the  tenth  stanza,  a  most  touching  allusion  to  the 
Saviour's  wondrous  tenderness — 

Quaerens  me  sedisti  lassus,    Faint  and  weary  Thou  hast  sought  me, 
Redemisti  crucem  passus,      On  the  cross  of  suffering  bought  me  ; 
Tantus  labor  non  sit  cassus.    Shall  such  grace  be  vainly  brought  me? 

This  stanza  seems  to  be  founded  on  St.  John  iv.  6  : 
'Now  Jacob's  well  was  there.  Jesus  therefore,  being 
wearied  with  His  journey,  sat  thus  on  the  well.'  How 
affecting  it  is  to  think  of  the  Saviour,  weary  and  tired 
with  the  labour  of  a  toilsome  journey,  urging  upon  an 
abandoned  Samaritan  woman  the  need  of  drinking  that 
living  water  springing  up  into  everlasting  life  ! 

Of  more  recent  English  translations  the  best  known 


Accormt  of  First  Rank  Hymns.       187 

are  the  following  :  Dean  Alford's  version,  beginning 
'  Day  of  anger,  that  dread  day  ;  '  Isaac  Williams's  ver 
sion,  beginning  *  Day  of  wrath,  that  awful  day  ;  '  Arch 
bishop  Trench's  version,  beginning  '  O  that  day,  that 
day  of  ire.' 

The  translations  in  the  German  are  even  more 
numerous  than  those  in  English.  In  a  volume  by 
Lisco,  published  in  1843,  appear  fifty-five  versions  in 
German  ;  and  since  translations  have  been  made  in  all 
languages  of  civilised  nations,  it  may  with  truth  be 
asserted  that  throughout  the  whole  range  of  hymnology 
no  single  hymn  has  exercised  so  great  an  influence  on 
the  literature  of  the  world  as  the  great  masterpiece  of 
the  Middle  Ages,  the  '  Dies  Irae  '  of  Thomas  of 
Celano. 

97.  The  day  is  past  and  over, 

All  thanks,  O  Lord,  to  Thee  ; 
I  pray  Thee  that  offenceless 
The  hours  of  dark  may  be. 


This  is  a  translation  by  Dr.  Neale  of  a  beautiful  Greek 
hymn,  supposed  to  have  been  written  by  St.  Anatolius 
about  the  middle  of  the  fifth  century.  Anatolius  was 
raised  to  be  Patriarch  of  Constantinople  in  450  A.D., 
and  after  governing  the  Eastern  Church  for  eight  years 
with  firmness  and  wisdom,  he  departed  to  his  rest  in 
458  A.D.  The  Monophysite  controversy  continued  to 
rage  during  his  Patriarchate,  and  the  East  was  torn  with 


1 88       Account  of  First  Rank  Hymns. 

discord  and  persecution,  but  the  personal  influence  of 
Anatolius  tended  to  advance  piety  and  peace.  His 
hymns  are  full  of  life  and  beauty,  and  it  is  matter  of 
deep  regret  that  they  are  not  more  numerous.  Before 
his  time  Christian  poets  imitated  the  style  of  classical 
writers,  but  Anatolius,  with  great  success,  struck  out  a 
new  path  of  harmonious  prose,  so  that  his  sacred  songs 
mark  a  new  era  in  the  Greek  hymnology. 

The  original  of  the  above  Greek  evening  hymn  is 
still  sung  throughout  the  Isles  of  Greece.  Dr.  Neale's 
account  is  full  of  interest :  *  This  little  hymn,  which  I 
believe  is  not  used  in  the  public  service  of  the  Church, 
is  a  great  favourite  in  the  Greek  Isles.  Its  peculiar 
style  and  evident  antiquity  may  well  lead  to  the  belief 
that  ft  is  the  work  of  our  present  author.  It  is 
to  the  scattered  hamlets  of  Chios  and  Mitylene 
what  Bishop  Ken's  evening  hymn  is  to  the  villages  of 
our  own  land,  and  its  melody  singularly  plaintive  and 
soothing.'  The  first  epoch  of  Greek  hymnology  con 
tinued  for  about  three  centuries  after  the  time  of 
Anatolius,  but  although  there  were  several  writers  of 
pretty  hymns  during  this  period,  yet  our  present  Church 
song  is  not  much  indebted  to  their  compositions. 


98.  The  roseate  hues  of  early  dawn, 
The  brightness  of  the  day. 

Cecil  Frances  Alexander,  the  accomplished  authoress 
of  the  above,  is  an  Irish  lady,  daughter  of  Major 
Humphreys.  In  1848  she  published  Hymns  for  Little 


Accoimt  of  First  Rank  Hymns.        189 

Children,  a  collection  which  contains  many  beautiful 
hymns  for  young  people.  Among  them  are  the  well- 
known  sacred  songs,  *  There  is  a  green  hill  far  away,' 
and  'Once  in  royal  David's  city.'  In  1850  she  was 
married  to  the  Rev.  William  Alexander,  M.A.,  now 
Bishop  of  Derry. 

Other  well-known  hymns  by  Mrs.  Alexander  are — 

We  are  but  little  children  weak,'  published  in  1850. 
Jesus  calls  us ;  o'er  the  tumult,'  ,,         1853. 

When  wounded  sore,  the  stricken  deer,'  ,,         1858. 
When  Christ  came  down  on  earth  of  old.' 
He  is  risen  !  He  is  risen  ! ' 

The  above  hymn  first  appeared  in  1853  in  Psalms 
and  Hymns  for  Public  Worship,  issued  by  the  S.P.C.K. 
The  original  was,  however,  re-cast,  and  appeared  as  an 
evening  hymn  in  1858.  The  first  four  lines  were — 

The  crimson  of  the  sunset  sky, 

The  last  gold  lines  of  day, 
Along  the  mountains'  rosy  verge, 

How  fast  they  fade  away  ! 

In  its  present  form  the  hymn  was  published  in  1859, 
in  her  Legend  of  the  Golden  Prayer. 


99.  When  all  Thy  mercies,  O  my  God, 

My  rising  soul  surveys. 

This  hymn,  by  Addison,  was  originally  appended  to 
one  of  his  essays  on  '  Praise  to  God '  in  the  Spectator 
of  August  1712.  The  hymn  is  called  'An  Act  of 
Thanksgiving.' 

'  How  gracefully  this  hymn  embodies  the  thoughts  of 
a  thankful  soul,  and  with  what  musical  ease  it  gives 


i  go      Account  of  First  Rank  Hymns. 

expression  to  the  feelings  of  one  who  has  reached  the 
point  of  happy  retrospect  in  mature  life  !  The  hymnist 
appears  to  sing  under  the  influence  of  the  inspired 
verse,  "  Surely  goodness  and  mercy  follow  me  all  the 
days  of  my  life,  and  my  dwelling  shall  be  in  the  house 
of  the  Lord  for  ever."  Addison  is  not  excelled  even  by 
the  saintly  Doddridge.' 

Joseph  Addison,  the  master  of  English  prose,  was 
born  in  Wiltshire  in  1672.  His  father  rose  from  humble 
circumstances  to  be  Dean  of  Lichfield.  Addison  studied 
at  Salisbury,  and  became  a  graduate  of  Oxford,  where 
he  lived  for  ten  years.  There  is  still  pointed  out  '  his 
favourite  walk  under  the  elms  which  fringe  the  meadow 
on  the  banks  of  the  Cherwell.' 

The  elegance  of  his  Latin  verse  while  an  under 
graduate  attracted  attention,  and  gained  him  honour. 
While  still  a  young  man  he  wrote  a  laudatory  poem 
on  the  campaign  of  King  William  HI.  This,  to 
gether  with  a  Latin  poem  on  the  Treaty  of  Ryswick, 
secured  for  him  a  public  pension  of  ^300  a  year. 
With  this  annuity  he  was  enabled  to  gratify  his 
travelling  desires,  and  accordingly  in  1700  he  started 
on  a  prolonged  Continental  tour.  After  some  stay  in 
Paris  he  embarked  at  Marseilles,  and  while  sailing  along 
the  coast  of  Italy  encountered  a  great  storm,  somewhat 
common  in  this  part  of  the  Mediterranean.  'The 
captain  of  the  ship  gave  up  all  for  lost,  and  confessed 
himself  to  a  Capuchin  who  happened  to  be  on  board. 
The  English  heretic,  in  the  meantime,  fortified  himself 
against  the  perils  of  death  with  devotions  of  a  different 


Account  of  First  Rank  Hymns.        1 9 1 

kind.'  To  this  storm  we  are  indebted,  probably,  for  a 
beautiful  hymn  called  the  c  Traveller's  Plymn,'  and 
published  in  the  Spectator  in  1712 — 

How  are  Thy  servants  blest,  O  Lord, 
How  sure  is  their  defence  ! 

The  hymn  is  deservedly  a  favourite  with  travellers  in 
foreign  lands,  and  with  those  in  peril  on  the  ocean. 

On  his  return  to  England  he  celebrated  the  victory 
of  Blenheim  in  1704  in  a  poem  called  '  The  Campaign,' 
in  which  the  Duke  of  Maryborough,  leading  the  battle, 
is  compared  to  an  angel  directing  a  storm.  This  and 
other  poems  raised  Addison  very  high  in  the  esti 
mation  of  the  nation,  and  he  was  promoted  from  one 
public  office  to  another  until,  in  1717,  he  attained  to 
the  responsible  situation  of  Secretary  of  State.  In 
1716  he  married  the  Countess  Dowager  of  Warwick, 
but  unfortunately  the  union  was  an  unhappy  one.  He 
died  in  1719.  On  his  deathbed  he  sent  for  his  stepson, 
the  Earl  of  Warwick,  a  gay  young  man,  hoping  that  his 
dying  counsel  might  be  the  means  of  reforming  the 
young  man's  character.  On  arriving  Lord  Warwick 
said,  '  I  believe  and  hope  you  have  some  commands 
for  me.  I  shall  hold  them  most  sacred.'  Whereupon 
the  dying  poet,  grasping  the  youth's  hand,  said  earnestly, 
'  See  in  what  peace  a  Christian  can  die,'  and  shortly 
after  passed  to  his  rest. 

Addison's  fame  as  a  literary  man  rests,  to  a  great 
extent,  upon  the  accomplished  essays  he  contributed  to 
the  Spectator  from  1711  to  1714.  These  are  exquisite 
devout  papers  of  the  highest  excellence,  written  in  the 


1 92        Accoiint  of  First  Rank  Hymns. 

maturity  of  his  mind,  and  regarded  by  many  literary 
men  as  the  masterpiece  of  English  prose.  To  many  of 
these  essays  was  appended  a  hymn,  and  these  sacred 
songs  have  become  permanent  favourites,  and  found 
their  way  into  many  modern  Hymnals. 

100.  All  glory,  laud,  and  honour, 
•^o  To  Thee,  Redeemer,  King. 

Gloria,  laus,  et  honor. 

This  hymn  is  a  translation  from  the  Latin  stanzas  of 
Theodulph  by  Dr.  J.  M,  Neale,  and  first  appeared  in 
1851.  Theodulph  is  said  to  have  been  of  Gothic 
descent,  and  was  born  in  Italy  in  the  eighth  century. 
He  became  Abbot  of  a  Benedictine  monastery  at 
Florence,  and  afterwards  Bishop  _of-  Orleans.  The 
Bishop  was  imprisoned  for  some  time  at  Metz  on  a 
false  accusation,  and  it  is  said  that  the  above  proces 
sional  hymn  for  Palm  Sunday  was  composed  in  his 
cell.  As  the  Emperor  Lewis  and  his  court  were  passing 
the  prison  on  their  way  to  the  cathedral,  Theodulph, 
seated  at  the  little  dungeon  window,  sang  this  hymn, 
which  arrested  the  Emperor's  attention,  and  caused  the 
good  Bishop  to  be  forthwith  liberated.  He  died  in 
821  A.D.,  just  a  quarter  of  a  century  after  the  death 
of  St.  Stephen  the  Sabaite. 

101.  Art  thou  weary,  art  thou  languid  ? 

K6TTOV  re  /ecu  /cd/xaroj>. 

This  touching  hymn  is  a  translation  from  the  Greek 
of  St.-  Stephen  the  Sabaite,  an  Eastern  monk  of  the 


Account  of  First  Rank  Hymns.       193 

eighth  century.  The  rendering  was  the  work  of  Dr. 
John  Mason  Neale,  and  first  appeared  in  1862  in  his 
Hymns  oj  the  Eastern  Church.  It  differs  considerably 
from  the  Greek  text,  but  it  does  justice  to  the  sweetness 
and  simplicity  of  the  original  stanzas,  which  are  called 
by  the  translator,  '  Idiomela  in  the  week  of  the  oblique 
tone.'  The  Greek  name  '  Idiomela/  literally  ''peculiar 
strains]  refers  to  the  peculiar  rhythm  of  the  original 
and  the  chanted  strains  appointed  to  be  sung  to  this 
piece  in  the  Eastern  Church  service.  Stephen  was 
born  in  725  A.D.,  and  when  only  ten  years  old  was 
placed  in  the  Greek  monastery  of  Mar  Saba,  situated  in 
the  wildest  part  of  the  wilderness  of  Judaea.  In  this 
solitary  retreat  he  spent  the  whole  of  his  life,  and  after 
being  a  monk  for  about  sixty  years,  died  in  the  monas 
tery  in  his  seventieth  year.  Stephen  is  therefore  called 
the  *  Sabaite,'  a  name  applied  to  every  monk  of  Mar 
Saba.  St.  John  Damascene,  or  St.  John  of  Damascus, 
the  last  of  the  Greek  Fathers,  was  Stephen's  uncle ;  and 
he  was  also  for  many  years  a  monk  of  the  same  place. 
St.  Cosmas  of  Jerusalem,  the  friend  of  St.  John  of 
Damascus,  and  the  most  learned  of  the  Greek  poets,  was 
also  a  Sabaite.  Those  three  monks  were  contemporaries, 
and  were  all  distinguished  as  writers  of  sacred  poetry. 
Stephen  was  the  youngest  of  the  three,  and  his  love  of 
religious  song  was  doubtless  in  some  measure  due  to  the 
influence  of  his  two  elder  brethren  of  the  monastery.  Of 
his  sacred  poems,  one  of  the  best  is  that  on  '  The 
Martyrs  of  Mar  Saba,'  which  gives  an  account  of  the 
monks  slain  while  defending  their  monastery  against 

N 


1 94       Account  of  First  Rank  Hymns. 

the  attacks  of  lawless  marauders.  Eleven  centuries  ago 
Stephen  sang  his  sweet  hymns  amid  the  sterile  wastes  of 
Judaea,  so  that  of  his  sacred  songs  it  is  literally  true 
that  'the  wilderness  and  the  solitary  place  shall  be 
glad  for  them.' 

The  well-known  tune  to  which  the  above  hymn  is 
usually  sung  was  written  by  Rev.  Sir  Henry  Baker,  Bart., 
and  named  '  Stephanos,'  after  the  Syrian  monk. 

We  visited  Mar  Saba  a  short  time  ago,  while  making 
a  journey  through  Palestine,  and  found  that  the  monas 
tery  stands  nobly  on  a  lofty  cliff  overhanging  the  valley 
of  the  Kedron,  which  here  forms  a  deep  chasm.  It  was 
founded  in  the  beginning  of  the  sixth  century,  and  this 
secluded  convent  has  therefore  stood  in  the  midst  of 
savage  desolation  for  fourteen  centuries.  Several  times 
in  the  course  of  ages  it  has  been  plundered  and  the  in 
mates  put  to  death  by  Persians,  Moslems,  and  Bedouin 
Arabs  ;  and  therefore  for  the  sake  of  safety  the  monas 
tery  is  surrounded  by  massive  walls,  and  further  guarded 
by  two  strong  towers  near  the  entrance,  which  tend  to 
give  the  edifice  the  appearance  of  a  fortress  in  a  com 
manding  position.  On  being  admitted  inside  the  gate 
we  found  chapels,  chambers,  and  cells  innumerable,  for 
the  most  part  cut  out  of  the  rock,  perched  one  above 
the  other,  and  connected  by  rocky  steps  and  intricate 
passages.  The  huge  building  seems  as  if  it  were  cling 
ing  to  the  face  of  a  steep  precipice,  so  that  it  is  difficult 
to  distinguish  man's  masonry  from  the  natural  rock. 
Many  of  the  monks  of  this  tranquil  convent  are  well- 
known  historical  persons.  St.  Sabas,  the  founder,  died 


Account  of  First  Rank  Hymns.       195 

and  was  buried  here  in  532.  The  three  sacred  poets 
above  mentioned  were  monks  of  Mar  Saba  in  the  eighth 
century. 

The  Sabaites  at  present  number  about  forty,  and 
their  rule  is  very  severe,  being  under  a  vow  never  to  eat 
animal  food.  They  have  seven  religious  services  in 
twenty-four  hours — five  by  day  and  two  by  night. 
Although  they  seemed  severe  in  their  habits,  they 
received  us  kindly,  and  we  were  carefully  conducted 
by  a  monk  through  the  whole  monastery.  We  were 
shown  their  gaily-decorated  chapel,  the  tomb  of  St. 
Sabas,  the  tomb  of  John  of  Damascus,  and  a  cave 
chapel  containing  thousands  of  skulls  of  martyred 
monks.  We  were  led  to  the  belfry  on  the  roof  of 
their  little  sanctuary,  and  saw  the  bells  which  send 
forth  their  beautiful  chimes,  and  gladden  the  hearts  of 
pilgrims,  who,  'weary  and  languid,7  pursue  their  journey 
through  the  desolate  wilderness.  The  bells  of  Mar 
Saba  recalled  to  mind  the  soothing  words — 

Far,  far  away,  like  bells  at  evening  pealing, 
The  voice  of  Jesus  sounds  o'er  land  and  sea. 

We  were  then  conducted  to  a  terrace,  from  the  dizzy 
height  of  which  we  looked  down  into  the  deep  gorge  of 
the  Kedron,  500  feet  below.  Every  morning  wolves 
and  jackals  assemble  at  the  bottom  of  the  rocks,  and  are 
fed  by  the  monks,  who  cast  down  food  to  the  ravenous 
animals.  Viewed  from  this  terrace,  the  scene  around 
and  below  is  one  of  stern  desolation,  and  a  sight  so 
impressive  as  never  to  be  forgotten.  Mar  Saba  was 
much  more  endeared  to  us  when  we  remembered  that 


196       Account  of  First  Rank  Hymns. 

here  Stephanos,  eleven  centuries  ago,  wrote  the  touch 
ing  hymn  : 

Art  thou  weary,  art  thou  languid, 

Art  thou  sore  distressed  ? 
'  Come  to  me,'  saith  One,  '  and,  coming, 
Be  at  rest.' 


1 02.  Before  Jehovah's  awful  throne, 

Ye  nations,  bow  with  sacred  joy. 

The  above  lines  form  the  commencement  of  an 
excellent  rendering  of  the  looth  Psalm,  written  by 
Dr.  Watts  in  1719.  The  original  consisted  of  six 
stanzas,  of  which  the  first  and  fourth  are  generally 
omitted  in  modern  Hymnals.  The  second,  as  written 
by  Watts,  ran  thus — 

Nations  attend  before  His  throne, 
With  solemn  fear,  with  sacred  joy, 

Know  that  the  Lord  is  God  alone, 
He  can  create,  and  He  destroy. 

John  Wesley  in  1741  dropped  the  first  two  lines,  and 
substituted  his  own  majestic  words — 

Before  Jehovah's  awful  throne, 
Ye  nations,  bow  with  sacred  joy, 

thus  *  giving  a  noble  completeness  to  the  hymn,  open 
ing  it  with  a  majesty  suitable  to  its  continued  swell, 
and  preparing  us  for  that  sublime  .close  which  leaves 
the  devout  multitude  rapt  before  God  in  solemn  joy — 

Wide  as  the  world  is  Thy  command, 

Vast  as  eternity  Thy  love  ; 
Firm  as  a  rock  Thy  truth  shall  stand, 

When  rolling  years  shall  cease  to  move. 


Account  of  First  Rank  Hymns.       197 

'  The  Christian  Church  will  never  cease  to  enjoy  the 
grand  swell  of  this  Psalm  as  given  by  Watts,  but  thanks 
will  ever  be  due  to  John  Wesley  for  making  the  first 
verse  worthy  of  the  last/ 

Watts's  version  of  the  looth  Psalm  has  been  pro 
nounced  to  be  one  of  the  noblest,  as  it  is  also  one  of 
the  best-known,  versions  of  all  thanksgiving  Psalms. 

103.  God  of  our  life,  to  Thee  we  call, 
Afflicted  at  Thy  feet  we  fall ; 
When  the  great  water-floods  prevail, 
Leave  not  our  trembling  hearts  to  fail ! 

This  hymn  for  times  of  trouble  was  composed  by 
William  Cowper,  and  appeared  in  Olney  Hymns  in 
1779.  It  is  entitled,  'Looking  upwards  in  a  Storm,' 
and  is  founded  on  the  42d  Psalm,  '  All  Thy  waves  and 
Thy  billows  are  gone  over  me.' 

104.  In  token  that  thou  shalt  not  fear 

Christ  crucified  to  own, 
We  print  the  cross  upon  thee  here, 
And  stamp  thee  His  alone. 

This  noble  hymn  for  the  Office  of  Baptism  was  written 
by  Dean  Alford  in  1832,  and  is  therefore  one  of  the 
earliest  of  his  hymns.  It  was  first  sung  in  the  same 
year  at  the  baptism  of  the  author's  first-born  child. 
The  hymn  is  thought  to  have  been  suggested  by  the  fol 
lowing  passage  in  Hooker's  Ecclesiastical  Polity  : — *  See 
ing  therefore  that  to  fear  shame,  which  doth  worthily 


198       Account  of  First  Rank  Hymns. 

follow  sin,  and  to  bear  undeserved  reproach  constantly, 
is  the  general  duty  of  all  men  professing  Christianity, 
...  we  are  in  that  respect  to  acknowledge  the  good 
and  profitable  use  of  this  ceremony,  and  not  to  think 
it  superfluous  that  Christ  hath  His  mark  applied  unto 
that  part  where  bashfulness  appeareth,  in  token  that 
they  that  are  Christians  should  be  at  no  time  ashamed 
of  His  ignominy.' 


105.  Now  thank  we  all  our  God, 

With  heart  and  hands  and  voices, 
Who  wondrous  works  hath  done, 
In  whom  His  world  rejoices. 

Martin  Rinkart,  author  of  this  hymn,  was  a  German 
poet  and  pastor  born  in  Saxony  in  1586.  He  was  of 
humble  parentage,  but  by  dint  of  energy  supported 
himself  as  a  student  in  theology  at  Leipzig,  and  after 
wards  became  pastor  of  Eilenberg,  his  native  place. 
During  the  pestilence  of  1637  Rinkart  was  indefatigable 
in  ministering  to  the  wants  of  his  suffering  people,  and 
though  subjected  to  the  persecution  of  bitter  enemies, 
he  persevered  through  evil  report  and  good  report  in 
living  a  most  pious  and  useful  life.  He  died  in  1649 
at  the  age  of  fifty-five. 

Rinkart's  original  begins  in  the  well-known  words, 
1  Nun  danket  alle  Gott/  and  the  above  is  an  excellent 
rendering  made  in  1858  by  Miss  Winkworth.  The  first 
two  stanzas  are  a  metrical  version  of  the  following 
passage  in  the  Apocryphal  Book  of  Ecclesiasticus  : — 


Accoiint  of  First  Rank  Hymns.        199 

'  Now  therefore  bless  ye  the  God  of  all,  who  only  doeth 
wondrous  things  everywhere,  which  exalteth  our  days 
from  the  womb,  and  dealeth  with  us  according  to  His 
mercy.  He  granteth  us  joyfulness  of  heart,  and  that 
peace  may  be  in  our  days  in  Israel  for  ever ;  that  He 
would  confirm  His  mercy  with  us,  and  deliver  us  at  His 
time.' 


CHAPTER   III. 


INDEX,  SUMMARY,  AND  ACCOUNT  OF  EACH. 
INDEX  OF  SECOND  RANK  HYMNS. 

List  of  the  no  Second  Rank  Hymns,  arranged  in  order  of  merit, 
with  names  of  Authors,  Dates,  and  Marks  of  Approval. 


Order.  Hymns. 

106.  Come,  Holy  Spirit,  come, 

107.  Creator  Spirit,  by  whose  aid, 

108.  Day  of  wrath,  O  day  of  mourning, 

109.  God  of  mercy,  God  of  grace, 
no.  Jesu,  Thou  joy  of  loving  hearts, 

in.  O  for  a  heart  to  praise  my  God, 
ii2.  Spirit  of  mercy,  truth,  and  love, 
10:3.  The  Lord  my  pasture  shall  prepare, 

114.  The  voice  that  breathed  o'er  Eden, 

115.  Thy  way,  not  mine,  O  Lord, 

116.  We  sing  the  praise  of  Him  who  died, 

117.  A  few  more  years  shall  roll, 

118.  Awake  and  sing  the  song, 

119.  Father  of  mercies,  in  Thy  Word, 

120.  How  beauteous  are  their  feet, 

121.  Praise  to  God,  immortal  praise, 

122.  The  spacious  firmament  on  high, 

123.  For  ever  with  the  Lord, 

124.  From  all  that  dwell  below  the  skies, 

125.  Have  mercy,  Lord,  on  me, 

126.  In  the  hour  of  trial, 


\ 


Authors.  Marks. 

Hart,  1759.  29 

Dryden,          died  1700.  29 
Irons,  i8$3,/rom  Thomas 

of  Celano,  i3th  cent.  29 

Lyte,  1834.  29 

Ray  Palmer,  1833, from 


St.  Bernard, 

1150. 

29 

Wesley, 

1743- 

29 

Anon., 

1775- 

29 

Addison  , 

1712. 

29 

Keble, 

1857- 

29 

Bonar, 

1856. 

29 

Kelly, 

1804. 

29 

Bonar, 

1844. 

28 

Hammond, 

1745- 

28 

Steele,            circa 

1760. 

28 

Watts, 

1709. 

28 

Barbauld, 

1773- 

28 

Addison, 

1712. 

28 

Montgomery, 

1825. 

27 

Watts, 

1709. 

27 

Tate  and  Brady, 

1703. 

27 

Montgomery, 

1825. 

27 

Index  of  Second  Rank  Hymns. 


Order.  Hymns. 

127.  Jesus,  where'er  Thy  people  meet, 

128.  O  day  of  rest  and  gladness, 

129.  O  for  a  thousand  tongues,  to  sing, 

130.  On  Jordan's  bank  the  Baptist's  cry, 

131.  Pleasant  are  Thy  courts  above, 

132.  Saviour,  breathe  an  evening  blessing, 

133.  There  is  a  fountain  filled  with  blood, 

134.  Ye  boundless  realms  of  joy, 

135.  According  to  Thy  gracious  word, 

136.  Come,  Holy  Spirit,  Heavenly  Dove, 

137.  I  heard  the  voice  of  Jesus  say, 

138.  Jesu,  meek  and  gentle, 

139.  Jesus  calls  us  ;  o'er  the  tumult, 

140.  Not  all  the  blood  of  beasts, 

141.  Sweet  is  the  work,  my  God,  my  King, 

142.  The  head  that  once  was  crowned  with  thorns 

143.  There  is  a  book  who  runs  may  read,      ^ 

144.  Who  are  these  like  stars  appearing, 


145.  Blest  are  the  pure  in  heart, 

146.  Hark!  the  song  of  Jubilee, 

147.  O  God  of  hosts,  the  mighty  Lord, 

148.  O  Jesu,  Lord  of  heavenly  grace, 

149.  O  Spirit  of  the  Living  God, 

150.  The  Lord  of  might  from  Sinai's  brow, 

151.  To  bless  Thy  chosen  race,  \, 

152.  When  God  of  old  came  down  from  heaven, 

153.  Ye  servants  of  God,  your  Master  proclaim, 

154.  Christ  is  our  corner-stone, 


155.  Far  from  my  heavenly  home, 

156.  Father,  whate'er  of  earthly  bliss, 

157.  Hark  !  my  soul,  it  is  the  Lord, 

158.  Hark  !  the  sound  of  holy  voices, 

159.  Lord,  it  belongs  not  to  our  care, 

160.  Lord,  teach  us  how  to  pray  aright, 

161.  May  the  grace  of  Christ  our  Saviour, 

162.  Sweet  Saviour,  bless  us  ere  we  go, 

163.  The  happy  morn  is  come, 

164.  There  is  a  blessed  home, 

165.  Three  in  One,  and  One  in  Three, 


A  uthors. 

Cowper,  1779. 

Bp.  Wordsworth,  1865. 
Wesley,  J743- 

Chandler,     1837,  from 

C.  Coffin,  1755. 

Lyte,  1847. 

Edmeston,  1820. 

Cowper,  1779. 

Tate  and  Brady,  1703. 
Montgomery,  1825. 
Watts,  1709. 

Bonar,  1856. 

Prynne.  1856. 

Alexander,  1853. 

Watts,  I7°9- 

Watts,  1709. 

i,  Kelly,  1804. 

Keble,  1827. 

Cox,      1841,     front 

Schenk,  I727» 

Keble,  1827. 

Montgomery,  1825. 
Tate  and  Brady,  1703. 
Chandler,  rtyjjrom  St. 

Ambrose,  4th  century. 
Montgomery,  1825. 
Heber,  1827. 

Tate  and  Brady,  1703. 
Keble,  1827. 

Wesley,  1743. 

Chandler,    1837,    from 

Latin  of  8th  century. 


\ 

\ 


Lyte, 

Steele, 

Cowper, 

Wordsworth, 

Baxter, 

Montgomery, 

Newton, 

Faber, 

Haweis, 


1847. 
1780. 
1779. 
1863. 
1681. 
1825. 
1779. 
1852. 
1792. 


Sir  H.  W.  Baker,  1852. 
Rorison,  1850. 


201 

Marks. 
27 
27 
27 

27 
27 
27 
27 
27 
26 
26 
26 
26 
26 
26 
26 
26 
26 

26 
25 
25 
25 

25 
25 
25 
25 
25 
25 

24 
24 
24 
24 
24 
24 
24 
24 
24 
24 
24 
24 


202 


Index  of  Second  Rank  Hymns. 


Order.  Hymns, 

166.  Alleluia  !  song  of  sweetness, 


V 


167.  Almighty  God,  Thy  Word  is  cast, 

1 68.  Bread  of  Heaven,  on  Thee  we  feed, 

169.  Come,  let  us  to  the  Lord  our  God, 

170.  Come,  Thou  long-expected  Jesus, 

171.  Eternal  Father,  strong  to  save, 

172.  Hark,  the  voice  of  love  and  mercy, 

173.  Light  of  those  whose  dreary  dwelling, 

174.  Lo  !  round  the  throne  at  God's  right  hand, 

175.  O  Thou,  to  whose  all-searching  sight, 

176.  Onward,  Christian  soldiers, 

177.  Salvation  !  O  the  joyful  sound, 

178.  See  the  destined  day  arise, 

179.  The  sun  is  sinking  fast, 

180.  Thine  for  ever,  God  of  love, 

181.  Thou  hidden  love  of  God, 

182.  Come,  let  us  join  our  friends  above, 

183.  Come,  my  soul,  thy  suit  prepare, 

184.  Jerusalem  on  high, 

185.  Lead,  kindly  Light,  X 

186.  Lord,  pour  Thy  Spirit  from  on  high, 

187.  O  where  shall  rest  be  found, 

188.  The  Church's  one  foundation, 

189.  The  God  of  Abraham  praise, 

190.  The  strife  is  o'er,  the  battle  done, 

191.  We  love  the  place,  O  Lord, 

192.  Approach,  my  soul,  the  mercy-seat, 

193.  Arm  of  the  Lord,  awake,  awake, 

194.  As  now  the  sun's  declining  ray, 

195.  Blow  ye  the  trumpet,  blow, 

196.  Bread  of  the  world,  in  mercy  broken, 

197.  Day  of  judgment,  day  of  wonders, 

198.  Hail !  Thou  once  despised  Jesus, 

199.  Hark  !  what  mean  those  holy  voices, 

200.  Lord  of  the  harvest,  once  again, 

201.  My  faith  looks  up  to  Thee, 

202.  O  holy  Saviour,  Friend  unseen, 


Authors.  '  Marks. 

Neale,  1851,  from  Latin 

of  i3th  century.  23 
Cawood,  1825.  23 
Conder,  1824.  23 
Morrison,  I77°-  23 
Wesley,  1743.  23 
Whiting,  1860.  23 
Evans,  *787.  23 

Wesley,  1745.  23 

M.    L.    Duncan,  from 

R.  Hill,  died  in  1833.  23 
J.  Wesley,  1748,  from 

Tersteegen,  23 

Baring-Gould,         1865  23 

Watts,  1709.  23 

Mant,  l837-  23 

Caswall,  1858.  23 

Maude,  1848.  23 

J.   Wesley,    1743,  from 

Tersteegen.  23 

Wesley,  *743-  22 

Newton,  J779-  22 

Grossman,  1664.  22 

Newman,  *833-  22 

Montgomery,          1825.  22 

Montgomery,          1825.  22 

Stone,  1865.  22 

Olivers,  1772.  22 

Potts,    1860,    from     a 

Latin  hymn,  1 2th  cent.  22 

Bullock,  l8S4-  22 

Newton,  1779-  21 

Shrubsole,  1795-  21 

Chandler,     1837,  from 

Paris  Breviary.  21 

Wesley,  *743-  21 

Heber,  1827.  21 

Newton,  I779"  21 

Bakewell,  1760.  21 

Cawood,        1775-1852.  21 

Anstice,  1836.  21 

Ray  Palmer,  1830.  21 

Elliott,  1834.  21 


Summary  of  Second  Rank  Hymns.  203 

Order.  Hymns.  Authors.  Marks. 

203.  This  is  the  day  the  Lord  hath  made,  Watts,  1709-  21 

204.  At  the  Lamb's  high  feast  we  sing,  Campbell,    1850,  from 

Roman  Breviary.  20 

205.  Christian,  dost  thou  see  them,  \       Neale,    1862,  from  St. 

\J      Andrew  of  Crete,  7th 

century.  20 

206.  Ere  another  Sabbath's  close,  Anon.,  1832.  20 

207.  O  Christ,  Thou  hast  prepared  a  place,          Chandler,    1837,    from 

Paris  Breviary.  20 

208.  O  happy  band  of  pilgrims,  \   ,  Neale,    1862,  from  St. 

Joseph  of  the  Studium, 

9th  century.  20 

209.  O  Lord  of  heaven  and  earth  and  sea,  Wordsworth,          1863.  20 

210.  O  Love  divine,  how  sweet  Thou  art,  Wesley,  *743.  20 

211.  O  Thou,  the  contrite  sinner's  Friend,  Elliott,  ^37-  20 

212.  Saviour,  blessed  Saviour,  v  Thring,  1862.  20 

213.  Thee  we  adore,  O  hidden  Saviour,       \        Woodford,  1863.  20 

214.  To  the  Name  that  speaks  salvation,       \j    Neale,       1851,      from 

Aquinas.  20 

215.  When  Christ  the  Lord  would  come  on  earth,  Alford,  ^35-  20 


SUMMARY  OF  SECOND  RANK  HYMNS. 

All  hymns  found  in  twenty  Hymnals  and  upwards, 
and  in  fewer  than  thirty,  have  been  classified  as  hymns 
of  the  second  rank. 

Of  these  there  are  no,  composed  by  57  hymn- 
writers,  of  whom — 

36  authors  contribute  I  hymn  each  =  36  hymns. 
9  2  18      „ 

4  3  12      „ 

4  4  16      „ 

i  5         «  5     »» 

1  »,  7  7      „ 

2  „  8  16 


57  authors.  no  hymns. 


2O4      Summary  of  Second  Rank  Hymns. 

Arranging  the  hymn-writers  according  to  the  number 
of  hymns  contributed,  they  stand  thus — 


Montgomery, 

8 

Steele,     .         .     : 

i         Faber,      . 

Chas.  Wesley, 

8 

WesleyJ.,       .     : 

i         Hammond, 

Dr.  Watts, 

7 

Alexander,  C.  F., 

Hart,       .      '  . 

Chandler, 

5 

Alford,     . 

Haweis,  . 

Keble,     . 

4 

Anstice,   . 

Hill, 

Neale, 

4 

Sir  H.  Baker,  . 

Irons, 

Newton, 

4 

Bakewell, 

Mant, 

Tate  and  Brady, 

4 

Barbauld, 

Maude,    . 

Bonar, 

3 

Baring-Gould,  . 

Morrison, 

Cowper, 

3 

Baxter,    . 

Newman, 

Lyte, 

3 

Bullock,  . 

Olivers,    . 

Bp.  Wordsworth, 

3 

Campbell,  Robt., 

Potts, 

Addison, 

2 

Caswall,  . 

Prynne,     . 

Anon.,     . 

2 

Conder,    . 

Rorison,  . 

Cawood, 

2 

Cox, 

Shrubsole, 

C.  Elliott, 

2 

Grossman, 

Stone, 

Heber,     . 

2 

Dry  den,   . 

Thring,    . 

Kelly,       . 

2 

Edmeston, 

Whiting, 

Ray  Palmer, 

2 

Evans, 

Woodford, 

There  are  thus  twenty-one  authors  who  have  contributed  two  or 
more  hymns. 


Nineteen  of  the  above  hymn-writers  contribute  also 
to  First  Rank  hymns.  They  are  Addison,  Alexander, 
Alford,  Caswall,  Cowper,  Cox,  Edmeston,  Elliott, 
Haweis,  Heber,  Keble,  Kelly,  Lyte,  Montgomery, 
Neale,  Newton,  Tate  and  Brady,  Watts,  C.  Wesley. 


Number  of  Second  Rank  Hymns  found  in  the  chief 
Hymnals. 

Of  the  no  hymns  included  in  the  Second  Rank — 

1.  The  Hymnal  Companion   .    contains  96  and  omits  14 

2.  Church  Hymnal  (Irish)      .         ,,         85         ,,          25 


Summary  of  Second  Rank  Hymns.       205 

3.  The    Church    of    England 

Hymn-Book      .  .  contains  73  and  omits  37 

4.  The     Westminster    Abbey 

Hymn-Book     .  .         ,,         66        ,,          44 

5.  Church  Hymns  (S.P.C.K.)         „         62         „          48 

6.  Hymns  Ancient  and  Modern      ,,         54        »          5^ 

Of  the  1 10  hymns  of  the  Second  Rank — 

1.  The  Hymnal  Companion  omits  the  following  14 
hymns — 

109.  God  of  mercy,  God  of  grace. 

125.  Have  mercy,  Lord,  on  me. 

130.  On  Jordan's  bank  the  Baptist's  cry. 

147.  O  God  of  hosts,  the  mighty  Lord. 

167.  Almighty  God,  Thy  Word  is  cast. 

173.  Light  of  those  whose  dreary  dwelling. 

194.  As  now  the  sun's  declining  ray. 

199.  Hark  !  what  mean  those  holy  voices. 

200.  Lord  of  the  harvest,  once  again. 

204.  At  the  Lamb's  high  feast  we  sing. 

205.  Christian,  dost  thou  see  them. 

207.  O  Christ,  Thou  hast  prepared  a  place. 

213.  Thee  we  adore,  O  hidden  Saviour. 

215.  When  Christ  the  Lord  would  come  on  earth. 

2.  The    Church   Hymnal  omits    25    hymns  of  the 
Second  Rank,  viz. — 

108  138  158  174  200 

109  143  160  191  204 
112              149              166              193              206 

121  152  168  194  211 

122  153  169  197  215 

3.  The    Church   of  England  Hymn-Book  omits  37 
hymns  of  the  Second  Rank,  viz.  — 

113  119    122    129    133    137 

114  120       124       131       136       140 


206       Summary  of  Second  Rank  Hymns. 


141 

156 

164 

172 

183 

197 

149 

157 

165 

173 

184 

198 

151 

161 

166 

177 

193 

205 

155 

162 

170,  171 

182 

195 

214 

4.    The  Westminster  Abbey  Hymn-Book  omits  44  of 
the  Second  Rank,  viz.— 

107  128          154          178  194          203 


108 

131 

159 

183 

196 

205 

116 

134 

1  60 

184 

197 

206 

118 

135 

161 

189 

198 

208 

119 

136 

163 

190 

199 

2IO 

121 

140 

1  66 

191 

20  1 

212 

126 

153 

172 

192 

202 

214 

177 

193 

5.   Church   Hymns  omits   48  hymns  of  the  Second 
Rank,  viz. — 


106 

129 

150 

170 

182 

199 

107 

133 

151 

172 

183 

200 

in 

!34 

I56 

173 

184 

201 

H3 

135 

157 

174 

187 

202 

119 

136 

161 

177 

192 

206 

120 

140 

163 

178 

193 

208 

122 

142 

167 

179 

195 

211 

125 

146 

169 

181 

197 

212 

6.    Hymns  Ancient  and  Modern  omits  56  hymns  of 
the  Second  Rank,  viz. — 


io6 

126 

141 

161 

182 

198 

107 

127 

146 

163 

183 

199 

in 

129 

I48 

167 

187 

201 

H3 

132 

149 

169 

189 

2O2 

118 

133 

I5° 

170 

192 

203 

119 

134 

I5I 

172 

193 

206 

120 

135 

153 

173 

195 

207 

121 

136 

156 

175 

196 

211 

122,  I24 

140 

159 

177,  181 

197 

215 

Account  of  Second  Rank  Hymns.        207 

1 06.  Come,  Holy  Spirit,  come, 

Let  Thy  bright  beams  arise  ; 
Dispel  the  sorrow  from  our  minds, 
The  darkness  from  our  eyes. 

Joseph  Hart,  author  of  this  hymn,  was  born  of  pious 
parents  in  London  in  1712.  In  youth  he  displayed 
considerable  ability,  but  for  many  years  he  led  a  loose, 
dissipated  life.  A  sermon  preached  in  the  Moravian 
Chapel,  Fetter  Lane,  seems  to  have  been  the  means  of 
bringing  peace  to  his  soul,  and  his  subsequent  career  was 
marked  by  great  devotion  to  the  cause  of  Christianity. 
In  1759  he  distinguished  himself  by  preaching  and 
hymn-writing,  and  soon  afterwards  he  became  an  Inde 
pendent  minister.  Hart  died  in  1768.  The  above 
originally  consisted  of  nine  stanzas,  and  first  appeared 
in  1759  in  his  Hymns  composed  on  various  Subjects. 
It  was  probably  suggested  by  the  well-known  Latin 
hymn  '  Veni,  Sancte  Spiritus.' 


107.  Creator  Spirit,  by  whose  aid 

The  world's  foundations  first  were  laid, 
Come,  visit  every  humble  mind, 
Come,  pour  thy  joys  on  humankind  ; 
From  sin  and  sorrow  set  us  free, 
And  make  Thy  temples  worthy  Thee. 

John  Dryden,  author  of  the  above,  is  accounted  one 
of  the  greatest  of  British  poets.     He  was  born  at  Aid- 


208        Account  of  Second  Rank  Hymns. 

winkle,  Northamptonshire,  in  1631,  and  received  his 
education  at  Westminster  School  and  Cambridge.  His 
poems,  plays,  and  prose  works  are  very  numerous,  and 
were  edited  by  Sir  Walter  Scott  in  eighteen  octavo 
volumes.  He  died  in  1700,  and  was  interred  in  West 
minster  Abbey. 

The  above  is  his  best-known  hymn,  and  is  a  success 
ful  rendering  of  the  grand  old  Latin  hymn,  'Veni, 
Creator  Spiritus,'  commonly  attributed  to  St.  Ambrose, 
Archbishop  of  Milan.  Dryden's  translation  is  a  some 
what  free  paraphrase,  consisting  of  thirty-nine  lines. 
The  well-known  rendering  of  the  'Veni,  Creator  Spiritus' 
beginning  *  Come,  Holy  Ghost,  our  souls  inspire,'  is  the 
work  ot  Bishop  Cosin. 

1 08.  Day  of  wrath,  O  day  of  mourning, 
See  fulfilled  the  prophets'  warning, 
Heaven  and  earth  in  ashes  burning. 

This  grand  translation  from  the  Latin  of  Thomas  of 
Celano  is  by  the  late  Dr.  W.  J.  Irons,  Prebendary  of 
St.  Paul's.  It  was  made  in  1853.  (See  Hymn  96.) 

109.  God  of  mercy,  God  of  grace, 

Show  the  brightness  of  Thy  face ; 
Shine  upon  us,  Saviour,  shine, 
Fill  Thy  Church  with  light  divine. 

This  happy  rendering  of  the  6;th  Psalm  is  from 
the  pen  of  the  sweet  Christian  hymnist,  Henry  Francis 


Account  of  Second  Rank  Hymns.       209 

Lyte.  It  first  appeared  in  his  Metrical  Version  of  the 
Psalms •,  published  in  1834.  (See  Hymn  5.) 

1 10.  Jesu,  Thou  joy  of  loving  hearts  ! 

Thou  fount  of  life  !  Thou  light  of  men  ! 

(Jesu,  dulcedo  cordium, 
Fons  vivus,  lumen  mentium) 

is  a  portion  of  St.  Bernard's  *  Jubilee  rhythm '  ren 
dered  by  Dr.  Ray  Palmer  in  1833.  Dr.  Ray  Palmer  is 
an  American  sacred  poet,  born  in  1808,  whose  hymns 
are  justly  admired  in  England  and  America.  It  ought 
to  be  noted  that  six  well-known  hymns  are  translations 
of  St.  Bernard's  'Jubilee  rhythm.'  Two  have  already 
been  noticed.  The  other  four  are  as  follows  : — 

'  O  Jesu,  King  most  wonderful ! ' 
'Jesu  !  the  very  thought  is  sweet.' 
'  O  Jesu  !  Thou  the  beauty  art.' 
'  Jesu  !  Thy  mercies  are  untold. ' 

in.  O  for  a  heart  to  praise  my  God, 
A  heart  from  sin  set  free. 

This  hymn  was  written  by  Charles  Wesley  in  1742, 
and  appeared  in  the  second  edition  of  Hymns  and 
Sacred  Poems  in  1743.  It  expresses  in  glowing  strains 
the  spiritual  hunger  and  thirst  after  righteousness  felt 
by  the  poet,  and  is  founded  on  the  words  from  the 
5ist  Psalm,  'Create  in  me  a  clean  heart,  O  God,  and 
renew  a  right  spirit  within  me.' 

The  original  consists  of  eight  stanzas,  all  of  which 
appear  in  the  Methodist  Hymn-book.  It  has  been  said 

o 


2  io       Account  of  Second  Rank  Hymns. 

of  this  hymn,  '  Here  is  undoubtedly  an  evangelical 
prayer  for  the  love  which  restores  the  soul  to  a  state  of 
sinless  rest  and  Scriptural  perfection.' 


112.  Spirit  of  mercy,  truth,  and  love, 

O  shed  Thine  influence  from  above ; 
And  still  from  age  to  age  convey 
The  wonders  of  this  sacred  day. 

This  excellent  Whitsuntide  hymn  has  been  traced  to 
a  collection  of  hymns  used  in  the  Foundling  Chapel, 
London,  as  early  as  1774.  It  is  commonly  attributed 
to  a  Shropshire  clergyman  by  name  of  Kyle,  but  this  is 
a  mistake,  inasmuch  as  his  collection  of  hymns  did  not 
appear  for  many  years  after  the  above  date.  The 
original  consists  of  three  short  stanzas,  and  is  founded 
on  the  words,  '  I  will  pour  out  My  Spirit  upon  all  flesh,' 
descriptive  of  the  outpouring  of  the  Holy  Ghost  on  the 
Feast  of  Pentecost.  It  must  not  be  confounded  with  a 
Whitsuntide  hymn  by  Kelly  beginning  { Spirit  of  truth, 
on  this  Thy  day.' 

113.  The  Lord  my  pasture  shall  prepare, 
And  feed  me  with  a  shepherd's  care. 

This  favourite  hymn  by  Addison  was  first  appended 
as  a  sequel  to  one  of  his  essays,  in  the  Spectator  of  July 
1712,  on  'Trust  in  God.'  The  essay  contained  the 
following  memorable  words :  '  The  person  who  has  a 
firm  trust  on  the  Supreme  Being  is  powerful  in  His 


Account  of  Second  Rank  Hymns.       2 1 1 

power,  wise  by  His  wisdom,  happy  by  His  happiness. 
He  reaps  the  benefit  of  every  Divine  attribute,  and 
loses  his  own  insufficiency  in  the  fulness  of  Infinite 
perfection.'  The  hymn  is  an  excellent  paraphrase  of 
the  23d  Psalm,  a  great  favourite  with  Addison  :  'The 
Lord  is  my  shepherd,  I  shall  not  want,'  etc. 


114.  The  voice  that  breathed  o'er  Eden, 

That  earliest  wedding  day, 
The  primal  marriage  blessing, 
It  hath  not  passed  away. 

This  beautiful  marriage  hymn  was  written  in  1857  for 
the  Salisbury  Hymnal,  where  it  appears  with  the  head 
ing,  '  Holy  Matrimony.  To  be  sung  at  the  commence 
ment  of  the  service.'  It  is  indeed  the  noblest  hymn  we 
possess  for  the  celebration  of  holy  wedlock,  and  for 
comprehensiveness  cannot  be  surpassed,  stretching  back 
as  it  does  to  the  union  of  our  first  parents,  and  reaching 
forward  to  the  Marriage  Supper  of  the  Lamb. 


115.  Thy  way,  not  mine,  O  Lord, 

However  dark  it  be  ; 
Lead  me  by  Thine  own  hand, 
Choose  out  the  path  for  me. 

This  favourite  hymn  was  written  by  Dr.  Horatius 
Bonar  while  he  was  minister  at  Kelso,  and  appeared 
first  in  1856.  (See  Hymn  117.) 


212       Account  of  Second  Rank  Hymns. 

116.  We  sing  the  praise  of  Him  who  died, 
Of  Him  who  died  upon  the  cross  ; 
The  sinner's  hope  let  men  deride, 
For  this  we  count  the  world  but  loss. 

This  exquisite  hymn  is  from  the  pen  of  Thomas 
Kelly,  and  appeared  in  1815.  Before  it  was  prefixed 
the  text  Gal.  vi.  14,  on  which  it  is  founded  :  '  God 
forbid  that  I  should  glory,  save  in  the  cross  of  our  Lord 
Jesus  Christ.' 

In  his  English  Church  Hymnody  Lord  Selborne  says 
of  this  hymn  :  '  It  is  distinguished  by  a  calm  subdued 
power,  rising  gradually  from  a  rather  low  to  a  very  high 
key.  I  doubt  whether  Montgomery  ever  wrote  anything 
quite  equal  to  this.' 

117.  A  few  more  years  shall  roll, 

A  few  more  seasons  come, 
And  we  shall  be  with  those  that  rest 
Asleep  within  the  tomb. 

Horatius  Bonar,  D.D.,  the  author  of  this  favourite 
hymn,  was  born  in  Edinburgh  in  1808.  He  was  ordained 
to  the  ministry  at  Kelso  in  1837,  and  continued  his 
labours  there  for  about  thirty  years.  He  was  then 
called  to  a  ministerial  charge  in  Edinburgh,  where  he 
still  labours.  His  religious  works  are  both  voluminous 
and  popular.  He  is  also  favourably  known  as  a  hymn- 
writer,  and  his  sacred  poems  are  a  valuable  contribution 


Account  of  Second  Rank  Hymns.       2 1 3 

to  our  hymnology.  In  1857  was  published  his  Hymns 
of  Faith  and  Hope,  and  in  this  collection  appeared  '  A 
few  more  years  shall  roll.'  This  universal  favourite  was 
composed  in  1844,  and  was  entitled  'A Pilgrim's  Song.' 
The  first  four  lines  of  the  fourth  stanza,  viz. 

A  few  more  Sabbaths  here 
Shall  cheer  us  on  our  way, 
And  we  shall  reach  the  endless  rest, 
The  eternal  Sabbath  day, 

is  a  translation  of  an  old  Latin  hymn  which  runs  thus — 

Illic  nee  sabbato 
Succedit  sabbatum 
Perpes  laetitia, 
Sabbatizantium. 

The  frequent  repetition  of  the  phrase  '  A  few  more,' 
followed  in  each  succeeding  verse  respectively  by 
'  years,  suns,  storms,  struggles,  Sabbaths,'  the  vivid 
contrasts  in  every  stanza  between  the  fleeting  things  of 
earth  and  the  abiding  joys  of  heaven,  and  the  varied 
epithets  applied  to  the  day  of  resurrection,  have  tended 
to  increase  the  popularity  of  this  much-esteemed  hymn. 


1 1 8.  Awake  and  sing  the  song 
Of  glory  to  the  Lamb, 
Wake  every  heart  and  every  tongue 
To  praise  the  Saviour's  name. 

William  Hammond,  author  of  this  hymn,  was  born  in 
1719.  He  graduated  at  Cambridge,  and  became  an 
accomplished  scholar.  He  was  much  impressed  by  the 
Wesleyan  revival,  became  a  Calvinistic  Methodist 


214       Account  of  Second  Rank  Hymns. 

preacher,  and  subsequently,  with  his  friend  Cennick, 
joined  the  Moravian  Brethren.  Hammond  died  in 
1783,  and  was  interred  at  Chelsea,  London.  His 
hymns  are  full  of  Scripture  truth  and  Christian  experi 
ence.  In  1745  was  published  his  Psalms,  Hymns, 
Spiritual  Songs,  and  Discourses,  containing  several 
translations  of  Breviary  hymns  as  well  as  original 
hymns.  In  the  Preface  he  writes  :  '  In  the  following 
pages  are  a  number  of  hymns  suited  to  the  various 
states  and  capacities  of  the  children  of  God.'  The 
above  hymn  appears  in  the  book,  consisting  of  sixteen 
stanzas,  and  founded  on  Rev.  xv.  3 :  'They  sing  the  song 
of  Moses  and  the  song  of  the  Lamb,  saying,  Great 
and  marvellous  are  Thy  works,  Lord  God  Almighty, 
just  and  true  are  Thy  ways,  thou  King  of  saints.' 

1 19.  Father  of  mercies,  in  Thy  Word 

What  endless  glory  shines  ; 
For  ever  be  Thy  name  adored 
For  these  celestial  lines. 

Anne  Steele,  the  author  of  the  above,  was  the  daughter 
of  a  Baptist  minister  at  Broughton  in  Hampshire,  and 
was  born  in  1716.  She  was  throughout  her  life  dis 
tinguished  for  piety  and  benevolence,  and  although  an 
invalid,  owing  to  an  accident  in  childhood,  she  yet 
bore  her  sufferings  with  Christian  resignation.  She 
died  in  1778,  aged  sixty-one,  and  immediately  before 
her  peaceful  departure  exclaimed,  'I  know  that  my 
Redeemer  liveth.' 


Account  of  Second  Rank  Hymns.       215 

Miss  Steele's  poetical  works  include  144  hymns  and 
34  metrical  versions  of  the  chief  of  David's  Psalms. 

The  above  hymn  on  the  excellence  of  Holy  Scripture 
is  one  of  the  few  hymns  out  of  very  many  on  the  same 
subject  that  has  met  with  general  approval.  The 
original  consisted  of  twelve  stanzas,  and  was  written 
about  1760. 

1 20.  How  beauteous  are  their  feet, 
Who  stand  on  Zion's  hill. 

This  sweet  hymn  by  Watts  is  founded  on  Isaiah  Hi.  7  : 
1  How  beautiful  upon  the  mountains  are  the  feet  of  him 
that  bringeth  good  tidings,  that  publisheth  peace ;  that 
bringeth  good  tidings  of  good,  that  publisheth  salvation ; 
that  saith  unto  Zion,  Thy  God  reigneth  ! '  The  original 
consists  of  six  stanzas,  and  is  entitled,  '  The  blessedness 
of  Gospel  times.'  It  is  considered  to  be  one  of  Watts's 
best  paraphrases. 

121.  Praise  to  God,  immortal  praise, 

For  the  love  that  crowns  our  days  ; 
Bounteous  Source  of  every  joy, 
Let  Thy  praise  our  tongues  employ ; 
All  to  Thee,  our  God,  we  owe, 
Source  whence  all  our  blessings  flow. 

Mrs.  Barbauld,  author  of  this  hymn,  was  daughter  of 
Dr.  John  Aikin,  and  was  born  at  Kibworth  Harcourt, 
Leicestershire,  in  1743.  She  soon  distinguished  herself 
as  an  accomplished  writer.  In  1774,  when  thirty-one 


2 1 6       Account  of  Second  Rank  Hymns. 

years  old,  she  married  the  Rev.  R.  Barbauld,  a 
Unitarian  minister,  who  was  ultimately  stationed  at 
Stoke-Newington,  London.  She  wrote  twelve  hymns, 
of  which  the  above  is  the  best  known,  and  appeared 
in  a  volume  of  Miscellaneous  Poems  in  1773,  while  the 
gifted  writer  was  still  Miss  Aikin. 
Mrs.  Barbauld  died  in  1825. 

122.  The  spacious  firmament  on  high, 
With  all  the  blue  ethereal  sky, 
And  spangled  heavens,  a  shining  frame, 
Their  great  Original  proclaim. 

This  renowned  hymn  first  appeared  at  the  end  of  one 
of  Addison's  essays,  in  the  Spectator  of  August  1712, 
on  '  The  right  means  to  strengthen  Faith.'  It  is  an 
inimitable  rendering  of  the  first  part  of  the  191)1 
Psalm :  '  The  heavens  declare  the  glory  of  God, 
and  the  firmament  showeth  His  handiwork,'  etc.  It  is 
thought  that  Addison  when  writing  this  had  in  his 
mind  a  passage  in  Shakespeare's  Merchant  of  Venice : 

'  There's  not  the  smallest  orb  which  thou  behold'st 
But  in  his  motion  like  an  angel  sings, 
Still  quiring  to  the  young-eyed  cherubins.' 

The  idea  here  certainly  seems  to   be  reproduced  in 
Addison's  words — 

For  ever  singing,  as  they  shine, 
'  The  hand  that  made  us  is  divine. ' 

Although  it  is  perhaps  better  adapted  for  reading  as  a 
poem  than  for  singing  as  a  hymn,  yet  it  is  found  in 


Account  of  Second  Rank  Hymns.       217 

many  of  our  Hymnals,  and  Sir  Roundell  Palmer  says  : 
'  For  my  own  part,  I  fervently  hope  it  will  always  remain 
there.  Praise  to  God  as  glorified  in  His  works  is  the 
substance  and  essence  of  every  part  of  that  hymn,  as  it 
is  of  the  beautiful  verses  of  the  i  Qth  Psalm  on  which 
it  is  founded.  If  it  be  not  poetry,  I  do  not  know  what 
is  ;  and  to  prove  that  it  is  song,  and  soul-stirring  song 
too,  it  is  only  necessary  to  hear  it,  as  I  often  have, 
heartily  sung  to  an  appropriate  tune.' 

123.  For  ever  with  the  Lord  ! 

Amen,  so  let  it  be  : 
Life  from  the  dead  is  in  that  word, 
Tis  immortality. 

This  noble  hymn,  of  world-wide  popularity,  is  from 
the  pen  of  James  Montgomery,  and  was  taken  from  the 
Poet's  Portfolio  in  1835.  The  original  consists  of 
twenty-two  stanzas,  of  which  twenty-one  are  printed 
in  Montgomery's  Original  Hymns,  1835.  This  sublime 
poem  is  full  of  ardent  aspirations  for  the  Better  Land, 
akin  to  the  earnest  longings  of  Bernard  of  Cluny  for 
the  Celestial  Country.  The  following  lines  are  fre 
quently  used  as  a  refrain  after  each  stanza — 

Here  in  the  body  pent, 
Absent  from  Him  I  roam  ; 
Yet  nightly  pitch  my  moving  tent 
A  day's  march  nearer  home. 

This  refrain  has  become  familiar  as  household  words, 
and  the  two  last  lines  have  been  spoken  of  as  a  *  watch 
word  of  the  Church  militant.' 


2 1 8      Account  of  Second  Rank  Hymns. 

124.  From  all  that  dwell  below  the  skies 
Let  the  Creator's  praise  arise. 

This  grand  hymn  of  praise  is  Watts's  metrical  render 
ing  of  the  nyth  Psalm.  It  appeared  in  his  Psalter, 
published  in  1719,  and  is  entitled  '  Praise  to  God  from 
all  Nations.'  It  is  rendered  more  familiar  to  us  from 
the  fact  that  it  is  set  to  Walmsley's  anthem. 

The  original  consisted  of  two  stanzas,  but  some 
unknown  author  has  added  a  third,  which  sometimes 
appears  in  Hymnals  : — 

Your  lofty  themes,  ye  mortals,  bring, 
In  songs  of  praise  divinely  sing  ; 
The  great  salvation  loud  proclaim, 
And  shout  for  joy  the  Saviour's  name. 

125.  Have  mercy,  Lord,  on  me, 

As  Thou  wert  ever  kind, 
Let  me,  opprest  with  loads  of  guilt, 
Thy  wonted  mercy  find. 

This  penitential  hymn  is  a  metrical  version  of  the 
5ist  Psalm  by  Tate  and  Brady.  (See  Hymn  45.) 

126.  In  the  hour  of  trial,  Jesu,  pray  for  me, 
Lest  by  base  denial  I  depart  from  Thee  ; 
When  Thou  see'st  me  waver,  with  a  look 

recall, 
Not  for  fear  or  favour  suffer  me  to  fall. 

This  Lenten  hymn,  by  James  Montgomery,  is  founded 
on  the  Saviour's  words  to  St.  Peter  :  '  I  have  prayed  for 


Account  of  Second  Rank  Hymns.       219 

thee  that  thy  faith  fail  not.'  It  was  written  in  a  lady's 
album  in  1834,  and  was  headed  '  Prayers  for  Pilgrimage.' 
The  first  half  of  the  last  stanza  is  frequently  omitted  or 
varied  in  our  modern  Hymnals,  although  the  original 
expresses  a  sublime  thought  in  poetic  language  of  a 
high  order.  It  goes  thus — 

When  in  dust  and  ashes 

To  the  grave  I  sink, 
While  heaven's  glory  flashes 

O'er  the  shelving  brink. 


127.  Jesus,  where'er  Thy  people  meet, 
There  they  behold  Thy  mercy-seat ; 
Where'er  they  seek  Thee  Thou  art  found, 
And  every  place  is  hallowed  ground. 

This  favourite  hymn  is  from  the  pen  of  William 
Cowper,  and  appeared  in  the  Olney  Hymns,  dated 
1775,  under  the  heading,  '  On  opening  a  Place  for  Social 
Prayer.'  It  is  thought  to  be  the  first  hymn  written  by 
Cowper  after  his  arrival  at  Olney  in  1767.  Newton 
and  Cowper  had  established  a  prayer-meeting,  and  on 
the  occasion  of  removing  to  a  larger  place,  called  *  The 
Great  House,'  in  1769,  the  above  was  written.  '  There 
Cowper  began  a  new  course  of  social  prayer,  and  there 
he  and  the  little  parish  flock  sang  for  the  first  time, 
"  Jesus,  where'er  Thy  people  meet." '  John  Keble  made 
several  alterations  and  additions  to  Cowper's  hymn,  and 
in  its  re-cast  form  it  appeared  in  the  Salisbury  Hymn- 
book  of  1857. 


22O      Account  of  Second  Rank  Hymns. 

128.  O  day  of  rest  and  gladness  ! 

O  day  of  joy  and  light ! 
O  balm  of  care  and  sadness  ! 
Most  beautiful,  most  bright  1 

This  beautiful  Sabbath  hymn  is  by  Bishop  Words 
worth,  the  learned  Bishop  of  Lincoln.  He  is  a  nephew 
of  William,  the  great  Lake  poet.  In  1862  he  published 
a  collection  of  127  hymns,  called  The  Holy  Year.  The 
above  is  the  third  in  the  book,  and  is  called  a  Sunday 
hymn  on  Psalm  cxviii.  24  :  '  This  is  the  day  which  the 
Lord  hath  made ;  we  will  rejoice,  and  be  glad  in  it.' 

129.  O  for  a  thousand  tongues,  to  sing 

My  dear  Redeemer's  praise. 

This  hymn  was  written  by  Charles  Wesley  in  1739, 
and  first  appears  in  1740  in  Hymns  and  Sacred  Poems. 
In  May  1738  the  author  was  suddenly  brought  into  the 
enjoyment  of  perfect  Christian  liberty.  His  own  words 
are  :  '  On  that  glad  day  the  glorious  Sun  of  Righteous 
ness  arose  on  my  benighted  soul  and  filled  it  with 
repose.'  The  above  hymn  was  written  a  year  after  this 
event,  and  is  entitled  '  For  the  Anniversary  Day  of  one's 
Conversion.'  The  original  consisted  of  eighteen  stanzas, 
and  commenced — 

Glory  to  God,  and  praise,  and  love, 

Be  ever,  ever  given, 
By  saints  below,  and  saints  above, 

The  Church  in  earth  and  heaven. 

In  the  Methodist  Hymn-book  it  consists  of  ten  stanzas, 


Accoiint  of  Second  Rank  Hymns.      221 

and  is  there  placed  as  the  first  hymn  in  the  book.    This 
fact  has  caused  the  hymn  to  be  more  widely  known. 

A  Moravian  minister,  named  Peter  Bohler,  once 
remarked  to  Charles  Wesley :  '  Had  I  a  thousand 
tongues,  I  would  praise  Christ  with  them  all.'  This 
memorable  sentence  made  a  lasting  impression  on  the 
poet's  mind,  and  we  find  it  enshrined  in  this  glorious 
hymn. 

130.  On  Jordan's  bank  the  Baptist's  cry 
Proclaims  aloud  the  Lord  is  nigh  ; 
Awake,  and  hearken,  for  he  brings 
Glad  tidings  from  the  King  of  kings. 

This  hymn  is  a  translation  from  a  Latin  hymn, 
'Jordanus  oras  praevia,'  etc.,  contributed  by  Charles 
CoffirTto  the  Paris  Breviary  in  1736.  The  English 
rendering  is  by  John  Chandler,  and  first  appeared  in 
his  Hymns  of  the  Primitive  Church,  published  in  1 83  7. 
It  has,  however,  been  considerably  modified  by  the 
compilers  of  Hymns  Ancient  and  Modern,  and  is  now  a 
favourite  Advent  hymn. 

131.  Pleasant  are  Thy  courts  above, 
In  the  land  of  light  and  love. 

This  very  sweet  hymn  is  by  Lyte,  and  first  appeared 
in  1834  in  his  Spirit  of  the  Psalms.  It  does  justice 
to  the  84th  Psalm,  on  which  it  is  founded;  and  no 
higher  compliment  than  this  can  be  paid  to  it,  for 
the  84th  Psalm  is  one  of  the  sweetest  of  the  Psalms 


222       Accoiint  of  Second  Rank  Hymns. 

of  David.  It  refers  to  the  joys  and  sorrows  of  Jewish 
pilgrims  as  they  journey  from  the  hill-country  of  Judaea 
on  their  way  to  the  Temple  of  Jerusalem.  The  toils  of 
the  journey  were  considerably  lightened  by  sacred  song, 
for  the  happy  pilgrims,  longing  for  the  courts  of  the 
sanctuary,  sang  joyfully  in  unison  as  they  marched 
along  the  road ;  and  at  the  pools  of  living  water  on  the 
way  they  halted  and  quenched  their  thirst,  until  at 
length  they  arrived  at  the  holy  hill  of  Zion. 

Near  to  Brixham,  nestling  by  the  water  and  under 
the  shadow  of  richly-wooded  hills,  was  the  cottage 
where  Lyte  communed  with  Nature  and  his  God.  His 
love  for  God's  house,  and  the  souls  to  whom  he  minis 
tered,  was  the  sustaining  and  inspiriting  power  which 
helped  him  to  sing  on  his  way  amidst  his  bodily 
weakness — 

Pleasant  are  Thy  courts  above, 
In  the  land  of  light  and  love ; 
Pleasant  are  Thy  courts  below, 
In  this  land  of  sin  and  woe. 

132.  Saviour,  breathe  an  evening  blessing, 

Ere  repose  our  spirits  seal ; 
Sin  and  want  we  come  confessing  : 
Thou  canst  save  and  Thou  canst  heal. 

James  Edmeston,  author  of  this  hymn,  was  a  London 
architect,  who  died  in  1867.  He  is  said  to  have  been 
the  author  of  two  thousand  hymns.  The  above  was 
printed  in  his  Sacred  Lyrics  in  1820,  and  was  suggested 
by  the  following  sentence  that  occurred  in  Salt's  Travels 


Account  of  Second  Rank  Hymns.       223 

through  Abyssinia :  '  At  night  their  short  evening  hymn, 
"  Jesu,  forgive  us,"  stole  through  the  camp.' 


133.  There  is  a  fountain  filled  with  blood 

Drawn  from  Immanuel's  veins  ; 
And  sinners,  plunged  beneath  that  flood, 
Lose  all  their  guilty  stains. 

This  well-known  hymn  is  from  the  pen  of  William 
Cowper,  and  appeared  in  1779.  It  i§  founded  on 
Zechariah  xiii.  i  :  'There  shall  be  a  fountain  opened 
for  sin  and  for  uncleanness.' 

134.  Ye  boundless  realms  of  joy, 
Exalt  your  Maker's  fame, 
His  praise  your  song  employ 
Above  the  starry  frame. 

This  sublime  hymn  is  the  metrical  version  of  the 
1 48th  Psalm  by  Tate  and  Brady.  (See  Hymn  45.) 

135.  According  to  Thy  gracious  word, 
In  meek  humility. 

This  sacramental  hymn,  by  James  Montgomery, 
appeared  in  1825.  It  has  attained  great  popularity, 
and  is  now  regarded  as  one  of  our  standard  hymns. 

Its  plaintive,  tender  thoughts  recall  to  mind  the 
spiritual  aspirations  of  St.  Bernard  of  Clairvaux.  ' 


224      Account  of  Second  Rank  Hymns. 

136.  Come,  Holy  Spirit,  from  above, 

With  all  Thy  quickening  power. 

This  hymn,  by  Watts,  is  entitled,  '  Breathing  after 
God's  Spirit.'  The  original  consists  of  five  stanzas; 
but  some  of  the  phrases  are  objectionable,  and  for  the 
most  part  appear  altered  in  modern  Hymnals.  Another 
hymn,  by  Simon  Browne,  commences  in  the  same  words 
as  first  line,  and  therefore  requires  to  be  distinguished 
from  that  of  Watts. 

137.  I  heard  the  voice  of  Jesus  say, 

1  Come  unto  Me,  and  rest ; 
Lay  down,  thou  weary  one,  lay  down 
Thy  head  upon  My  breast.' 

This  hymn,  '  so  beautiful  in  its  severe  simplicity,'  is 
by  Horatius  Bonar.  It  first  appeared  in  1850,  and 
subsequently  reappeared  in  1856  in  Bonar's  Hymns  of 
Faith  and  Hope.  It  is  founded  on  the  Saviour's  words, 
(  He  that  cometh  to  Me  shall  never  hunger,  and  he 
that  believeth  in  Me  shall  never  thirst.'  (See  Hymn  117.) 

138.  Jesus,  meek  and  gentle, 

Son  of  God  Most  High, 
Pitying,  loving  Saviour, 
Hear  Thy  children's  cry. 

This  favourite  hymn  is  by  the  Rev.  G.  R.  Prynne, 
M.A.,  Vicar  of  St.  Peter's,  Plymouth.  It  was  written 


Account  of  Second  Rank  Hymns.        225 

in  1856,  and  appeared  in  his  Hymnal  suited  for  the 
Services  of  the  Church,  published  in  1858.  The  hymn 
is  fast  becoming  a  universal  favourite,  especially  among 
young  people. 

139.  Jesus  calls  us  ;  o'er  the  tumult 
Of  our  life's  wild,  restless  sea, 
Day  by  day  His  sweet  voice  soundeth, 
Saying,  '  Christian,  follow  Me.' 

This  hymn  was  written  in  1853  by  Mrs.  Alexander, 
the  accomplished  wife  of  the  Lord  Bishop  of  Derry. 
It  first  appears  as  a  hymn  for  St.  Andrew's  Day,  in 
Psalms  and  Hymns  for  Public  Worship,  S.P.C.K.  (See 
Hymn  98.) 

140.  Not  all  the  blood  of  beasts 

On  Jewish  altars  slain, 
Could  give  the  guilty  conscience  peace, 
Or  wash  away  the  stain. 

This  well-known  hymn  is  by  Dr.  Watts,  and  appeared 
in  1709.  It  is  founded  on  the  passage,  c  The  blood 
of  Jesus  Christ  His  Son  cleanseth  us  from  all  sin.' 

141.  Sweet  is  the  work,  my  God,  my  King, 

To  praise  Thy  name,  give  thanks,  and  sing ; 
To  show  Thy  love  by  morning  light, 
And  talk  of  all  Thy  truth  at  night. 

This  hymn,  by  Dr.  Isaac  Watts,  is  the  first  part  of  his 
paraphrase  of  the  92d  Psalm,  beginning,  'It  is  a  good 

p 


226       Account  of  Second  Rank  Hymns. 

thing  to  give  thanks  unto  the  Lord,  and  to  sing  praises 
unto  Thy  name,  O  most  High.'  The  original  appeared 
in  1719. 

142.  The  Head  that  once  was  crowned  with  thorns 

Is  crowned  with  glory  now  ; 
A  royal  diadem  adorns 
The  mighty  Victor's  brow. 

Thomas  Kelly,  the  author  of  this  hymn,  was  a  cele 
brated  Irish  hymn- writer.  It  was  composed  in  1804, 
and  seems  to  be  founded  on  Hebrews  ii.  9 :  '  We  see 
Jesus  crowned  with  glory  and  honour.'  (See  Hymn  54.) 

143.  There  is  a  book,  who  runs  may  read, 

Which  heavenly  truth  imparts, 
And  all  the  lore  its  scholars  need, 
Pure  eyes  and  Christian  hearts. 

This  is  part  of  a  well-known  poem  of  twelve  stanzas 
in  The  Christian  Year.  It  is  designed  for  Septuagesima 
Sunday,  and  is  founded  on  Genesis  i.,  the  chapter  read 
on  that  day.  All  creation  speaks  of  God,  and  ' the  in 
visible  things  of  Him  from  the  creation  of  the  world  are 
clearly  seen,  being  understood  by  the  things  that  are 
made.' 

144.  Who  are  these,  like  stars  appearing, 

These,  before  God's  Throne  who  stand  ? 
Each  a  golden  crown  is  wearing, 
Who  are  all  this  glorious  band  ? 


Accoiint  of  Second  Rank  Hymns.        227 

Alleluia,  hark  !  they  sing, 
Praising  loud  their  heavenly  King. 

This  magnificent  hymn  is  part  of  a  translation  of 
fourteen  stanzas  from  the  German,  by  Miss  F.  E.  Cox, 
and  appeared  in  her  Sacred  Hymns  from  the  German, 
published  in  1841.  The  original  is  by  Theodore 
Schenk,  a  native  of  Hesse.  Few  particulars  are  known 
of  his  life.  He  became  a  schoolmaster,  and  sub 
sequently  Lutheran  pastor  at  Giessen,  and  died  in  1727. 

The  hymn  is  founded  on  Rev.  vii.  13:  'What  are 
these  which  are  arrayed  in  white  robes?  and  whence 
came  they?'  Another  well-known  translation  of 
Schenk's  original  is  by  Miss  Winkworth,  and  begins, 
*  Who  are  those  before  God's  throne  ? ' 

145.  Blest  are  the  pure  in  heart, 
/  For  they  shall  see  our  God  ; 

The  secret  of  the  Lord  is  theirs, 
Their  soul  is  Christ's  abode. 

This  hymn  is  a  cento  from  Keble's  poem  for  the  Feast 
of  the  Purification,  in  The  Christian  Year,  1827.  Only 
two  stanzas  are  Keble's,  viz.,  the  above  and  the  follow 
ing:— 

He  to  the  lowly  soul 
Doth  still  Himself  impart ; 
And  for  His  dwelling  and  His  throne 
Chooseth  the  pure  in  heart. 

The  other  stanzas  were  added  to  form  a  complete 
hymn  for  A  Hymnal  for  the  use  of  the  English  Church, 
published  1852,  and  edited  by  the  Rev.  F.  H.  Murray, 


228       Account  of  Second  Rank  Hymns. 

Rector  of  Chislehurst.  The  original,  written  by  Keble 
in  1819,  is  founded  on  the  words,  '  Blessed  are  the  pure 
in  heart :  for  they  shall  see  God.'  Several  slight  altera 
tions  have  been  made  on  the  hymn  as  it  appeared  in 
1852  by  the  compilers  of  Hymns  Ancient  and  Modern. 

146.  Hark  !  the  song  of  Jubilee  ; 

Loud  as  mighty  thunders  roar, 
Or  the  fulness  of  the  sea, 

When  it  breaks  upon  the  shore. 

This  jubilant  hymn  of  praise  was  written  by  James 
Montgomery  in  1819.  The  three  double  stanzas  are  of 
great  poetic  power,  and  celebrate  the  final  triumph  of 
the  Messiah  when  '  He  shall  have  dominion  from  sea 
to  sea,  and  from  the  river  unto  the  ends  of  the  earth.' 

147.  O  God  of  hosts,  the  mighty  Lord, 

How  lovely  is  the  place 
Where  Thou,  enthroned  in  glory,  show'st 
The  brightness  of  Thy  face  ! 

This  well-known  hymn  is  the  metrical  version  of  the 
84th  Psalm  by  Tate  and  Brady.  (See  Hymn  45.) 

148.  O  Jesu,  Lord  of  heavenly  grace, 

Thou  brightness  of  the  Father's  face. 

Splendor  paternae  gloriae. 

This  hymn  is  a  translation  by  the  Rev.  John 
Chandler,  who  died  in  1876,  aged  seventy,  from  Latin 


Account  of  Second  Rank  Hymns.       229 

verses  by  Ambrose.  It  first  appeared  in  1837,  in 
Chandler's  selection  of  Latin  hymns  called  Hymns  of 
the  Primitive  Church.  The  original  consists  of  nine 
stanzas,  attributed  by  Fulgentius  of  the  fifth  century  to 
St.  Ambrose,  the  illustrious  Bishop  of  Milan.  This  is 
confirmed  by  the  author  of  Hymni  et  Collectae  in 
1585,  and  by  John  H.  Newman.  This  Ambrosian 
hymn,  according  to  the  Roman  Breviary,  is  appointed 
for  Lauds  on  Monday  morning,  and  for  daily  use  in 
Benedictine  and  Carthusian  Breviaries. 


149.  O  Spirit  of  the  living  God, 

In  all  the  fulness  of  Thy  grace, 
Where'er  the  foot  of  man  hath  trod, 
Descend  on  our  apostate  race. 

This  noble  missionary  hymn,  by  James  Montgomery, 
first  appeared  in  1825  in  The  Christian  Psalmist.  It 
there  consists  of  six  stanzas,  written  in  vigorous 
language  of  high  poetic  merit,  and  is  entitled  *  The 
Spirit  accompanying  the  Word  of  God.'  The  hymn  is 
founded  on  the  words,  '  That  Thy  way  may  be  known 
upon  earth,  Thy  saving  health  among  all  nations.' 

150.  The  Lord  of  might,  from  Sinai's  brow, 
Gave  forth  the  voice  of  thunder. 

This  grand  hymn  is  by  Heber,  and  appeared  in  1812. 
In  his  collection  of  1827  it  is  appointed  for  the  sixth 
Sunday  in  Lent.  The  Gospel  for  that  day  shows  the 


230       Account  of  Second  Rank  Hymns. 

ignominy  to  which  our  Saviour  was  subjected  in  His 
trial  and  crucifixion ;  and  the  hymn  contrasts  the  terrors 
of  Sinai  with  the  meekness  displayed  on  Calvary. 


151.  To  bless  Thy  chosen  race, 
In  mercy,  Lord,  incline  ; 
And  cause  the  brightness  of  Thy  face 
On  all  Thy  saints  to  shine. 

This  hymn  is  the  metrical  version  of  the  6yth  Psalm 
by  Tate  and  Brady.  (See  Hymn  45.) 

152.  When  God  of  old  came  down  from  heaven, 

In  power  and  wrath  He  came  ; 
Before  His  feet  the  clouds  were  riven, 
Half  darkness  and  half  flame. 

The  above,  by  John  Keble,  occurs  as  a  poem  for' 
Whitsunday  in  his  Christian  Year.  The  original  con 
sists  of  eleven  stanzas,  from  which  selections  are  made 
for  modern  Hymnals.  (See  Hymn  9.) 

153.  Ye  servants  of  God,  your  Master  proclaim, 
And  publish  abroad  His  wonderful  name, 
The  name  all  victorious  of  Jesus  extol, 
His  kingdom  is  glorious  and  rules  over  all. 

This  hymn,  by  Charles  Wesley,  first  appeared  in  his 
Hymns  for  Times  of  Trouble  and  Persecution,  printed  in 
1 744.  Four  hymns  at  the  end  of  the  book  are  entitled 


Account  of  Second  Rank  Hymns.       231 

'  Hymns  to  be  sung  in  a  tumult/  and  the  above  is  the 
first  of  the  four.  The  allusions  in  it  to  Psalm  xciii.  are 
apparent. 

154.  Christ  is  our  corner-stone, 

On  Him  alone  we  build  ; 
With  His  true  saints  alone 

The  courts  of  heaven  are  filled. 

This  hymn  is  a  translation  from  the  Latin  by  John 
Chandler.  It  occurs  in  Hymns  of  the  Primitive  Church, 
published  in  1837.  (See  Hymn  148.) 

There  are  other  well-known  hymns  by  the  same 
author.  (See  p.  40.) 

155.  Far  from  my  heavenly  home, 

Far  from  my  Father's  breast. 

This  plaintive  hymn  by  Lyte  first  appeared  in  1834, 
in  his  Spirit  of  the  Psalms,  a  metrical  version  of  the 
Book  of  Psalms.  In  issuing  this  work  Lyte  says  :  '  I 
endeavoured  to  give  the  spirit  of  each  Psalm,  and  to 
furnish  sometimes,  when  the  length  of  the  original  would 
admit  of  it,  an  almost  literal  translation — sometimes  a 
kind  of  spiritual  paraphrase ;  at  others  even  a  brief 
commentary  on  the  whole  Psalm.' 

This  hymn  is  a  touching  spiritual  paraphrase  of  the 
i37th  Psalm  :  'By  the  rivers  of  Babylon,  there  we  sat 
down  ;  yea,  we  wept,  when  we  remembered  Zion,'  etc. 
As  in  this  Psalm  the  Jewish  exiles  sat  weeping  by  the 
banks  of  the  stream  of  Euphrates,  and  with  longing 


232       Account  of  Second  Rank  Hymns. 

eyes  looked  across  the  Syrian  desert  in  the  direction  of 
the  much-beloved  Mount  Zion,  so  in  this  spiritual 
hymn,  God's  people,  exiles  from  the  home  of  their 
souls,  droop  and  yearn  for  the  celestial  Zion,  and  that 
heavenly  Jerusalem,  whose  Builder  and  Maker  is  God. 

156.   Father,  whate'er  of  earthly  bliss 

Thy  sovereign  will  denies, 
Accepted  at  Thy  throne  of  grace 
Let  this  petition  rise. 

Anne  Steele,  the  author  of  this  hymn,  was  a  perma 
nent  invalid,  but  bore  her  sufferings  with  calm  resigna 
tion.  The  above,  entitled  '  Desiring  Resignation  and 
Thankfulness,'  was  written  about  1760,  and  originally 
consisted  of  ten  stanzas. 

157.  Hark  !  my  soul,  it  is  the  Lord; 
'Tis  thy  Saviour,  hear  His  word  ; 
Jesus  speaks,  and  speaks  to  thee, 
'  Say,  poor  sinner,  lov'st  thou  Me  ?' 

This  favourite  hymn,  by  Cowper,  first  appeared  in  the 
Gospel  Magazine  in  1771.  It  breathes  a  happier 
spirit  than  other  hymns  by  the  same  author.  The 
original  consists  of  six  stanzas,  of  which  stanza  4  con 
tains  a  sublime  description  of  Divine  love — 

Mine  is  an  unchanging  love, 
Higher  than  the  heights  above, 
Deeper  than  the  depths  beneath, 
Free  and  faithful,  strong  as  death. 


Account  of  Second  Rank  Hymns.       233 

158.  Hark!  the  sound  of  holy  voices,  chanting  at 

the  crystal  sea, 
Alleluia  !  Alleluia  !  Alleluia  !  Lord,  to  Thee. 

This  triumphant  song,  setting  forth  the  final  gathering 
of  the  redeemed,  is  by  Bishop  Christopher  Words 
worth,  and  appeared  in  his  Holy  Year,  in  1862,  as  the 
hymn  for  All  Saints'  Day. 

It  is  founded  upon  the  latter  part  of  the  seventh 
chapter  of  Revelation,  beginning  with  the  words,  '  After 
this  I  beheld,  and,  lo,  a  great  multitude,  which  no  man 
could  number,  stood  before  the  throne,'  etc. 

159.  Lord,  it  belongs  not  to  our  care 

Whether  we  die  or  live  ; 
To  love  and  serve  Thee  is  our  share, 
And  this  Thy  grace  must  give. 

Richard  Baxter,  writer  of  this  hymn,  and  the  eminent 
author  of  The  Saints'  Everlasting  Rest,  was  born  at 
Rowton,  Shropshire,  in  1615.  He  entered  the  ministry, 
and  laboured  at  Dudley,  Bridgnorth,  and  other  places. 
For  twenty  years  he  was  curate  at  Kidderminster,  and 
his  active  ministerial  work  was  attended  with  much 
success.  During  this  long  pastorate  he  wrote  about 
sixty  works.  On  the  Restoration  in  *i66o,  Baxter  was 
appointed  a  chaplain  to  Charles  IL,  but  in  consequence 
of  the  passing  of  the  Act  of  Uniformity  he  left  the 
Church,  and  became  a  Nonconformist  preacher.  His 


234       Account  of  Second  Rank  Hymns. 

death  in  1691,  at  the  age  of  seventy-six,  was  peaceful 
and  resigned.  During  his  last  illness,  on  being  asked 
how  he  did,  he,  knowing  that  his  end  was  nigh  at  hand, 
replied,  'Almost  well.' 

In  1 68 1,  ten  years  before  his  death,  he  published  a 
collection  si  Poetical  Fragments,  among  which  is  a  poem 
of  sixty-four  lines  to  strengthen  the  faith  of  his  afflicted 
wife,  entitled  'The  Covenant  and  Confidence  of  Faith.' 
From  that  poem  the  above  hymn  is  a  cento,  and  it 
beautifully  sets  forth  the  calm  resignation  of  God's 
afflicted  people. 


1 60.   Lord,  teach  us  how  to  pray  aright, 

With  reverence  and  with  fear  ; 
Though  dust  and  ashes  in  Thy  sight, 
We  may,  we  must  draw  near. 

This  hymn,  suitable  for  early  morning  service,  is  by 
James  Montgomery,  and  appeared  in  1825.  The 
original  consisted  of  six  stanzas,  but  some  of  them  have 
been  subjected  to  manifold  variations.  It  is  founded 
on  a  passage  in  Psalm  Ixv.  :  '  O  Thou  that  hearest 
prayer,  unto  Thee  shall  all  flesh  come.' 

1 6 1.  May  the  grace  of  Christ  our  Saviour, 

And  the  Father's  boundless  love, 
With  the  Holy  Spirit's  favour, 
Rest  upon  us  from  above. 

This  benedictory, hymn,  by  the  Rev.  John  Newton, 


Account  of  Second  Rank  Hymns.       235 

appeared  in  1779.      It   is  founded   on  the   Saviour's 
words,  recorded  in  St.  Luke  vii.  50,  <  Go  in  peace.' 


162.  Sweet  Saviour,  bless  us  ere  we  go  ; 
Thy  word  into  our  minds  instil  ; 
And  make  our  lukewarm  hearts  to  glow 
With  lowly  love  and  fervent  will, 

Through  life's  long  day  and  death's  dark 

night, 
O  gentle  Jesu,  be  our  light ! 

Frederick  William  Faber,  D.D.,  author  of  the  above, 
is  justly  regarded  as  one  of  the  most  eminent  sacred 
poets  of  this  century.  He  was  born  in  1815,  educated 
at  Harrow,  graduated  at  Oxford  in  1838,  became 
Fellow  and  College  Tutor,  took  holy  orders,  and  shortly 
afterwards,  in  1846,  seceded  to  the  Church  of  Rome. 
In  1849  he  came  to  London,  and  established  the 
Brotherhood  known  as  '  The  Oratorians,'  or  '  Priests 
of  the  Congregation  of  S.  Philip  Neri.'  In  1854  the 
'  Oratory,'  or  place  of  prayer  for  the  Brotherhood,  was 
established  at  Brompton,  and  to  the  success  of  this 
'  Oratory '  Faber  devoted  his  energies  for  nine  years, 
till  his  death  in  1863. 

The  above  hymn  first  appeared  in  1852,  and  was 
entitled  *  Evening  Hymn  at  the  Oratory.'  It  has  under 
gone  many  alterations,  and  received  its  last  revision 
in  1 86 1,  two  years  before  the  author's  death. 


236       Account  of  Second  Rank  Hymns. 

163.  The  happy  morn  is  come  ; 

Triumphant  o'er  the  grave, 
The  Saviour  leaves  the  tomb, 
Omnipotent  to  save. 

Thomas  Haweis,  author  of  this  jubilant  Easter  hymn, 
was  born  at  Truro,  Cornwall,  in  1732.  He  was  edu 
cated  at  Cambridge,  and  became  chaplain  to  the 
Countess  of  Huntingdon,  and  Rector  of  All  Saints, 
Aldwinkle,  Northamptonshire.  Haweis  was  a  popular 
preacher,  and  one  of  the  founders  of  the  London 
Missionary  Society.  He  died  in  1820,  aged  eighty-two. 

In  1792  was  published  a  collection  of  his  hymns, 
entitled  Carmitia  Christo,  or  Songs  to  Christ.  The 
edition  of  1808  contained  256  original  hymns.  In  the 
Preface  he  writes  :  '  Whether  these  hymns  suffer  the 
censure  or  meet  the  approbation  of  the  Christian 
world,  they  are  such  as  my  heart  indited,  and  they 
speak  the  things  which  I  have  believed  concerning 
my  God  and  King.  They  all  point  to  one  object  and 
lead  to  one  end,  to  a  Crucified  Jesus.' 

164.  There  is  a  blessed  home 

Beyond  this  land  of  woe, 
Where  trials  never  come, 
Nor  tears  of  sorrow  flow. 

Sir  Henry  Williams  Baker,  author  of  this  Ascension 
tide  hymn,  was  born  in  London  182 1.  He  graduated  at 
Cambridge,  and  shortly  after  entering  holy  orders  he 
was  appointed  Vicar  of  Monkland,  near  Leominster. 


Account  of  Second  Rank  Hymns.       237 

He  was  one  of  the  chief  compilers  to  Hymns  Ancient 
and  Modern,  and  the  above  comforting  hymn  appeared 
in  the  first  issue  of  that  Hymnal  in  1861,  although  it 
appears  to  have  been  composed  in  1852. 

165.  Three  in  One,  and  One  in  Three, 
Ruler  of  the  earth  and  sea, 
Hear  us  while  we  lift  to  Thee 

Holy  chant  and  psalm. 

Rev.  Gilbert  Rorison,  LL.D.,  author  of  this  favourite 
family  hymn,  was  born  in  Glasgow  1821,  died  1869. 
He  was  a  graduate  of  Glasgow,  and  on  taking  holy 
orders  became  Incumbent  of  St.  Peter's,  Peterhead. 
In  1850  he  published  a  small  Hymnal  for  his  own 
congregation,  and  amongst  others  appeared  the  above, 
written  in  1849. 

1 66.  Alleluia!  song  of  sweetness, 

Voice  of  joy  that  cannot  die, 
Alleluia  is  the  anthem 

Ever  dear  to  choirs  on  high  ; 
In  the  house  of  God  abiding 

Thus  they  sing  eternally. 

This  hymn  is  a  translation,  by  Dr.  Neale,  of  an 
ancient  Latin  hymn  commencing  '  Alleluia,  dulce  car 
men/  thought  to  be  as  old  as  the  thirteenth  century. 
Daniel  found  the  original  Latin  in  a  German  MS.,  which 
he  believes  dates  from  the  eleventh  century.  This 
hymn,  together  with  the  *  Alleluia  perenne '  and  the 
'  Alleluiatic  Sequence,'  is  often  used  immediately  before 


238       Account  of  Second  Rank  Hymns. 

Lent,  because,  in  accordance  with  a  very  ancient 
custom,  hymns  of  praise  were  not  sung  during  Lent. 
There  are  many  English  versions  of  the  Latin  hymns, 
and  an  excellent  one  by  the  Rev.  Francis  Pott 
resembles  that  by  Dr.  Neale. 

167.  Almighty  God,  Thy  Word  is  cast 

Like  seed  into  the  ground  ; 
O  may  it  grow  in  humble  hearts, 

And  righteous  fruits  abound. 
John  Cawood,  author  of  this  hymn,  was  born  at 
Matlock,  of  humble  parents,  in  1775.  By  diligence 
and  perseverance  he  managed  to  graduate  at  Oxford 
in  1 80 1.  He  was  ordained  the  same  year,  and  in  1814 
was  presented  to  the  perpetual  curacy  of  Bewdley, 
Worcestershire.  Here  he  spent  the  greater  part  of  his 
life,  and  died  in  1852,  at  the  age  of  seventy-seven. 
With  reference  to  the  above  hymn  his  son  writes  :  '  I 
do  not  know  the  occasion  of  the  above  hymn,  further 
than  that  it  was  meant  to  be  sung  after  sermon.  I 
think  it  must  have  been  written  about  1815,  but  there 
is  no  date  to  it  in  the  MS.' 

1 68.  Bread  of  Heaven,  on  Thee  we  feed, 
For  Thy  Flesh  is  meat  indeed  ; 
Ever  let  our  souls  be  fed 

With  this  true  and  living  Bread. 
Josiah  Conder,  author  of  this  hymn,  was  born  in 
London  in  1789.     He  was  a  person  of  great  literary 
ability,  as  publisher,  editor,  journalist,  and  author. 


A  ccount  of  Second  Rank  Hymns.       239 

Throughout  life  he  continued  a  firm  adherent  of 
Nonconformity.  Conder  wrote  many  devout  hymns, 
the  earliest  collection  of  which  appeared  in  1824  under 
the  title  of  The  Star  of  the  East,  and  other  Poems.  In 
this  collection  was  the  above  hymn,  which  was  founded 
on  St.  John  vi.  32:  '  My  Father  giveth  you  the  true 
Bread  from  heaven.' 

The  author  continued  to  write  hymns  up  to  the  day 
of  his  death,  which  took  place  in  1855. 

169.  Come,  let  us  to  the  Lord  our  God 

With  contrite  hearts  return  ; 
Our  God  is  gracious,  nor  will  leave 
The  desolate  to  mourn. 

John  Morrison,  D.D.,  was  born  in  Aberdeenshire  in 
1749.  He  entered  the  ministry  in  1780,  and  spent  the 
remainder  of  his  life  as  minister  of  Canisbay,  Caithness- 
shire.  He  wrote  several  good  hymns,  and  three  at  least 
were  contributed  to  the  Scotch  Paraphrases.  The 
above  is  the  3oth  Paraphrase. 

170.  Come,  Thou  long-expected  Jesus, 

Born  to  set  Thy  people  free, 
From  our  fears  and  sins  release  us, 
Let  us  find  our  rest  in  Thee. 

This  jubilant  hymn,  by  Charles  Wesley,  appeared  in 
1743.  It  is  founded  on  the  Messianic  prophecy  by  the 
prophet  Haggai,  '  The  Desire  of  all  nations  shall  come.' 


240       Account  of  Second  Rank  Hymns. 

171.  Eternal  Father,  strong  to  save, 
Whose  arm  doth  bind  the  restless  wave, 
Who  bidst  the  mighty  ocean  deep 

Its  own  appointed  limits  keep. 

William  Whiting,  author  of  this  excellent  hymn  '  for 
those  in  peril  on  the  sea,'  was  born  at  Kensington, 
London,  1825.  For  a  long  period  he,  was  master  of  the 
Winchester  College  Choristers'  School.  He  died  in  1 8  7  8. 
The  above  hymn  was  written  in  1860  for  Hymns  A ncient 
and  Modern.  The  tune  *  Melita,'  to  which  it  is  in 
variably  sung,  was  composed  by  Dr.  Dykes,  and  was 
named  from  the  ancient  name  of  Malta,  close  by  which 
St.  Paul  was  shipwrecked  on  his  journey  to  Rome. 

172.  Hark,  the  voice  of  love  and  mercy 

Sounds  aloud  from  Calvary  ; 
See,  it  rends  the  rocks  asunder,    - 
Shakes  the  earth  and  veils  the  sky. 

This  Passion  hymn,  founded  on  Christ's  dying  words, 
'  It  is  finished,'  is  generally  supposed  to  be  the  work  of 
Jonathan  Evans,  born  at  Coventry  1749,  died  1809;  but 
there  exist  conflicting  views  regarding  its  authorship. 

173.  Light  of  those  whose  dreary  dwelling 

Borders  on  the  shades  of  death, 
Come,  and  by  Thy  love  revealing, 
Dissipate  the  clouds  beneath. 

This  hymn,  by  Charles  Wesley,  appeared  in  1745  in 
his  Hymns  on  the  Nativity  of  our  Lord. 


Account  of  Second  Rank  Hymns.       24 1 

174.  Lo  !  round  the  throne  at  God's  right  hand 
The  saints  in  countless  myriads  stand  ; 
Of  every  tongue  redeemed  to  God, 
Array'd  in  garments  wash'd  in  blood. 

This  hymn  was  composed  by  Mary  Lundie  Duncan, 
but  appears  to  be  founded  upon  a  somewhat  similar 
hymn  written  by  the  Rev.  Rowland  Hill. 

175.  O  Thou,  to  whose  all-searching  sight 
The  darkness  shineth  as  the  light, 
Search,  prove  my  heart ;  it  pants  for  Thee, 
O  burst  these  bonds,  and  set  it  free. 

This  well-known  hymn  is  a  translation  from  the 
German  by  John  Wesley,  the  great  founder  of  Wes- 
leyanism,  and  first  appeared  in  the  collection  of  Hymns 
and  Sacred  Poems,  published  by  John  and  Charles 
Wesley  in  1739.  The  two  brothers  were  often  as 
sociated  in  the  production  of  a  hymn-book,  and 
although  Charles  was  an  extensive  hymn-writer,  it  does 
not  appear  that  John  wrote  any  hymns  himself,  although 
he  translated  several  from  the  German.  The  original 
of  the  above  was  written  by  Count  Zinzendorf,  and 
early  appeared  in  the  Moravian  collection.  The 
Count  was  bora  at  Dresden  in  1 700.  He  was  even  in 
youth  distinguished  for  his  personal  piety,  and  in  man 
hood  he  became  the  friend  of  the  Moravians  in  their 
persecutions.  He  is  also  celebrated  as  a  prolific  hymn- 

Q 


242       Account  of  Second  Rank  Hymns. 

writer,  having  composed  about  two  thousand  hymns, 
many  of  which  have  been  rendered  into  English  by 
John  Wesley. 


176.  Onward,  Christian  soldiers, 

Marching  as  to  war, 
With  the  Cross  of  Jesus 
Going  on  before. 

This  spirited  hymn  is  from  the  pen  of  the  Rev. 
Sabine  Baring-Gould,  and  first  appeared  in  1865  in  The 
Church  Times. 


177.  Salvation  !  O  the  joyful  sound  ! 

'Tis  pleasure  to  our  ears, 
A  sovereign  bairn  for  every  wound, 
K  cordial  for  our  fears. 

This  hymn  of  praise  was  written  by  Dr.  Watts  in 
1709.  The  refrain  at  the  end  of  each  stanza  is — 

Glory,  honour,  praise,  and  power 
Be  unto  the  Lamb  for  ever  ! 
Jesus  Christ  is  our  Redeemer  ; 
Hallelujah  !  praise  the  Lord. 

This  doxology  is  a  simple  unversified  translation  of  a 
Latin  chorus,  'Gloria,  laus,  et  honor,'  etc.,  by  St. 
Theodulph,  Bishop  of  Orleans,  in  the  beginning  of  the 
ninth  century.  This  Latin  chorus  was  rendered  by 
Neale  in  his  well-known  translation,  '  All  glory,  laud, 
and  honour.' 


Account  of  Second  Rank  Hymns.       243 

178.  See  the  destined  day  arise  ! 
See,  a  willing  Sacrifice, 
Jesus,  to  redeem  our  loss, 
Hangs  upon  the  accursed  Cross. 

Richard  Mant,  author  of  this  Passion  hymn,  was 
born  at  Southampton  in  1776.  He  graduated  at  Cam 
bridge  in  1797,  and  on  entering  holy  orders  became 
curate  to  his  father.  By  his  ability  and  zeal  he  gradually 
rose  to  be  Bishop  of  Dromore.  He  died  in  1848. 

179.  The  sun  is  sinking  fast, 

The  daylight  dies ; 
Let  love  awake,  and  pay 
Her  evening  sacrifice. 

This  evening  hymn  was  translated. from  the  Latin 
by  the  Rev.  E.  Caswall,  and  first  appeared  in  his 
Masque  of  Mary  in  1858.  The  Latin  original  has  been 
lost,  and  consequently  a  reward  has  been  offered  for  its 
recovery.  It  is  thought  to  belong  to  the  eighteenth 
century.  (See  Hymn  59.) 

1 80.  Thine  for  ever,  God  of  love, 

Hear  us  from  Thy  throne  above ; 
Thine  for  ever  may  we  be, 
Here  and  in  eternity. 

This  beautiful  Confirmation  hymn  was  written  by  Mrs. 
Maude,  wife  of  the  late  Rev.  Joseph  Maude,  Vicar  of 


244       Account  of  Second  Rank  Hymns. 

Chirk.  It  was  written  for  a  Confirmation  class  at 
Newport,  Isle  of  Wight,  and  first  appeared  in  a  little 
book  entitled  Twelve  Letters  on  Confirmation,  published 
in  1848. 

1 8 1.  Thou  hidden  love  of  God,  whose  height, 
Whose  depth  unfathomed,  no  man  knows. 

This  hymn  is  a  translation  from  the  German,  made 
by  John  Wesley  in  1739.  The  original  is  by  Gerhard 
Tersteegen,  a  well-known  German  hymn-writer  of  the 
eighteenth  century. 

182.  Come,  let  us  join  our  friends  above, 
That  have  obtained  the  prize. 

This  inimitable  hymn  is  by  Charles  Wesley,  and 
appeared  in  1759  in  his  Funeral  Hymns,  a  collection  of 
forty-three  hymns.  It  is  founded  on  St.  Paul's  saying, 
1  Of  whom  the  whole  family  in  heaven  and  earth  is 
named.'  The  original  consists  of  five  double  stanzas, 
but  half  the  original  is  generally  omitted  in  modern 
hymnals.  In  some  hymn-books  the  opening  four  lines 
have  been  re-cast,  and  run  thus — 

Let  saints  on  earth  in  concert  sing 
With  those  whose  work  is  done, 

For  all  the  servants  of  our  King 
In  heaven  and  earth  are  one. 

It  has  been  remarked  that  'the  hymn  embodies 
almost  every  legitimate  idea  which  the  human  mind 
can  form  as  to  the  state,  employment,  and  happiness 


Account  of  Second  Rank  Hymns.       245 

of  departed  saints,  and  it  is  clothed  in  language  glorious, 
yet  chaste  ;  elegant,  yet  simple  ;  impassioned,  yet  correct. 
The  hymn  expands  the  idea  that  saints  above  and  saints 
below,  the  Church  Militant  on  earth  and  the  Church 
Triumphant  in  heaven,  are  all  one,  one  family,  one  army ; 
that  even  now  the  intercourse  is  not  totally  suspended, 
but  by  faith  we  hold  communion  with  those  that  have 
gone  before.'  The  figure  in  the  hymn, 

Though  now  divided  by  the  stream, 
The  narrow  stream  of  death, 

was  probably  suggested  by  the  line,  '  Death  like  a 
narrow  stream  divides,'  found  in  Isaac  Watts's  hymn 
4  There  is  a  land  of  pure  delight,'  written  in  1709. 
Wesley's  hymn  must  also  be  distinguished  from  one  by 
Watts,  viz. — 

Come,  let  us  join  our  cheerful  songs 
With  angels  round  the  throne. 

It  would  seem  as  if  Wesley  in  this  sublime  composi 
tion  had  striven  to  combine  the  beauties  of  the  two 
foregoing  hymns,  written  by  Watts  fifty  years  before. 
Charles  Wesley  died  three  years  before  his  brother 
John,  and  it  is  said  that  the  latter,  not  long  before  his 
own  departure,  was  one  Sunday  morning  conducting 
service  in  the  City  Road  Chapel.  Prayers  being  over, 
1  he  ascended,  the  pulpit ;  but  instead  of  immediately 
announcing  the  hymn  to  be  sung,  to  the  great  surprise 
of  the  congregation  he  stood  silent,  with  his  eyes 
closed,  for  at  least  ten  minutes,  wrapt  in  intense  thought. 
Having  done  this,  with  a  feeling  which  at  once  told 


246       Account  of  Second  Rank  Hymns. 

where  his  spirit  had  been  communing,  he  solemnly  read 
his  brother's  hymn — 

Come,  let  us  join  our  friends  above, 
That  have  obtained  the  prize. 

All  felt  as  if  they  were  about  to  witness  the  meeting 
again  of  the  two  brothers  ;  and  the  two  companies — the 
Church  Militant  and  the  Church  Triumphant — seemed 
all  but  to  join  as  the  congregation  sang — 

One  family,  we  dwell  in  Him, 

One  Church,  above,  beneath, 
Though  now  divided  by  the  stream, 

The  narrow  stream  of  death. 
One  army  of  the  living  God, 

To  His  command  we  bow  ; 
Part  of  His  host  have  crossed  the  flood, 

And  part  are  crossing  now.' 


183.  Come,  my  soul,  thy  suit  prepare, 
Jesus  loves  to  answer  prayer  ; 
He  Himself  has  bid  thee  pray  ; 
Therefore  will  not  say  thee  nay. 

This  hopeful  hymn,  by  Rev.  John  Newton,  appeared 
in  the  Olney  Hymns,  published  in  1779.  (See  Hymn  15.) 

184.  Jerusalem  on  high 
My  song  and  city  is, 
My  home  whene'er  I  die, 
The  centre  of  my  bliss. 

This  popular   hymn  is  by  Samuel  Grossman,  B.D., 
Prebendary  of  Bristol.     He  was  born  1624,  and  died 


Account  of  Second  Rank  Hymns.       247 

1683.  The  above  appeared  in  1664,  in  a  small  de 
votional  book  entitled  The  Young  Man's  Meditation. 
It  is  the  second  part  of  a  poem,  of  fourteen  stanzas, 
called  *  Heaven,'  beginning  '  Sweet  place,  sweet  place 
alone  ! '  (See  Hymn  16,  page  98.) 

In  his  English  Hymnody  Lord  Selborne  says  that 
'  seven  of  the  original  stanzas  are  extremely  fine,  and 
not  unsuitable  for  general  use.' 


185.    Lead,    kindly    Light,    amid    the    encircling 
gloom, 

Lead  Thou  me  on. 

This  much-prized  hymn  was  composed  in  1833,  by 
the  Rev.  John  Henry  Newman,  D.D.  The  author  was 
born  in  London  in~i8oi  ;  he  was  educated  at  Oxford, 
and  became  Fellow  and  Tutor  of  his  College.  With 
Dr.  Pusey  he  shared  the  leadership  of  the  '  Tractarian 
Movement,'  commenced  in  1833,  and  exercised  an 
extraordinary  influence  over  religious  thought  in  Oxford. 
In  1845  he  seceded  from  the  English  Church,  and 
became  a  Roman  Catholic.  Dr.  Newman  is  now  Father 
Superior  of  the  Edgbaston  Oratory,  Birmingham.  His 
Hymni  Ecclesiae,  published  in  1838,  contains  a  large 
collection  of  Latin  hymns. 

'Lead,  kindly  Light,'  etc.,  was  written  in  1833,  when 
the  author  was  making  a  voyage  on  the  Mediterranean. 
'  He  had  just  been  overtaken  by  illness ;  his?  soul  was 
passing  through  remarkable  experiences,  and  he  was 
watching  with  deep  interest  the  religious  movement 


248       Account  of  Second  Rank  Hymns. 

going  on  at  home.'  The  following  paragraph  from 
Newman's  Apologia  pro  Vita  sua  shows  that  the  hymn 
possesses  great  autobiographic  interest : — '  I  went  down 
at  once  to  Sicily,  and  fell  ill  of  a  fever.  My  servant 
thought  I  was  dying,  and  begged  for  my  last  directions. 
I  gave  them,  as  he  wished,  but  said,  "  I  shall  not  die."  I 
repeated,  "I  shall  not  die,  for  I  have  not  sinned 
against  light,  I  have  not  sinned  against  light."  I 
never  have  been  able  to  make  out  at  all  what  I 
meant.  I  was  laid  up  for  nearly  three  weeks.  To 
wards  the  end  of  May  I  set  off  for  Palermo,  taking  three 
days  for  the  journey.  Before  starting  from  my  inn  in 
the  morning,  I  sat  down  on  my  bed  and  began  to  sob 
bitterly.  My  servant,  who  had  acted  as  my  nurse, 
asked  what  ailed  me.  I  could  only  answer,  "  I  have  a 
work  to  do  in  England."  I  was  aching  to  get  home, 
yet  for  want  of  a  vessel  I  was .  kept  at  Palermo  for  three 
weeks.  I  began  to  visit  the  churches,  and  they  calmed 
my  impatience.  At  last  I  got  off  in  an  orange-boat 
bound  for  Marseilles.  We  were  becalmed  a  whole 
week  in  the  Straits  of  Bonifacio.  Then  it  was  I  wrote 
the  lines  "  Lead,  kindly  Light,"  which  have  since  be 
come  well  known. ' 

'  Lux  benigna,'  the  tune  to  which  it  is  usually  sung, 
was  ceinposed  for  this  hymn  by  Dr.  Dykes. 


1 86.  Lord,  pour  Thy  Spirit  from  on  high. 

This   Ordination    hymn   was   composed    by   James 
Montgomery  in  1825.     (See  Hymn  26.) 


Account  of  Second  Rank  Hymns.       249 

187.  O  where  shall  rest  be  found 
Rest  for  the  weary  soul  ? 

'Twere  vain  the  ocean  depths  to  sound, 
Or  pierce  to  either  pole. 

This  hymn  of  warning  is  by  James  Montgomery,  and 
is  thought  by  many  to  be  one  of  the  author's  finest 
sacred  pieces.  The  original  appeared  in  1819,  and  con 
sisted  of  six  stanzas.  It  is  founded  on  a  passage  in 
Hebrews  iv.  :  '  There  remaineth  therefore  a  rest  to  the 
people  of  God.  .  .  .  Let  us  labour  therefore  to  enter 
into  that  rest.' 

188.  The  Church's  one  foundation 

Is  Jesus  Christ  her  Lord  ; 
She  is  His  new  creation 
By  water  and  by  blood. 

This  standard  hymn  was  written  by  the  Rev.  Samuel 
John  Stone,  M.A.,  Vicar  of  St.  Paul's,  Haggerstone, 
London. 

It  first  appeared  in  1865  in  a  series  of  twelve  hymns 
on  the  Apostles'  Creed,  and  entitled  Lyra  Fidelium. 

The  original  heading  to  it  was,  '  I  believe  in  the  Holy 
Catholic  Church.' 

189.  The  God  of  Abraham  praise, 

Who  reigns  enthroned  above. 

Thomas  Olivers,  the  author  of  this  very  grand  hymn, 
was  born  in  1725  at  Tregonan,  Montgomeryshire. 


250       Account  of  Second  Rank  Hymns. 

'  As  the  lark,  ascending  from  the  hidden  depths  of  the 
grassy  hollow,  rises  high,  and  sings  low  and  sweetly,  so 
Olivers,  coming  of  humble  parentage,  was  at  length 
known  and  honoured  as  a  sweet  singer  in  Israel.'  He 
lost  both  his  parents  when  only  four  years  of  age,  and 
was  consequently  brought  up  by  a  distant  relative,  a 
farmer  in  the  orphan's  native  county.  At  the  age  of 
eighteen  he  was  bound  apprentice  to  a  shoemaker,  but 
his  manner  of  living  was  that  of  a  young  profligate,  and 
to  escape  public  indignation  through  his  sad  miscon 
duct  he  was  obliged  to  leave  the  neighbourhood. 
After  wandering  from  place  to  place  he  came  to  Bristol, 
reduced  to  wretchedness  and  abject  poverty,  and  there 
he  chanced  to  hear  George  Whitefield,  the  celebrated 
revivalist,  preach  from  the  text,  '  Is  not  this  a  brand 
plucked  out  of  the  fire  ?  '  The  sermon  was  the  means 
of  producing  a  spiritual  quickening  in  Oliver's  mind, 
and  henceforth  he  became  a  consistent  Christian.  On 
the  first  Sunday  after  he  says:  'I  went  to  the  Cathedral 
at  six  in  the  morning.  When  the  Te  Deum  was  read 
I  felt  as  if  I  had  done  with  earth,  and  was  praising 
God  before  His  throne.  No  words  can  set  forth  the 
joy,  the  rapture,  the  awe  and  reverence  I  felt/  He 
soon  afterwards  joined  the  Wesleyan  Society,  and  John 
Wesley  observing  his  zeal  enlisted  his  services  as  a 
travelling  preacher  in  Cornwall.  He  also  preached  in 
many  parts  of  England  and  Ireland,  and  for  twenty-five 
years  he  rode  on  the  same  horse.  Upon  this  horse  he 
journeyed  about  100,000  miles,  and  encountered  at 
times  fierce  opposition  on  his  travels  from  place  to  place. 


Account  of  Second  Rank  Hymns.       25 1 

He  married  a  Scotch  lady  of  good  family,  named  Miss 
Green,  who,  from  her  deep  piety,  proved  to  be  a  fitting 
helpmate  for  the  itinerant  preacher.  Olivers  suffered 
much  bodily  affliction  in  his  declining  years,  and  died 
at  London  in  1799,  aged  seventy-four  years.  He  had 
been  an  intimate  friend  of  the  Wesleys,  and  his  dust 
was  deposited  in  Wesley's  own  tomb. 

Olivers'  educational  advantages  were  small,  and  yet 
as  a  hymnist  two  at  least  of  his  sacred  songs  would  do 
credit  to  a  person  of  the  very  highest  education.  The 
hymn  *  The  God  of  Abraham  praise  '  was  written  in 
1770,  when  the  author  was  forty-five  years  of  age.  The 
hymn  at  first  consisted  of  twelve  stanzas,  and,  according 
to  the  author,  was  a  rendering  from  an  old  Hebrew 
sacred  ode.  It  soon  became  very  popular,  and  at  the 
present  time  deservedly  takes  high  rank  amongst  our 
English  hymns.  Speaking  of  it,  Montgomery  says  : 
*  This  noble  ode,  though  the  essay  of  an  unlettered 
man,  claims  special  honour.  There  is  not  in  our 
language  a  lyric  of  more  majestic  style,  more  elevated 
thought,  or  more  glorious  imagery  ;  its  structure  indeed 
is  unattractive,  and  on  account  of  the  short  lines 
occasionally  uncouth  ;  but,  like  a  stately  pile  of  archi 
tecture,  severe  and  simple  in  design,  it  strikes  less  on 
the  first  view  than  after  deliberate  examination,  when 
its  proportions  become  more  graceful,  its  dimensions 
expand,  and  the  mind  itself  grows  greater  in  contem 
plating  it.'  Such  high  praise,  from  one  whom  all  regard 
as  a  great  authority  on  sacred  song,  speaks  volumes  for 
the  excellence  of  the  hymn.  In  1805  Henry  Martyn, 


252       Account  of  Second  Rank  Hymns. 

the  renowned  missionary,  set  out  for  the  scene  of  his 
labours  with  mingled  feelings  of  regret  and  anxious 
hope,  but  he  testifies  that  when  he  was  about  to  leave 
his  home,  friends,  and  native  land,  Olivers'  hymn  was 
a  great  comfort  to  his  soul.  Lord  Selborne,  no  mean 
judge,  calls  it  '  an  ode  of  singular  power  and  beauty.' 

Olivers  was  a  musician  as  well  as  a  poet,  and  com 
posed  several  good  ]iymn-tunes.  While  on  a  visit  to 
London  he  happened  to  attend  divine  service  at  a 
Jewish  synagogue,  and  was  so  much  struck  with  the 
solemnity  and  grandeur  of  the  music,  that  on  return 
to  the  house  of  his  friend,  John  Bakewell,  living  at 
Westminster,  he  composed  the  hymn  *  The  God  of 
Abraham  praise'  to  suit  the  music  he  had  just  heard. 
Shortly  afterwards  he  called  on  Leoni,  the  Jewish  High 
Priest,  and  obtained  from  him  a  copy  of  the  ancient 
Hebrew  melody.  On  showing  the  hymn  to  a  brother 
minister  Olivers  said  :  *  Look  at  this  ;  I  have  rendered 
it  from  the  Hebrew,  giving  it,  as  far  as  I  could,  a 
Christian  character,  and  I  have  called  on  Leoni  the 
Jew,  who  has  given  me  a  synagogue  melody  to  suit 
it ;  here  is  the  tune,  and  it  is  to  be  called  "  Leoni." ' 

He  wrote  also  a  well-known  judgment  hymn,  con 
sisting  of  thirty-six  stanzas  of  six  lines  each.  The 
fourth  stanza  begins — 

Lo  !  He  comes,  with  clouds  descending, 
Hark  !  the  trump  of  God  is  blown. 

It  is  remarkable  that  Charles  Wesley's  magnificent 
judgment  hymn  is  not  only  akin  to-  Olivers',  both  in 
thought  and  metre,  but  contains  also  the  line,  '  Lo  ! 


Account  of  Second  Rank  Hymns.       253 

He  comes,  with  clouds  descending.'  '  Whether  Wesley 
caught  the  key-note  from  Olivers,  or  Olivers  from 
Wesley,  they  evidently  breathed  the  same  inspiration. 
Each  hymnist  has  the  same  vivid  realisation  of  the 
overwhelming  majesty  of  the  last  scene,  and  neither  of 
the  two  hymns  can  be  devoutly  sung  without  an  ever- 
deepening  feeling  of  solemn  awe  and  reverent  hope. 

It  appears  that  Olivers  composed  the  well-known 
tune  called  'Helmsley'  to  be  sung  to  his  'judgment 
hymn.'  The  melody  was  suggested  by  the  music  of  a 
song  he  heard  sung  on  the  street,  and  the  tune  is  now 
almost  invariably  sung  to  Charles  Wesley's  noble 
Advent  hymn. 

190.  The  strife  is  o'er,  the  battle  done, 
The  victory  of  life  is  won, 

The  song  of  triumph  has  begun. 
Alleluia ! 

This  excellent  Easter  hymn  is  a  translation  by  the 
Rev.  Francis  Pott,  made  in  1859.  The  original  Latin 
was  thought  by  the  late  Ur.  Neale  to  date  from  the 
twelfth  century. 

191.  We  love  the  place,  O  God, 

Wherein  Thine  honour  dwells  ; 
The  joy  of  Thine  abode 
All  earthly  joy  excels  ! 

This  favourite  hymn  was  composed  by  Dean  Bullock 
of  Nova  Scotia,  and  first  appeared  in  his  collection 


254      Account  of  Second  Rank  Hymns. 

of  hymns,  entitled  Songs  of  the  Church,  published  in 

1854- 

Sir  H.  W.  Baker  varied  the  hymn  considerably  for 
Hymns  Ancient  and  Modern  in  1860,  and  added  three 
verses,  respectively  beginning — 

'We  love  the  Word  of  life,' 
'  We  love  to  sing  below,' 
*  Lord  Jesus,  give  us  grace. ' 

192.  Approach,  my  soul,  the  mercy-seat, 

Where  Jesus  answers  prayer  ; 
There  humbly  fall  before  His  feet, 
For  none  can  perish  there. 

This  penitential  hymn,  by  the  Rev.  John  Newton, 
appeared  in  1779. 

It  is  founded  on  Christ's  promise  :  '  Him  that  cometh 
unto  Me  I  will  in  no  wise  cast  out ; '  and  David's  prayer 
in  Psalm  li.  :  '  Create  in  me  a  clean  heart,  and  renew  a 
right  spirit  within  me.' 

193.  Arm  of  the  Lord,  awake,  awake  ! 

Put  on  Thy  strength,  the  nations  shake  ; 
And  let  the  world  adoring  see 
Triumphs  of  mercy  wrought  by  Thee  ! 

This  stirring  missionary  hymn  was  written  by  William 
Shrubsole,  born  at  Sheerness  1759,  died  in  London 
1829. 

The  above  first  appeared  in  Missionary  Hymns,  in 
1795- 


Account  of  Second  Rank  Hymns.       255 

194.  As  now  the  sun's  declining  rays 

At  even-tide  descend  ; 
So  life's  brief  day  is  sinking  down 

To  its  appointed  end. 

This  hymn  is  a  translation  from  the  Latin  by  John 
Chandler,  1837.  The  original  Latin  was  by  Charles 
Coffin,  and  was  contributed  to  the  Paris  Breviary  in 
1736,  where  it  stands  as  the  hymn  for  Nones  (afternoon 
service). 

195.  Blow  ye  the  trumpet,  blow 

The  gladly  solemn  sound; 
Let  all  the  nations  know, 

To  earth's  remotest  bound. 

This  bold  Easter  hymn,  by  Charles  Wesley,  first 
appeared  in  his  Hymns  for  the  New  Year,  1743.  It 
is  founded  on  the  year  of  jubilee  as  set  forth  in  Lev. 
xxv.  :  '  Then  shalt  thou  cause  the  trumpet  of  the  jubilee 
to  sound,  .  .  .  and  ye  shall  hallow  the  fiftieth  year,  and 
proclaim  liberty  throughout  all  the  land  unto  all  the 
inhabitants  thereof:  it  shall  be  a  jubilee  unto  you.' 

The  hymn  extols  the  liberty  of  Christ  in  the  Gospel 
as  nobler  than  the  deliverance  of  the  year  of  jubilee 
under  the  Levitical  dispensation. 

196.  Bread  of  the  world,  in  mercy  broken, 
Wine  of  the  world,  in  mercy  shed  ; 
By  Whom  the  words  of  life  were  spoken, 
And  in  Whose  death  our  sins  are  dead. 
This  short  but  favourite  hymn  of  two  stanzas  is  by 


256        Account  of  Second  Rank  Hymns. 

Bishop  Heber,  and  appeared  in  1827  in  the  collection 
of  hymns  published  by  his  widow.     (See  Hymn  33.) 

197.  Day  of  judgment,  day  of  wonders, 

Hark !  the  trumpet's  awful  sound, 
Louder  than  a  thousand  thunders, 
Shakes  the  vast  creation  round. 
This  noble  Advent  hymn  is  by  John  Newton,  and 
appeared  in  the  Olney  Hymns,  published  in  1779.    (See 
Hymn  15.) 

198.  Hail  !  Thou  once  despised  Jesus, 

Hail !  Thou  great  and  glorious  King ! 
Thou  didst  suffer  to  release  us, 

Thou  didst  free  salvation  bring. 
John  Bakewell,  author  of  the  above,  was  born  at 
Brailsford,  Derbyshire,  in  1721.  For  many  years  he 
was  a  Wesleyan  local  preacher,  and  as  such  a  friend  of 
the  Wesleys,  Toplady,  Madan,  and  other  eminent 
Nonconformists  of  that  period.  While  he  lived  at 
Westminster  it  is  said  that  Thomas  Olivers  wrote  the 
celebrated  hymn,  'The  God  of  Abraham  praise,'  in 
Bakewell's  house.  For  a  considerable  period  he  con 
ducted  the  Greenwich  Royal  Park  Academy.  His  long 
life  was  distinguished  for  eminent  piety  and  devoted 
earnestness  in  the  cause  of  religion.  He  died  at  Lewis- 
ham  in  1819,  in  his  ninety-eighth  year,  and  was  buried 
in  the  City  Road  Chapel  ground,  close  by  the  tomb  of 
John  Wesley.  On  his  tombstone  it  is  recorded  :  '  He 
adorned  the  doctrine  of  God  our  Saviour  eighty  years, 


Account  of  Second  Rank  Plymns.       257 

and  preached  His  glorious  Gospel  about  seventy  years.' 
Bakewell  was  the  author  of  several  hymns,  but  the 
above  is  the  best  known.  Parts  of  it  appeared  in 
1757,  arid  in  an  abridged  form  was  published  in 
Madan's  collection,  1760.  The  entire  hymn  was 
given  by  the  author  to  Toplady,  who,  after  making 
several  verbal  alterations,  published  it  in  his  collection, 
1776. 


199.  Hark  !  what  mean  those  holy  voices 

Sweetly  warbling  in  the  skies  ? 
Sure  th'  angelic  host  rejoices, 
Loudest  hallelujahs  rise. 

This  hymn  for  Christmas  Day  is  by  John  Cawood, 
Perpetual  Curate  of  Bewdley,  Worcestershire.  He  died 
in  1852,  aged  seventy-seven.  (See  Hymn  167.) 

200.  Lord  of  the  harvest,  once  again. 

This  harvest  hymn  was  written  by  John  Anstice  in 
1836,  the  year  of  his  death. 

'  The  hymns  were  all  dictated  to  his  wife  during  the 
last  few  weeks  of  his  life.' 


201.  My  faith  looks  up  to  Thee. 

This  hymn  is  by  Dr.  Ray  Palmer,  an  American  sacred 
poet,  and  bears  date  1830.     (See  Hymn  no.) 


258       Account  of  Second  Rank  Hymns. 


202.  O  holy  Saviour,  Friend  unseen. 

The  above  is  by  Charlotte  Elliott,  the  well-known 
hymn-writer,  who  died  at  an  advanced  age  in  1871. 
(See  Hymn  24.) 


203.  This  is  the  day  the  Lord  hath  made, 
He  calls  the  hours  His  own. 

This  is  Watts's  metrical  rendering  of  part  of  the  i  i8th 
Psalm,  beginning  '  This  is  the  day  which  the  Lord  hath 
made,  we  will  rejoice  and  be  glad  in  it/  The  original 
consists  of  five  stanzas,  all  of  which  frequently  appear 
in  our  modern  Hymnals,  and  forms  a  suitable  hymn  for 
Sunday  morning. 


204.  At  the  Lamb's  high  feast  we  sing 
Praise  to  our  victorious  King, 
Who  hath  wash'd  us  in  the  tide 
Flowing  from  His  pierced  side. 

This  hymn  is  a  translation  by  the  late  Robert 
Campbell,  a  member  of  the  Scottish  bar,  who  died  in 
Edinburgh,  1868. 

The  original  Latin,  beginning  'Ad  coenam  Agni 
providi,'  is  said  by  Dean  Koch  to  date  from  the  sixth 
century,  although  the  original  was  re-cast  in  the  seven 
teenth  century  for  the  Revised  Roman  Breviary.  The 
above  translation  appeared  in  1850. 


Account  of  Second  Rank  Hymns.       259 

205.  Christian,  dost  thou  see  them 

On  the  holy  ground, 
How  the  troops  of  Midian 
Prowl  and  prowl  around  ? 

ov  yap  p\^w€LS  TOVS  TapaTTOvras. 

The  above  is  a  translation  of  Dr.  Neale  from  the 
Greek  of  St.  Andrew  of  Crete,  and  appeared  in  1862  in 
his  Hymns  of  the  Eastern  Church. 

St.  Andrew  was  born  at  Damascus  in  660.  Early  in 
life  he  entered  a  monastery  in  Jerusalem,  and  from  this 
circumstance  he  is  sometimes  called  'St.  Andrew  of 
Jerusalem.'  When  about  fifty  years  old  he  was  raised 
to  be  Archbishop  of  Crete,  and  continued  to  hold  that 
high  office  till  his  death  in  the  year  732  A.D.  Seventeen 
of  his  homilies  are  still  extant,  and  as  a  hymnist  he  is 
celebrated  as  the  author  of  the  sacred  composition 
called  The  Great  Canon,  a  penitential  hymn  for  Mid 
Lent  Week,  consisting  of  three  hundred  stanzas,  which 
is  highly  esteemed  by  the  Greek  Church,  being  usually 
regarded  as  the  'King  of  Canons.'  The  above  hymn 
is  extracted  from  this  great  sacred  composition. 

206.  Ere  another  Sabbath's  close, 
Ere  again  we  seek  repose, 
Lord,  our  song  ascends  to  Thee, 
At  Thy  feet  we  bow  the  knee. 
The  author  of  this  beautiful  Sunday  evening  hymn  is 
not  known.     It  appeared  in  1832   in  a  collection   of 
hymns  compiled  by  the  Hon.  and  Rev.  Baptist  W.  Noel. 


260       Account  of  Second  Rank  Hymns. 

207.  O  Christ,  who  hast  prepared  a  place 
For  us  around  Thy  throne  of  grace, 
We  pray  Thee  lift  our  hearts  above, 
And  draw  them  with  the  cords  of  love. 

This  is  a  translation  by  John  Chandler  from  a  Latin 
hymn  of  the  seventeenth  century,  written  by  Jean  Baptiste 
de  Santeuil,  a  native  of  Paris.  The  translation,  as  above, 
appeared  in  1837  in  Hymns  of  the  Primitive  Church. 

208.  O  happy  band  of  pilgrims, 
If  onwaroTye  will  tread, 
With  Jesus  as  your  Fellow, 
To  Jesus  as  your  Head  ! 

This  hymn,  known  as  '  The  Pilgrims  of  Jesus/  by 
Dr.  Neale,  was  suggested  by  some  Greek  verses  of 
St.  Joseph  of  the  Studium. 

Joseph  was  a  native  of  Sicily,  born  about  the  end  of 
the  eighth  century.  He  embraced  the  monastic  life, 
and  was  raised  to  be  Archbishop  of  Thessalonica.  He 
spent  part  of  his  life  in  Constantinople,  Rome,  and  Crete. 
The  Studium,  from  which  he  is  named  'St.  Joseph  of 
the  Studium,'  was  the  greatest  abbey  in  Constantinople, 
the  first  in  the  city,  and  perhaps  the  most  influential 
abbey  that  ever  existed  in  the  world.  Joseph  was 
the  first  poet  of  the  third  period  of  Greek  hymnology, 
which  dates  from  the  close  of  the  Iconoclastic  persecu 
tion.  He  was  a  most  laborious  writer,  and  his  sacred 
compositions  are  almost  innumerable.  His  best  work  is 
thought  to  be  the  *  Canon  for  Ascension  Day,'  but  as  a 


Account  of  Second  Rank  Hymns.       261 

rule  his  sacred  song  does  not  commend  itself  to  Western 
tastes,  and  very  few  of  his  hymns  find  their  way  into  our 
Hymnals. 

209.  O  Lord  of  heaven  and  earth  and  sea, 
To  Thee  all  praise  and  glory  be ; 
How  shall  we  show  our  love  to  Thee, 

Giver  of  all  ? 

This  beautiful  offertory  hymn  is  by  Bishop  Chris 
topher  Wordsworth,  and  appeared  in  his  Holy  Year  in 
1863. 

210.  O  Love  divine,  how  sweet  Thou  art ! 
When  shall  I  find  my  willing  heart 

This  glorious  hymn,  by  Charles  Wesley,  is  thought  to 
be  one  of  his  best.  It  was  written  in  1 743,  and  appeared 
in  1749  in  Hymns  and  Sacred  Poems.  The  original 
consisted  of  seven  stanzas,  of  which  the  last  three  are 
usually  omitted  in  modern  Hymnals.  At  the  latter  part 
of  stanza  i  there  is  a  glowing  climax  expressive  of 
ardent  affection,  which  is  considered  a  sublime  strain. 
It  runs  thus — 

I  thirst,  and  faint,  and  die  to  prove 
The  greatness  of  redeeming  love. 

One  writer  says, '  This  is  one  of  Wesley's  best  hymns. 
For  its  delight  in  interior  spiritual  blessedness,  and  its 
warm,  impassioned  expressions  of  desire  after  the  love 
of  God,  it  may  be  compared  with  the  best  productions 
of  S.  Bernard.'  'The  hymn  contains  an  extraordinary 
depth  of  feeling  and  desire,  eager,  impatient,  resolute, 


262       Account  of  Second  Rank  Hymns. 

combined  with  an  extended  view  of  the  love  of  Godr 
such  as  only  a  poet  of  much  heart-experience,  like 
Charles  Wesley,  could  write.' 

It  is  of  this  hymn  that  Isaac  Taylor  writes  :  '  To  esti 
mate  duly  what  was  the  influence  of  this  rare  gift  of 
song,  and  to  measure  its  importance,  one  should  be  able 
to  recall  scenes  and  times  gone  by,  when  this  glorious- 
hymn  woke  up  all  ears,  eyes,  hearts,  in  the  crowded 
sanctuary.  It  was  a  spectacle  worth  gazing  upon.  It 
was  a  service  well  to  have  joined  in,  when  words  of  such 
power,  flowing  in  rich  cadence,  and  conveying  with  an 
intensity  of  emphasis  the  loftiest,  the  deepest,  and  the 
most  tender  emotions  of  the  Divine  life,  were  taken  up 
feelingly  by  an  assembly  of  men  and  women,  to  whom 
very  lately  whatever  was  not  of  the  earth  earthy  had 
neither  charm  nor  meaning.' 

211.  O  Thou,  the  contrite  sinner's  Friend, 
Who,  loving,  lov'st  them  to  the  end, 
On  this  alone  my  hopes  depend, 
That  Thou  wilt  plead  for  me. 

This  penitential  hymn  was  written  by  Charlotte 
Elliott  in  1837. 

212.  Saviour,  blessed  Saviour,  listen  while  we  sing, 
Hearts  and  voices  raising  praises  to  our  King. 

This  jubilant  hymn,  by  Godfrey  Thring,  first  appeared 
in  1862,  and  is  likely  to  take  high  rank  in  the  future. 


Account  of  Second  Rank  Hymns.       263 

213.  Thee  we  adore,  O  hidden  Saviour,  Thee, 

Who  in  Thy  Feast  art  pleased  with  us  to  be  ; 
Both  flesh  and  spirit  at  Thy  presence  fail, 
Yet  here  Thy  presence  we  devoutly  hail. 

This  hymn  is  a  translation  by  Bishop  Woodford  of 
Ely,  and  first  appeared  in  1853.  The  original  Latin 
from  which  it  is  taken  is  by  Thomas  Aquinas,  the 
'  Angelic  Doctor '  of  the  thirteenth  century. 

214.  To  the  Name  of  our  salvation, 
Laud  and  honour  let  us  pay, 
Which  for  many  a  generation, 
Hid  in  God's  foreknowledge  lay. 

This  hymn  is  a  translation  from  the  Latin,  made  in 
1851  by  Dr.  Mason  Neale.  The  Latin  original,  be 
ginning  '  Salvatoris  gloriosi,'  was  written  in  Germany  by 
an  unknown  author,  who  probably  lived  in  the  fifteenth 
century.  Another  translation  was  made  by  Rev.  John 
Ellerton  in  1871  for  Church  Hymns. 

21$.  When  Christ  the  Lord  would  come  on  earth, 

His  messenger  before  Him  went, 
The  greatest  born  of  mortal  birth, 

And  charged  with  words  of  deep  intent. 

This  hymn  was  written  by  Dean  Alford,  and  first 
appeared  in  1844,  and  subsequently  published  in  his 
Year  of  Praise  in  1867,  as  a  hymn  for  the  third  Sunday 
in  Advent. 


CHAPTER   IV. 

l&anfc  %mn^ 

INDEX,  SUMMARY,  AND  ACCOUNT  OE  EACH. 
INDEX  OF  THIRD  RANK  HYMNS. 

List  of  the  no  Third  Rank  Hymns,  arranged  in  order  of  merit, 
with  Names  of  Authors,  Dates,  and  Marks  of  Approval. 


Order,  Hytnns. 

216.  Christian,  seek  not  yet  repose, 

217.  Come,  Thou  Fount  of  every  blessing, 

218.  Far  from  these  narrow  scenes  of  night, 

219.  Fountain  of  mercy,  God  of  love, 

220.  Glory  to  Thee,  O  Lord, 

221.  God  of  mercy,  throned  on  high, 

222.  High  let  us  swell  our  tuneful  notes, 

223.  Jesu,  my  Lord,  my  God,  my  all, 

224.  Let  us,  with  a  gladsome  mind, 

225.  O  Paradise  !  O  Paradise  ! 

226.  O  praise  ye  the  Lord, 

227.  Of  the  Father's  love  begotten, 

228.  One  there  is,  above  all  others, 

229.  Saviour,  again  to  Thy  dear  Name  we  raise 

230.  The  Church  has  waited  long, 

231.  To-morrow,  Lord,  is  Thine, 

232.  We  saw  Thee  not  when  Thou  didst  come, 

233.  What  various  hindrances  we  meet, 

234.  At  even,  ere  the  sun  was  set, 

235.  Come,  ye  who  love  the  Lord, 

236.  Fountain  of  good,  to  own  Thy  love, 

237.  Gracious  Spirit,  love  Divine, 


A  uthors.  Marks. 

Elliott,  1839.        19 

Countess    of    Hunting- 


don, 

1759- 

19 

Steele, 

1760. 

19 

Flowerdew, 

1811. 

19 

Toke, 

1853- 

19 

Neele, 

1832. 

19 

Doddridge, 

1755- 

19 

Collins, 

1852. 

19 

Milton, 

1624. 

19 

VJFaber, 

1852. 

19 

Tate  and  Brady, 

1703. 

19 

Baker,  1862,  from 

Pru- 

dentius,  4th  century. 

19 

v.     Nunn,             born 

1779. 

19 

;ejJ  Ellerton, 

1866. 

19 

Bonar,           circa 

1844. 

19 

Doddridge, 

1755- 

19 

,     Gurney, 

1838. 

19 

Cowper, 

1779. 

19 

Twells,            born 

1823. 

18 

Walls, 

1709. 

18 

Doddridge, 

1755- 

18 

Stocker, 

1776. 

18 

Index  of  Third  Rank  Hymns. 


265 


Order.  Hymns. 

238.  Great  King  of  nations,  hear  our  prayer, 

239.  Hark  !  a  thrilling  voice  is  sounding, 

240.  I  was  a  wandering  sheep, 

241.  Jesu,  Thy  blood  and  righteousness, 

242.  Lord,  in  Thy  name  Thy  servants  plead,  %/ 

243.  Lord  of  the  Sabbath,  hear  us  pray, 

244.  O  come  and  mourn  with  me  a  while,  y 

245.  O  Lord,  how  happy  should  we  be, 

246.  O  what,  if  we  are  Christ's, 

247.  Prayer  is  the  soul's  sincere  desire, 

248.  Round  the  Lord  in  glory  seated, 

249.  Sing  Alleluia  forth  in  duteous  praise, 

250.  Spirit  of  Truth,  on  this  Thy  day, 

251.  Thou  Judge  of  quick  and  dead, 

252.  We  give  immortal  praise, 

253.  We  give  Thee  but  Thine  own, 

254.  We  've  no  abiding  city  here, 

255.  When  this  passing  world  is  done, 

256.  When  wounded  sore,  the  stricken  soul, 

257.  Bound  upon  the  accursed  tree, 

258.  Christ  is  made  the  sure  foundation,          ^ 

259.  Creator  of  the  stars  of  night, 

260.  Crown  Him  with  many  crowns, 

261.  Fair  waved  the  golden  corn, 

262.  For  all  Thy  saints,  O  Lord, 

263.  Forty  days  and  forty  nights, 

264.  Lord  God,  the  Holy  Ghost, 

265.  My  God,  how  wonderful  Thou  art, 

266.  My  God,  I  love  Thee,  not  because, 

267.  O  come,  loud  anthems  let  us  sing, 

268.  O  Jesu,  King  most  wonderful, 

269.  O  Lord,  how  joyful  'tis  to  see, 

270.  Sons  of  men,  behold  from  far, 

271.  Take  up  thy  cross,  the  Saviour  said, 

272.  Thou  art  gone  to  the  grave,  but  we  will  not 

deplore  thee, 


Authors. 

Marks. 

Gurney,                   1838. 

18 

Caswall,  1849,  from 

Ambrose,  4th  century. 

18 

Bonar,                      1844. 

18 

J.  Wesley,  1743,  from 

Zinzendorf. 

18 

Keble,                      1857. 

18 

Doddridge,             1755. 

18 

Faber,                       1849. 

18 

Anstice,                    1836. 

18 

Baker,                       1852. 

18 

Montgomery,          1818. 

18 

Bp.  Mant,       1776-1848. 

18 

Ellerton,                   1865. 

18 

Heber,                     1827. 

18 

Wesley,                    1749- 

18 

Watts,                      1709. 

18 

How,                       1854. 

18 

Kelly,                      1804. 

18 

M'Cheyne,               1837. 

18 

Alexander,               1858. 

18 

Milman,                   1837. 

17 

Neale,  1837,  from  Latin 

Hymn,  8th  century. 

17 

Campbell,  1850,  from 

Roman  Breviary. 

17 

Bridges,                    1852. 

17 

Gurney,                    1853. 

17 

Mant,             circa  1837. 

17 

Smyttan,                  1856. 

17 

Montgomery,          1825. 

17 

Faber,                       1849. 

17 

Caswall,  1849,  from 

Xavier,  1506-1552. 

17 

Tate  and  Brady,     1703. 

17 

Caswall,  1849,  from 

St.  Bernard. 

17 

Chandler,  1837,  from 

Paris  Breviary. 

17 

Wesley,                    1743. 

17 

Anon.,                      1833. 

17 

Heber, 


1827.       17 


266 


Index  of  Third  Rank  Hymns. 


Order.  Hymns. 

273.  Weary  of  earth,  and  laden  with  my  sin, 

274.  When,  His  salvation  bringing, 

275.  While  with  ceaseless  course  the  sun, 

276.  Awake,  my  soul,  stretch  every  nerve, 

277.  Christ  the  Lord  is  risen  again, 

278.  Father,  by  Thy  love  and  power, 

279.  Father,  I  know  that  all  my  life, 

280.  From  every  stormy  wind  that  blows, 

281.  Hail !  Thou  Source  of  every  blessing, 

282.  Hark,   hark,  my  soul !   angelic   songs 

swelling, 

283.  He  is  risen !  He  is  risen, 

284.  Head  of  the  Church  triumphant, 

285.  Hosanna,  raise  the  pealing  hymn, 

286.  I  lay  my  sins  on  Jesus, 

287.  Jesus,  I  my  cross  have  taken, 

288.  Let  me  be  with  Thee  where  Thou  art, 

289.  Lord  of  the  harvest,  Thee  we  hail, 

290.  Now,  my  soul,  thy  voice  upraising, 

291.  O  render  thanks  to  God  above, 

292.  Praise,  O  praise  our  God  and  King. 

293.  The  advent  of  our  King, 

294.  The  race  that  long  in  darkness  pined, 

295.  There  is  a  happy  land, 

296.  There's  a  Friend  for  little  children, 

297.  This  stone  to  Thee  in  faith  we  lay, 

298.  To  Thy  temple  I  repair, 

299.  When  I  can  read  my  title  clear, 

300.  With  glory  clad,  and  strength  arrayed, 

301.  With  joy  we  meditate  the  grace, 

302.  As  when  the  weary  traveller  gains, 

303.  Behold!  the  mountain  of  the  Lord, 

304.  Blessed  city !  heavenly  Salem, 

305.  Breast  the  wave,  Christian, 

306.  Dread  Jehovah,  God  of  nations, 

307.  Father,  again  in  Jesus'  name  we  meet, 

308.  Fierce  was  the  wild  billow, 

309.  From  Egypt  lately  come, 


Authors. 

Marks. 

Stone,              born  1839. 

17 

King,                        1830. 

17 

Newton,                   *779- 

17 

Doddridge,              1755- 

16 

Winkworth,  1858,  from 

Weiss,                  153*' 

16 

Anstice,                    1836. 

16 

Waring,                   1850. 

16 

Stowell,                    1832. 

16 

Woodd,                    1760. 

16 

Faber,                      1862. 

16 

Alexander,                1858. 

16 

Wesley,                    1745. 

16 

W.  H.  Havergal,  1833. 

16 

Bonar,                      1845. 

16 

Lyte,                         1847. 

16 

Elliott,                      1836. 

16 

Gurney,                    I&53- 

16 

Baker,  1837,  from 

Paris  Breviary. 

16 

Tate  and  Brady,     1703. 

16 

Baker,                      1861. 

16 

Chandler,  1837,  from 

the  Paris  Breviary. 

16 

Morrison,                 1781. 

16 

Young,                     1838. 

16 

Midlane,                  1860. 

16 

Montgomery,           1825. 

16 

Montgomery,           1825. 

16 

Watts,                      1709. 

16 

Tate  and  Brady,     1703. 

16 

Watts,                      1709. 

16 

Newton,                   1779- 

15 

Bruce,                      1781. 

15 

Neale,  1851,  from  Latin 

hymn,  8th  century. 

15 

Stammers,     born  1801. 

15 

C.  F.,                        1804. 

15 

Whitmore. 

15 

Neale,  1862,  from  Ana- 

tolius,  5th  century. 

15 

Kelly,                       1804. 

15 

Summary  of  Third  Rank  Hymns. 


Order.  Hymns. 

310.  Gracious  Saviour,  gentle  Shepherd, 

311.  Gracious  Spirit,  Holy  Ghost, 

312.  I  need  Thee,  precious  Jesus, 

313.  In  the  Lord's  atoning  grief, 

314.  It  came  upon  the  midnight  clear, 

315.  Jesu  !  the  very  thought  is  sweet,  v 

316.  Joy  to  the  world !  the  Lord  is  come, 

317.  My  God,  how  endless  is  Thy  love, 

318.  O  love,  how  deep,  how  broad,  how  high,* 

319.  O  Saviour,  is  Thy  promise  fled, 

320.  Once  more  the  solemn  season  calls, 

321.  Saviour,  who  Thy  flock  art  feeding, 

322.  Son  of  God,  to  Thee  we  cry, 

323.  The  Day  of  Resurrection, 

) 

324.  This  is  the  day  of  light, 

325.  Ye  choirs  of  New  Jerusalem, 


267 

A  uthors.  Marks. 

Wesley,  15 

Wordsworth,           1865.  15 

Whitfield,                1864.  15 
Oakeley,/r0#z  Bonaven- 

tura,  1221-1274.  15 

Sears,              circa  1838.  15 
Neale,  1862,  from 

St.  Bernard,         1150.  15 

Watts,                      1709-  *5 

Watts,                      1709.  15 

Neale,                      1862.  15 

Heber,                      1827.  15 
Chandler,  1837,  from 

Paris  Breviary.  15 

Muhlenberg,           1826.  15 

Mant,              1776-1848.  15 
Neale,   from  St.   John 

Damascene,  8th  cent.  15 

Ellerton,         born  1826.  15 
Campbell,     1850,  from 

Latin  hymn,  nth  cent.  15 


SUMMARY  OF  THIRD  RANK  HYMNS. 

All  hymns  found  in  fifteen  Hymnals  and  upwards, 
and  in  fewer  than  twenty,  have  been  classified  as  hymns 
of  the  third  rank. 

Of  these  there  are  no,  composed  by  60  hymn-writers, 
of  whom — 

39  authors  contribute  I  hymn  each  =  39  hymns. 

6  „  2  12         „ 

6  „  3  18      „ 

6  ,,  4  24      „ 

1  „  5          »  5      »i 

2  6  12 


60  authors. 


no  hymns. 


268       Summary  of  Third  Rank  Hymns. 


Arranging  the  hymn-writers  according  to  the  number 
of  hymns  contributed,  they  stand  thus — 


Neale, 

6 

Newton,    .         .     : 

i      Neele,        .         :     I 

Watts,       . 

6 

Anon., 

Nunn,        .         .     i 

Doddridge, 

5 

Bridges,    . 

Oakeley,   .         .     I 

Baker,  Sir  H.,  . 

4 

Bruce, 

Sears,        .         .     I 

Faber, 

4 

C.  F.,        .         . 

Smyttan,   .         .      I 

Gurney,     . 

4 

Collins,     . 

Stammers,          .      I 

Montgomery,     . 

4 

Cowper,    . 

Steele,       .         .     i 

Tate  and  Brady, 

4 

Flowerdew, 

Stocker,    .         .     i 

Wesley,  C.,       . 

4 

W.  H.  Havergal, 

Stone,        .         .     i 

Bonar, 

3 

How, 

Stowell,     .         .     i 

Caswall,    . 

3 

Huntingdon, 

Toke,         .         .     i 

Chandler,  . 

3 

Keble,       . 

Twells,      .         .     i 

Ellerton,  . 

3 

King, 

Waring,     .         .      I 

Heber,      . 

3 

Lyte, 

J.  Wesley,          .     i 

Mant, 

3 

M'Cheyne, 

Whitfield,          .     i 

C.  F.  Alexander, 

2 

Midlane,    . 

Whitmore,          .     i 

Anstice,     . 

2 

Milman,     . 

Winkworth,       ,      I 

Robert  Campbell, 

2 

Milton, 

Woodd,     .         .     I 

C.  Elliott, 

2 

Morrison,  . 

Bp.  Wordsworth,  i 

Kelly, 

2 

Muhlenberg, 

Young,      .         .     I 

Of  the  above  sixty  hymn-writers,  several  contribute  to 
First  Rank  hymns  ;  several  also  contribute  to  Second 
Rank  hymns,  and  fourteen  contribute  to  First,  Second, 
and  Third  Rank  hymns. 

Number  of  Third  Rank  Hymns  found  in  the  chief 
Hymnals. 

Of  the  no  hymns  included  in  the  Third  Rank — 

1.  The  Hymnal  Companion  .  contains  78,  and  omits  32 

2.  Church  Hymnal  (Irish)      .         .  58  ,         52 


3.  The  Church  of  England  Hymn-Book 

4.  Church  Hymns  (S.P.C.K.) 

5.  Hymns  Ancient  and  Modern 

6.  The  Westminster  Abbey  Hymn-Book 


52 
51 

48 
40 


58 
59 
62 
70 


Account  of  Third  Rank  Hymns.        269 

216.  '  Christian,  seek  not  yet  repose/ 
Hear  thy  guardian  angel  say  ; 
(  Thou  art  in  the  midst  of  foes, 
Watch  and  pray.' 

This  well-known  hymn,  consisting  of  six  stanzas,  is 
from  the  pen  of  Miss  Charlotte  Elliott,  and  first  appeared 
as  a  Wednesday  morning  hymn  in  her  Hymns  for  a 
Week,  published  in  1839.  Each  stanza  consists  of 
three  long  lines,  and  a  short  one  consisting  of  the  words 
'  Watch  and  pray/  which  form  a  refrain  at  the  end  of 
each  stanza.  This  form  of  metre,  although  somewhat 
rare,  is  adopted  by  Miss  Elliott  in  many  of  her 
hymns. 

The  above  is  founded  on  the  words,  '  Watch  and  pray, 
lest  ye  enter  into  temptation.' 


217.  Come,  Thou  Fount  of  every  blessing, 
Tune  my  heart  to  grateful  lays. 

This  hymn  of  praise  is  generally  assigned  to  the 
Countess  of  Huntingdon  (1759),  but  there  are  reasons 
for  thinking  that  it  was  written  in  1758  by  Robert 
Robinson,  a  celebrated  Baptist  minister,  who  died  in 
1790.  Sometimes  the  first  line  is  written,  *  Saviour! 
Fount  of  every  blessing.'  The  hymn  ought  carefully  to 
be  distinguished  from  one  beginning  *  Hail,  Thou 
Source  of  every  blessing/  written  by  B.  Woodd  in  the 
beginning  of  this  century. 


2  7O        Account  of  Third  Rank  Hymns. 

218.  Far  from  these  narrow  scenes  of  night 

Unbounded  glories  rise, 
And  realms  of  infinite  delight, 
Unknown  to  mortal  eyes. 

This  hymn  was  written  in  1760  by  Miss  Anne  Steele, 
daughter  of  a  Baptist  minister  at  Broughton,  Hampshire. 
The  above  hymn  in  the  original  consists  of  eleven 
stanzas,  and  is  entitled  'The  Promised  Land.'  It  is 
founded  on  Isaiah  xxxiii.  17:'  Thine  eyes  shall  see  the 
King  in  His  beauty,  and  shall  behold  the  land  that  is 
very  far  off.'  (See  Hymn  119.) 


219.  Fountain  of  mercy,  God  of  love, 
How  rich  Thy  bounties  are  ! 

This  harvest  thanksgiving  hymn  is  by  Mrs.  Alice 
Flowerdew,  and  first  appeared  in  1811.  It  is  founded 
on  a  hymn  written  in  1768  by  John  Needham,  a  Baptist 
minister  in  Bristol.  Mrs.  Flowerdew,  being  left  a 
widow,  took  up  a  ladies'  boarding-school  in  Islington. 
She  wrote  several  hymns,  of  which  she  says  :  '  They 
were  written  at  different  periods  of  life,  some  indeed  at 
a  very  early  age,  and  others  under  the  severe  pressure 
of  misfortune,  when  my  pen  had  frequently  given 
that  relief  which  could  not  be  derived  from  other 
employments.'  She  died  at  Ipswich  in  1830,  aged 
seventy-one. 


Account  of  Third  Rank  Hymns.        271 

220.  Glory  to  Thee,  O  Lord, 

Who  from  this  world  of  sin. 

This  hymn,  founded  on  the  slaughter  of  the  Holy 
Innocents,  was  written  by  Mrs.  Emma  Toke,  and  was 
contributed  to  the  S.P.C.K.  Hymnal  of  1852. 

221.  God  of  mercy,  throned  on  high, 
Listen  from  Thy  lofty  seat. 

This  useful  hymn  for  children  was  written  in  1818 
by  Henry  Neele,  and  is  founded  on  Jeremiah  iii.  4  : 
*  My  Father,  Thou  art  the  guide  of  my  youth.' 

222.   High  let  us  swell  our  tuneful  notes, 
And  join  the  angelic  throng. 

This  Christmas  hymn  was  written  about  1737  by. 
Philip  Doddridge.  It  was  originally  entitled  '  The 
Angels'  Song  at  Christ's  Birth,'  and  is  founded  on 
St.  Luke  ii.  14  :  '  Glory  to  God  in  the  highest,  and  on 
earth  peace,  good  will-toward  men.' 

223.  Jesu,  my  Lord,  my  God,  my  All, 
Hear  me,  blest  Saviour,  when  I  call. 

This  hymn  was  written  in  1852  by  Henry  Collins,  a 
London  clergyman,  who  seceded  to  the  Church  of  Rome 
in  1857,  and  died  lately  as  a  Cistercian  monk.  The 
refrain,  '  Oh !  make  me  love  Thee  more  and  more,'  is 
adapted  from  Faber's  hymn  '  Corpus  Christi.' 


272       Account  of  Third  Rank  Hymns. 

224.  Let  us,  with  a  gladsome  mind, 
Praise  the  Lord,  for  He  is  kind  : 
For  His  mercies  aye  endure, 
Ever  faithful,  ever  sure. 

John  Milton,  author  of  the  above,  is  accounted  our 
greatest  epic  poet,  and  the  equal  of  Homer  and  Dante. 
He  was  born  in  London  1608,  educated  at  St.  Paul's 
School,  graduated  at  Cambridge,  where  he  distinguished 
himself  for  the  excellence  of  Latin  verses.  When  a 
mere  youth  Milton  gave  promise  of  his  poetical  talent 
by  writing  metrical  versions  of  some  of  the  Psalms. 
The  above  hymn  is  part  of  his  rendering  of  the  i36th 
Psalm,  and  was  composed  when  the  author  was  a 
scholar  at  St.  Paul's  School,  and  only  fifteen  years  of 
age. 

Thirty  years  after  he  began  to  write  his  incomparable 
poem  'Paradise  Lost,'  and  in  1667  appeared  his 
'Paradise  Regained.'  Milton  died  in  1674,  at  the  age 
of  sixty-six,  and  was  buried  in  St.  Giles',  Cripplegate. 

225.  O  Paradise  !  O  Paradise  ! 

Who  doth  not  crave  for  rest  ? 

This  hymn,  founded  on  the  text,  '  Having  a  desire  to 
depart,  and  to  be  with  Christ,  which  is  far  better,'  was 
written  by  Faber,  and  appeared  in  his  collected  hymns 
in  1862.  In  that  year  Faber  completed  his  collection 
of  150  hymns,  and  then  he  determined  to  stop,  in  order 
that  his  hymns  might  equal  the  Psalms  in  number. 
The  above  is  149  in  the  general  collection. 


Account  of  Third  Rank  Hymns.        273 

226.  O  praise  ye  the  Lord  ! 

Prepare  your  glad  voice. 

This  is  the  metrical  version  of  the  i4Qth  Psalm  by 
Tate  and  Brady,  published  in  1703. 

227.  Of  the  Father's  love  begotten 
Ere  the  worlds  began  to  be. 

Corde  natus  ex  parentis, 
Ante  mundi  exordium. 

The  translation  of  this  hymn  is  by  Dr.  Mason  Neale, 
and  first  appeared  in  1852.  It  was  slightly  altered  for 
Hymns  Ancient  and  Modern  by  the  late  Sir  H.  W.  Baker. 
The  original  is  a  cento  from  a  sacred  ode  by  Prudentius, 
entitled,  'Hymnus  omnis  horae,'  which  celebrates  the 
whole  life  of  our  Saviour  from  His  Nativity  to  His 
Ascension. 

228.  One  there  is,  above  all  others, 

O  how  He  loves. 

This  excellent  hymn  for  children,  founded  on  the 
text,  *  There  is  a  friend  that  sticketh  closer  than  a 
brother,'  is  a  varied  form  of  a  hymn  written  by  Miss 
Marianne  Nunn  (1779-1847).  In  the  year  of  her  birth, 
1779,  John  Newton  published  in  his  Olney  Hymns  one 
commencing  with  the  same  words  as  the  above. 

229.  Saviour,  again  to  Thy  dear  Name  we  raise 

With  one  accord  our  parting  hymn  of  praise. 

This  beautiful  evening  hymn  is  from  the  pen  of  the 

Rev.  John  Ellerton,  Rector  of  Barnes,  a  living  hymnist, 

s 


274        Account  of  Third  Rank  Hymns. 

who  writes  many  excellent  hymns.  The  above  was 
written  for  a  Festival  of  Parochial  Choirs  held  at  Nant- 
wich  in  1866,  and  was  subsequently,  in  1868,  inserted 
in  the  Appendix  to  Hymns  Ancient  and  Modern. 

230.  The  Church  has  waited  long 

Her  absent  Lord  to  see. 

This  Advent  hymn  was  written  by  Dr.  Horatius 
Bonar  in  1844,  and  reprinted  in  his  Hymns  of  Faith 
and  Hope  in  1856. 

231.  To-morrow,  Lord,  is  Thine, 

Lodged  in  Thy  sovereign  hand, 
And,  if  its  sun  arise  and  shine, 

It  shines  at  Thy  command. 

This  hymn  of  warning  and  invitation,  by  Philip 
Doddridge,  is  founded  on  the  verse  '  To-day,  if  ye  will 
hear  His  voice,  harden  not  your  hearts,'  and  was  pro 
bably  written  to  be  sung  at  the  end  of  one  of  Dod- 
<iridge's  sermons  on  the  foregoing  text. 

232.  We  saw  Thee  not  when  Thou  didst  come 

To  this  poor  world  of  sin  and  death, 
Nor  e'er  beheld  Thy  cottage-home 

In  that  despised  Nazareth  ; 
But  we  believe  Thy  footsteps  trod 
Its  streets  and  plains,  Thou  Son  of  God. 

This  hymn  is  a  cento  based  on  an  anonymous 
American  hymn  beginning  'We  see  Thee  not.'  The 


Account  of  Third  Rank  Hymns.        275 

first  and  third  stanzas  are  by  the  Rev.  Henry  Jametf 
Buckoll,  one  of  the  Masters  of  Rugby  School,  who  first 
re-cast  the  American  hymn  for  use  in  Rugby  School 
Chapel.  It  was  re-written  in  1838  by  John  Hampden 
Gurney,  Rector  of  St.  Mary's,  Marylebone,  and  appeared 
in  the  Marylebone  collection  of  hymns  published  in 
1851.  Gurney  composed  the  fourth  and  fifth  stanzas. 

233.  What  various  hindrances  we  meet 
In  coming  to  the  Mercy-seat ; 

Yet  who,  that  knows  the  worth  of  prayer, 
But  wishes  to  be  often  there  ? 

'  This  hymn  or  prayer  by  Cowper  may  seem  at  first 
sight  too  familiar  for  insertion,  but  those  who  know 
trie  high  value  that  is  set  upon  it  by  the  poor  will  be 
unwilling  to  banish  it  from  a  Church  Hymnal.  Such  a 
hymn  will  be  an  incentive  to  devotion  in  many  a  lonely 
cottage,  and  yet  lonelier  workhouse  and  orphanage.  It 
is  in  places  like  these  this  hymn  is  so  useful  for  private 
meditation  or  pastoral  counsel.' 

234.  At  even,  ere  the  sun  was  set, 

The  sick,  O  Lord,  around  Thee  lay. 

This  soothing  evening  hymn,  founded  on  the  words, 
*  And  at  even,  when  the  sun  did  set,  they  brought  unto 
Him  all  that  were  diseased,  and  He  healed  many  that 
were  sick  of  divers  diseases,'  was  written  by  the  Rev. 
Henry  Twells,  Rector  of  Waltham,  Leicestershire,  and 
appeared  in  1868  in  Hymns  Ancient  and  Modern. 


276       Account  of  Third  Rank  Hymns. 

• 

235.  Come,  ye  who  love  the  Lord, 

And  let  your  joys  be  known, 
Join  in  a  song  with  sweet  accord, 
And  thus  surround  the  Throne. 

This  hymn  of  praise  was  written  by  Dr.  Watts  in 
1709. 

The  original  consists  of  ten  stanzas,  of  which  only 
about  half  appear  in  our  modern  Hymnals.  The 
hymn  is  founded  on  the  opening  verses  of  the  looth 
Psalm  :  '  Make  a  joyful  noise  unto  the  Lord,  all  ye 
lands.  Serve  the  Lord  with  gladness  ;  come  before 
His  presence  with  singing.' 

236.  Fountain  of  good,  to  own  Thy  love 

Our  thankful  hearts  incline. 

This  hymn,  for  almsgiving,  is  founded  on  the  words, 
{ Inasmuch  as  ye  have  done  it  unto  one  of  the  least  of 
these  My  brethren,  ye  have  done  it  unto  Me.'  It  is 
based  on  a  hymn  by  Doddridge,  beginning  'Jesus, 
my  Lord,  how  rich  Thy  grace  ! '  The  adaptation  was 
chiefly  effected  by  Edward  Osier,  and  first  appeared  in 
1836  in  Hall's  Psalms  and  Hymns. 

237.  Gracious  Spirit !  Love  Divine  ! 
Let  Thy  light  around  us  shine. 

This  hymn,  suitable  for  Whitsuntide,  appeared  first 
in  the  Gospel  Magazine  in  1777.  It  bore  the  signature 
of  John  Stocker,  but  all  that  is  known  of  this  author  is 


Account  of  Third  Rank  Hymns.        277 

that  he  belonged  to  Honiton,  Devon,  and  contributed 
nine  hymns  to  the  same  Magazine,  all  characterised  by 
considerable  religious  fervour. 

238.  Great  King  of  nations,  hear  our  prayer, 
While  at  Thy  feet  we  fall. 

This  hymn,  for  a  day  of  national  humiliation,  was 
written  by  John  Hampden  Gurney,  and  appeared  in 
1838  in  his  collection  of  Hymns  for  Public  Worship. 

239.  Hark  !  a  thrilling  voice  is  sounding. 

En  clara  vox  redarguit. 

This  is  a  translation  from  some  Latin  stanzas,  thought 
by  some  to  be  the  work  of  St.  Ambrose.  The  render 
ing  is  by  the  Rev.  Edward  Caswall,  born  1814,  seceded 
to  the  Church  of  Rome  in  1847,  and  died  a  priest  of 
the  Oratory,  Birmingham,  1877.  The  Latin  is  a  re-cast 
made  by  order  of  Pope  Urban  VIIL,  in  the  seventeenth 
century,  of  a  hymn  of  the  fifth  century,  beginning  '  Vox 
clara  ecce  intonat.' 

The  hymn  itself  is  designed  for  Advent,  and  its 
language  is  mainly  drawn  from  the  Epistle  of  the  first 
Sunday  and  the  Gospel  of  the  second  Sunday  of  that 
season. 

240.  I  was  a  wandering  sheep, 
I  did  not  love  the  fold. 

This  hymn,  so  touching  in  its  simplicity,  is  founded 
on  the  parable  of  the  Lost  Sheep,  and  was  written  by 
Dr.  Bonar  in  1844. 


2  78       Account  of  Third  Rank  Hymns. 

241.  Jesu,  Thy  blood  and  righteousness 
My  beauty  are,  my  glorious  dress  ; 
'Midst  flaming  worlds  in  these  array'd 
With  joy  shall  I  lift  up  my  head. 

This  hymn  is  a  translation  from  the  German  of 
Count  Zinzendorf  by  John  Wesley,  and  is  founded  on 
Isaiah  Ixi.  10  :  'He  hath  covered  me  with  the  robe  of 
righteousness.'  Wesley's  translation  consists  of  ten 
stanzas,  but  the  original  consists  of  twenty-four  stanzas. 
The  first  verse,  however,  quoted  above,  is  part  of  a 
hymn  by  Paul  Eber,  a  friend  and  amanuensis  of 
Melanchthon.  The  original  German  was  written  by 
Zinzendorf  in  1739,  in  the  island  of  Eustatius,  when 
the  Count  was  returning  from  visiting  some  missionaries 
who  had  gone  forth  from  Germany  to  preach  the 
Gospel  in  the  West  Indies. 

242.  Lord,  in  Thy  name  Thy  servants  plead, 

And  Thou  hast  sworn  to  hear. 

This  was  written  in  1856,  at  Malvern,  as  a  harvest- 
hymn,  by  John  Keble,  and  inserted  the  following  year, 
1857,  in  the  Salisbury  Hymn-book. 

243.  Lord  of  the  Sabbath,  hear  us  pray, 
In  this  Thy  house,  on  this  Thy  day. 

This  hymn,  suitable  for  Sunday  morning,  is  by  Dr. 
Doddridge,  and  bears  date  1736-7.  It  is  entitled  by 


Account  of  Third  Rank  Hymns.        2  79 

the  author  '  The  Eternal  Sabbath,'  and  is  founded  on 
Hebrews  iv.  9  :  '  There  remaineth  therefore  a  rest  for 
the  people  of  God.' 


244.  O  come  and  mourn  with  me  a  while, 

O  come  ye  to  the  Saviour's  side. 

This  touching  Passion  hymn  was  written  by  Faber 
in  1849. 

The  refrain,  '  Jesus  my  Love  is  crucified,'  at  the  end 
of  each  stanza,  is  eviolently  taken  from  the  words  of 
Ignatius,  who  on  the  way  to  his  martyrdom  frequently 
exclaimed,  '  My  Love  is  crucified.' 

245.  O  Lord,  how  happy  should  we  be 

If  we  could  cast  our  care  on  Thee. 

This  beautiful  hymn,  founded  on  the  words,  '  Casting 
all  your  care  upon  Him,  for  He  careth  for  you,'  was 
written  by  Professor  Anstice  in  1836,  just  a  few  weeks 
before  his  death. 


246.  O  what,  if  we  are  Christ's, 
Is  earthly  shame  or  loss  ? 

This  hymn,  founded  on  the  words,  *  I  reckon  that 
the  sufferings  of  this  present  time  are  not  worthy  to  be 
compared  with  the  glory  which  shall  be  revealed  in 
us,'  was  contributed  by  Sir  H.  W.  Baker,  in  1861,  to 
Hymns  Ancient  and  Modern. 


280       Account  of  Third  Rank  Hymns. 

247.  Prayer  is  the  soul's  sincere  desire, 
Uttered  or  unexpressed. 

This  hymn  was  written  by  James  Montgomery  in 
1818,  at  the  request  of  the  late  Edward  Bickersteth, 
for  his  treatise  on  Prayer.  It  is  so  perfect  an  exposi 
tion  of  that  heavenly  exercise,  and  rises  so  beautifully 
at  its  close  into  direct  supplication,  that  it  may  well 
find  a  place  in  a  Church  Hymnal. 

248.  Round  the  Lord  in  glory  seated, 
Cherubim  and  Seraphim. 

This  hymn  is  by  Bishop  Mant,  and  appeared  in  his 
Ancient  Hymns  from  the  Roman  Breviary.  This,  how 
ever,  is  original,  and  the  first  stanza,  generally  omitted, 
though  very  beautiful,  begins — 

Bright  the  vision  that  delighted 
Once  the  sight  of  Judah's  seer. 

249.  Sing  Alleluia  forth  in  duteous  praise, 

O  citizens  of  Heaven ;  in  sweet  notes  raise 
An  endless  Alleluia. 

This  hymn  of  praise,  known  from  the  refrain  as 
'The  Endless  Alleluia,'  is  a  translation  of  an  old 
Latin  hymn  assigned  by  Mone  to  the  fifth  century. 
The  original,  beginning  *  Alleluia  piis  edite  laudibus,' 
is  found  in  the  Mozarabic  (Spanish)  Breviary,  and  was 
sung  in  the  first  week  of  Lent.  The  translation  is  by 
the  Rev.  John  Ellerton,  and  first  appeared  in  the 


Account  of  Third  Rank  Hymns.       281 

Churchman? s  Family  Magazine  for  April  1865.  It  was 
revised  for  the  Appendix  to  Hymns  Ancient  and  Modern 
in  1868. 


250.  Spirit  of  Truth,  on  this  Thy  day, 

To  Thee  for  help  we  cry. 

This  hymn,  for  Whitsuntide,  was  written  by  Bishop 
Heber,  and  appeared  in  his  collection  of  hymns  pub 
lished  in  1827,  after  his  death. 

251.  Thou  Judge  of  quick  and  dead, 

Before  whose  bar  severe. 

This  hymn,  founded  on  the  words,  'Take  ye  heed, 
watch  and  pray,'  was  written  by  Charles  Wesley  in 
1749. 

252.  We  give  immortal  praise 

To  God  the  Father's  love. 

This  hymn,  founded  on  the  words,  c  Of  Him,  and 
through  Him,  and  to  Him  are  all  things ;  to  whom 
be  glory  for  ever.  Amen/  was  written  by  Dr.  Watts, 
and  appeared  in  1709. 

253.  We  give  Thee  but  Thine  own, 
Whate'er  the  gift  may  be. 

This  hymn  is  by  Bishop  Walsham  How,  and 
appeared  first  in  1854,  in  Morrell  and  How's  Psalms 
and  Hymns. 


282       Account  of  Third  Rank  Hymns. 

254.  We've  no  abiding  city  here : 

This  may  distress  the  worldling's  mind, 
But  should  not  cost  the  saint  a  tear, 
Who  hopes  a  better  rest  to  find. 

This  favourite  hymn,  by  Thomas  Kelly,  appeared  in 
1 804.  It  is  founded  on  the  words  in  Heb.  xiii.  14:'  Here 
have  we  no  continuing  city,  but  we  seek  one  to  come.' 

255.  When  this  passing  world  is  done, 
When  has  sunk  yon  glaring  sun. 
This  hymn  is   by  the   sainted   M'Cheyne,  born  in 
Edinburgh    in    1813,    died     in    1843.       The    above 
appeared  in   1837  in  his  Songs  of  Zion.      'Like  the 
course  of  the  falling  star,  that  after  delighting  us  for  a 
moment  seems  to  hasten  quickly  away  to  some  more 
congenial  sphere,  so  was  the  brief  but  beautiful  career 
of  this  eminent  servant  of  God.' 

256.  When  wounded  sore,  the  stricken  soul 

Lies  bleeding  and  unbound. 
This   Lenten   hymn,   founded   on   the  words,   '  He 
healeth  the  broken  in  heart,'  was  written  by  Mrs.  C.  F. 
Alexander,  and  first  appeared  in  1858  in  her  Hymns 
Descriptive  and  Devotional. 

257.  Bound  upon  the  accursed  tree, 

Faint  and  bleeding,  who  is  He  ? 
This  Passion  hymn  was  written  by  Dean  Milman, 
and  appeared  in  1837. 


Account  of  Third  Rank  Hymns.       283 

258.  Christ  is  made  the  sure  foundation, 
Christ  the  head  and  corner-stone. 

This  is  a  rendering  of  a  Latin  hymn  beginning 
'  Angulare  Fundamentum/  by  Dr.  Neale,  made  in  1851. 
Some  think  the  original  is  Ambrosian,  but  it  is  gener 
ally  believed  to  be  the  work  of  an  unknown  author  of 
the  eighth  century.  From  the  same  source  is  Neale's 
rendering,  '  Blessed  city,  heavenly  Salem.' 

259.  Creator  of  the  stars  of  night, 

Thy  people's  everlasting  light. 
This  is  a  translation  of  a  Latin  hymn  of  the  sixth 
century,  beginning  '  Conditor  alme  siderum,'  by  Robert 
Campbell.     Translations  of  the  same  Latin  hymns  have 
been  made  by  Neale,  Thring,  and  others. 

260.  Crown  Him  with  many  crowns, 
The  Lamb  upon  His  throne. 

This  hymn,  founded  on  the  words,  'and  on  His 
head  were  many  crowns,'  is  by  Matthew  Bridges,  who, 
about  1848,  became  a  Roman  Catholic.  The  above 
appeared  in  1852  in  a  small  work  of  his  called  The 
Passion  of  Jesus.  The  hymn  has  lately  been  re-cast  by 
the  Rev.  Godfrey  Thring,  and  printed  in  his  Church  of 
England  Hymn- Book. 

261.  Fair  waved  the  golden  corn 

In  Canaan's  pleasant  land. 

This  excellent  hymn  for  children  is  by  J.  H.  Gurney, 
and  first  appeared  in  1838  in  his  Psalms  and  Hymns. 


284       Account  of  Third  Rank  Hymns. 

262.  For  all  Thy  saints,  O  Lord, 
Who  strove  in  Thee  to  live. 

This  hymn,  suitable  for  Saints'  Days,  is  founded  on 
the  words,  '  Be  ye  followers  of  them,  who  through  faith 
and  patience  inherit  the  promises,'  and  was  written  by 
Bishop  Mant  about  1837.  It  first  appeared  in  his 
Ancient  Hymns  from  the  Roman  Breviary. 

263.  Forty  days  and  forty  nights 

Thou  wast  fasting  in  the  wild. 

This  Lenten  hymn  first  appeared  in  the  Penny  Post 
in  March  1856,  and  was  reprinted  in  1860  in  Hymns 
Ancient  and  Modern.  It  is  by  the  Rev.  George  Hunt 
Smytton,  appointed  Rector  of  Hawksworth,  Notting 
hamshire,  in  1850. 

264.  Lord  God,  the  Holy  Ghost, 
In  this  accepted  hour. 

This  excellent  hymn,  suitable  for  Whitsuntide,  is 
founded  on  the  words,  'And  suddenly  there  came  a 
sound  as  of  a  rushing  mighty  wind,  .  .  .  and  they  were 
all  filled  with  the  Holy  Ghost.'  It  was  written  by 
James  Montgomery,  and  appeared  in  1825. 

265.  My  God,  how  wonderful  Thou  art, 
Thy  majesty  how  bright. 

This  general  hymn  is  by  Frederick  William  Faber, 
and  first  appeared  in  1849.  It  was  also  embodied  in 
Faber's  collection  of  1862,  and  is  hymn  No.  9. 


Account  of  Third  Rank  Hymns.       285 

266.  My  God,  I  love  Thee,  not  because 
I  hope  for  heaven  thereby. 

This  is  a  translation  from  a  Latin  hymn  by  Francis 
Xavier,  the  famous  Jesuit  missionary  to  the  East,  who 
died  near  Canton,  China,  in  1552.  The  translation 
was  made  by  Edward  Caswall,  and  appeared  in  1849 
in  his  Lyra  Catholica. 

267.  O  come,  loud  anthems  let  us  sing, 
Loud  thanks  to  our  Almighty  King ! 
And  high  our  grateful  voices  raise, 
As  our  salvation's  Rock  we  praise. 

This  hymn  is  the  metrical  version  of  the  95th 
Psalm,  beginning  '  O  come,  let  us  sing  unto  the  Lord ; 
let  us  heartily  rejoice  in  the  strength  of  our  salvation.' 
It  is  taken  from  the  Psalter  known  as  the  '  New 
Version,'  by  Tate  and  Brady,  and  appeared  in  1703. 


268.  O  Jesu,  King  most  wonderful ! 
Thou  Conqueror  renowned. 

Jesu  !  rex  admirabilis, 
Et  triumphator  nobilis. 

A  portion  of  the  Latin  poem  of  St.  Bernard  of  Clair- 
vaux,  written  1140  A.D.,  rendered  into  English  by 
Edward  Caswall,  M.A.,  in  1849.  See  'Jesu  !  the  very 
thought  of  Thee.' 


286       Account  of  Third  Rank  Hymns. 

269.  O  Lord,  how  joyful  'tis  to  see 
The  brethren  join  in  love  to  Thee. 

This  hymn  is  a  rendering  by  John  Chandler,  in  1837, 
from  the  Paris  Breviary.  The  original  Latin  is  a  hymn 
for  Vespers  on  Tuesdays,  composed  by  Charles  Coffin 
in  1736. 

270.  Sons  of  men,  behold  from  far, 
Hail  the  long-expected  Star  ! 
Jacob's  Star,  that  gilds  the  night, 
Guides  bewildered  nature  right. 

This  hymn  for  the  Epiphany  is  by  Charles  Wesley. 
It  appeared  in  his  Hymns  and  Sacred  Poems,  published 
in  1739.  The  hymn  is  founded  on  Balaam's  prediction, 
uttered  on  the  top  of  one  of  the  mountains  of  Moab  : 
'  I  shall  see  Him,  but  not  now :  I  shall  behold  Him, 
but  not  nigh  :  there  shall  come  a  Star  out  of  Jacob,  and 
a  Sceptre  shall  rise  out  of  Israel.' 

271.  Take  up  thy  cross,  the  Saviour  said, 
If  thou  wouldst  My  disciple  be. 

This  hymn,  founded  on  the  words,  '  If  any  man  will 
come  after  Me,  let  him  deny  himself,  and  take  up  his 
cross,  and  follow  Me,'  is  by  the  Rev.  Charles  William 
Everest,  M.A.,  an  American  clergyman,  and  first 
appeared  in  1833. 


Account  of  Third  Rank  Hymns.       287 

272.  Thou   art  gone  to  the  grave,  but  we  will  not 

deplore  thee, 

Though   sorrows   and    darkness   encompass 
the  tomb. 

This,  suitable  for  '  The  Order  for  the  Burial  of  the 
Dead,'  is  by  Bishop  Heber,  and  appeared  in  a  collec 
tion  of  his  hymns  published  in  1827.  Heber  had  only 
one  child,  but  at  the  early  age  of  six  months  the  beloved 
babe  died.  Speaking  of  her  death,  he  says,  '  I  am  my 
self  more  cut  down  than  I  thought  I  should  be,  but  I 
hope  not  impatient.  I  do  not  forget  that  to  have  pos 
sessed  her  at  all,  and  to  have  enjoyed  the  pleasure  of 
looking  at  her,  and  caressing  her,  for  six  months,  was 
God's  free  gift,  and  still  less  do  I  forget  that  He  who 
has  taken  her  will  at  length,  I  hope,  restore  her 
to  us/ 

The  above  hymn  probably  refers  to  the  death  of  this 
dear  little  babe. 


273.  Weary  of  earth,  and  laden  with  my  sin, 
I  look  at  heaven,  and  long  to  enter  in. 

This  hymn  is  by  the  Rev.  Samuel  John  Stone, 
author  of  '  The  Church's  one  foundation.'  (See  Hymn 
1 8 8.)  The  above  appeared  in  his  Lyra  Fidelium,  which 
consisted  of  twelve  poems  on  the  articles  of  the  Creed. 
It  was  published  in  1865  under  the  article,  'I  believe 
in  the  Forgiveness  of  Sins.' 


288       Account  of  Third  Rank  Hymns. 

274.  When,  His  salvation  bringing, 
To  Zion  Jesus  came. 

This  favourite  hymn  for  children  was  written  by 
Joshua  King  about  1830.  It  is  founded  on  the  scene 
at  the  triumphal  entry  of  Christ  into  Jerusalem  :  c  And 
the  children  crying  in  the  temple,  and  saying,  Ho- 
sanna  to  the  Son  of  David.' 

275.  While  with  ceaseless  course  the  sun 
Hasted  through  the  passing  year. 

This  hymn,  suitable  for  the  close  of  the  year,  is  by 
John  Newton,  and  appeared  in  the  Olney  Hymns  in 
1779. 

276.  Awake,  my  soul,  stretch  every  nerve, 
And  press  with  vigour  on. 

This  hymn,  suitable  for  Confirmation,  is  founded  on 
the  words,  '  I  press  toward  the  mark  for  the  prize  of 
the  high  calling  of  God.'  It  was  written  by  Dr. 
Doddridge,  and  appeared  in  1755. 

277.  Christ  the  Lord  is  risen  again, 
Christ  hath  broken  every  chain. 

This  Easter  hymn  is  a  translation  from  a  German 
hymn  written  in  1531  by  Michael  Weiss,  a  pastor  of  the 
Bohemian  Brethren,  who  died  in  1540.  It  was  founded 
upon  an  old  German  Sequence  of  the  thirteenth  century. 
The  above  translation  was  made  by  Miss  Catharine 
Winkworth  in  1858. 


Account  of  Third  Rank  Hymns.       289 

278.  Father,  by  Thy  love  and  power, 
Comes  again  the  evening  hour. 

This  sweet  evening  hymn  was  written  by  the  Rev. 
Joseph  Anstice  in  1836.  All  his  hymns  were  dictated 
to  his  wife  during  the  last  few  weeks  before  his  death, 
and  were  privately  printed  in  1836,  immediately  after 
his  decease. 

279.  Father,  I  know  that  all  my  life 

Is  portioned  out  for  me. 

This  hymn,  consisting  in  the  original  of  eight  stanzas, 
was  written  by  Anna  Lsetitia  Waring,  and  appeared  in 
1850.  '  Her  beautiful  spiritual  hymns  cannot  be  mingled 
and  lost  amongst  the  numerous  productions  of  ordinary 
writers.  Their  intrinsic  excellence  as  Christian  hymns 
has  given  them  a  hold  upon  the  public  religious  mind.' 

280.  From  every  stormy  wind  that  blows, 
From  every  swelling  tide  of  woes. 

This  very  beautiful  hymn  is  founded  on  the  words, 
'  There  I  will  meet  with  thee,  and  I  will  commune  with 
thee  from  above  the  mercy-seat.'  It  was  written  in 
1832  by  Canon  Hugh  Stowell,  Rural  Dean  of  Salford, 
who  died  in  1865. 

281.  Hail!  Thou  Source  of  every  blessing, 

Sovereign  Father  of  mankind. 
This  Epiphany  hymn,  founded  on  the  words,  '  That 
the  Gentiles  should  be  fellow-heirs,  and  of  the  same 
body,  and  partakers  of  His  promise  in  Christ  by  the 

T 


290       Account  of  Third  Rank  Hymns. 

Gospel,'  was  written  in  1799  by  the  Rev.  Basil  Woodd, 
for  forty-six  years  minister  of  Portland  Chapel,  Maryle- 
bone.  The  above  is  often  confounded  with  a  well- 
known  hymn  beginning,  *  Come,  Thou  Fount  of  every 
blessing,'  but  the  similarity  of  the  two  ceases  with  the 
first  line  of  each. 

282.  Hark,  hark,  my  soul !      Angelic  songs  are 

swelling 

O'er  earth's  green  fields  and  ocean's  wave- 
beat  shore. 

This  favourite  hymn  is  by  Faber,  and  appears  in  his 
collection  of  1862,  where  it  is  entitled  'The  Pilgrims 
of  the  Night.' 

Bishop  Alexander  quaintly  says  :  '  This  hymn  com 
bines  every  conceivable  violation  of  every  conceivable 
rule  with  every  conceivable  beauty.' 

It  combines,  however,  noble  poetry  with  deep  spiri 
tuality,  and  has  found  its  way  to  Christian  hearts. 

283.  He  is  risen  !    He  is  -risen  ! 
Tell  it  with  a  joyful  voice. 

This  Easter  hymn  is  by  Mrs.  Cecil  Frances  Alexander, 
and  appeared  in  1858  in  her  Hymns  Descriptive  and 
Devotional. 

284.  Head  of  the  Church  triumphant, 

We  joyfully  adore  Thee  ! 

This  noble  hymn  was  written  by  Charles  Wesley  in 
1745,  and  appeared  in  his  Hymns  for  Times  of  Trouble 


Account  of  Third  Rank  Hymns.       291 

and  Persecution.  These  hymns  derive  additional  in 
terest  from  the  circumstances  under  which  they  were 
written.  England  was  not  only  at  war  with  France  and 
Spain,  but  the  country  was  disturbed  by  the  Rebellion 
of  the  Pretender,  and  many  outrages  were  being  com 
mitted  throughout  the  land.  Preachers  of  the  Gospel 
were  often  subjected  to  shameful  usage,  and  this  rough 
treatment  is. alluded  to  in  the  following  expressions  from 
the  above  hymn — 

While  in  affliction's  furnace, 
And  passing  through  the  fire. 

In  the  account  of  the  last  days  of  Bishop  Heber  there 
is  an  interesting  passage  bearing  upon  this  hymn.  The 
writer  of  the  narrative  says  :  '  On  returning  from  church 
in  the  morning  I  was  so  ill  as  to  be  obliged  to  go  to 
bed,  and,  with  his  usual  affectionate  consideration,  the 
Bishop  came  and  sat  the  greater  part  of  the  afternoon 
with  me.  Our  conversation  turned  chiefly  on  the 
blessedness  of  heaven,  and  the  best  means  of  preparing 
for  its  enjoyment.  He  repeated  several  lines  of  an  old 
hymn  by  Charles  Wesley,  which  he  said,  in  spite  of  one 
or  two  expressions,  he  admired  as  one  of  the  most 
beautiful  in  our  language  for  a  rich  and  elevated  tone 
of  devotional  feeling — 

Head  of  the  Church  triumphant, 
We  joyfully  adore  Thee.' 

This  estimate  of  the  above,  by  one  who  is  justly 
regarded  as  one  of  the  sweetest  hymn-writers,  is  of  great 
value,  and  gives  additional  interest  to  the  hymn  itself. 


292       Account  of  Third  Rank  Hymns. 

285.  Hosanna,  raise  the  pealing  hymn 
To  David's  Son  and  Lord ! 

This  hymn  for  children,  founded  on  the  words,  '  The 
children  crying  in  the  temple,  and  saying,  Hosanna 
to  the  Son  of  David,'  was  written  in  1838  by  Canon 
Havergal,  a  hymn-writer  and  distinguished  composer  of 
music.  For  many  years  he  was  Rector  of  Shareshill, 
near  Wolverhampton.  His  youngest  daughter  was  the 
late  Frances  Ridley  Havergal. 


286.  I  lay  my  sins  on  Jesus, 

The  spotless  Lamb  of  God. 

This  hymn  is  by  Dr.  Bonar,  and  appeared  in  1857  in 
his  Hymns  of  Faith  and  Hope.  It  was,  however,  written 
in  1844,  and  was  founded  on  an  old  Latin  hymn 
beginning — 

Jesu,  plene  caritate 

Manus  tuae  perforatae, 

Laxent  mea  crimina. 

287.  Jesus,  I  my  cross  have  taken, 
All  to  leave  and  follow  Thee. 

This  hymn,  founded  on  the  words,  '  God  forbid  that 
I  should  glory,  save  in  the  cross  of  our  Lord  Jesus 
Christ,'  is  by  H.  F.  Lyte,  and  was  written  in  1825. 


Account  of  Third  Rank  Hymns.        293 

288.  Let  me  be  with  Thee  where  Thou  art, 

My  Saviour,  my  eternal  Rest ! 
Then  only  will  this  longing  heart 
Be  fully  and  completely  blest ! 

This  short  hymn,  consisting  of  four  stanzas,  was 
written  by  Miss  Charlotte  Elliott  in  1836,  and  appears 
as  the  hymn  for  Friday  evening  in  her  Hymns  for  a 
Week.  It  is  founded  on  the  words  of  the  Saviour 
addressed  to  His  disciples,  'Where  I  am,  there  shall 
also  My  servant  be.' 

289.  Lord  of  the  harvest,  Thee  we  hail, 
Thine  ancient  promise  doth  not  fail ! 

This  harvest  hymn  is  by  John  Hampden  Gurney, 
and  appeared  in  1851  in  his  Psalms  and  Hymns  for 
Public  Worship,  although  written  some  time  before  this 
collection  appeared. 

290.  Now,  my  soul,  thy  voice  upraising, 
Tell  in  sweet  and  mournful  strains. 

This  hymn  is  a  translation  made  in  1861  by  Sir 
H.  Baker  from  the  Paris  Breviary.  It  differs  very  little 
from  a  rendering  made  by  John  Chandler  in  1837. 

The  original  Latin  hymn  in  the  Paris  Breviary  is 
by  Santolius  Maglorianus,  who  died  two  centuries  ago. 


294      Account  of  Third  Rank  Hymns. 

291.  O  render  thanks  to  God  above, 
The  Fountain  of  eternal  love, 
Whose  mercy  firm  through  ages  past 
Has  stood,  and  shall  for  ever  last ! 

This  hymn,  usually  consisting  of  five  stanzas,  is  part 
of  the  metrical  rendering  of  the  io6th  Psalm  by  Tate 
and  Brady.  The  original  appeared  in  the  New  Version 
in  1703,  and  consisted  of  forty-eight  stanzas,  thus  equal 
to  the  verses  of  the  Psalm,  which  begins  :  '  Praise  ye 
the  Lord.  O  give  thanks  unto  the  Lord  ;  for  He  is 
good  :  for  His  mercy  endureth  for  ever.' 

292.  Praise,  O  praise  our  God  and  King, 
Hymns  of  adoration  sing  ! 

This  excellent  harvest  thanksgiving  hymn  is  by  Sir 
H.  W.  Baker,  and  appeared  in  1861  in  Hymns  Ancient 
and  Modern.  The  refrain  in  each  stanza — 

For  His  mercies  still  endure, 
Ever  faithful,  ever  sure, 

—is  evidently  a  paraphrase  of  '  for  His  mercy  endureth 
for  ever,'  found  in  each  verse  of  the  13 6th  Psalm. 

293.  The  advent  of  our  King, 
Behold,  the  Lord  is  near ! 

This  Advent  hymn,  founded  on  the  words,  '  Tell  ye 
the  daughter  of  Sion,  Behold,  thy  King  cometh  unto 
thee,'  is  a  translation  from  a  Latin  hymn  contributed  to 
the  Paris  Breviary  by  Charles  Coffin  in  1736,  and  first 
appeared  in  the  Sarum  Hymnal. 


Account  of  Third  Rank  Hymns.       295 

The  hymn  seems  but  a  variation  of  a  translation  of 
the  same  Latin  piece  made  by  John  Chandler  in  1837, 

beginning — 

The  Advent  of  our  King 

Our  prayers  must  now  employ. 

294.  The  race  that  long  in  darkness  pined 
Have  seen  a  glorious  light. 

This  hymn  is  founded  on  Isaiah  ix.  2,  3  :  *  The  people 
that  walked  in  darkness  have  seen  a  great  light :  they 
that  dwell  in  the  land  of  the  shadow  of  death,  upon 
them  hath  the  light  shined.5 

It  is  by  the  Rev.  John  Morrison,  born  1 749,  and  for 
many  years  minister  of  Canisbay,  Caithness-shire,  until 
his  death  in  179^.  The  hymn  was  inserted  in  the 
Scotch  Paraphrases  in  1781. 

295.  There  is  a  happy  land, 
Far,  far  away ! 

This  favourite  Sunday-school  hymn  was  written  by 
Mr.  Andrew  Young,  an  Edinburgh  gentleman,  about 
1838.  Mr.  Young  was  a  student  of  Edinburgh  Uni 
versity,  and  after  devoting  a  great  many  years  to 
scholastic  duties,  he  settled  in  Edinburgh,  where  he 
has  now  resided  for  many  years. 

296.  There 's  a  Friend  for  little  children 
Above  the  bright  blue  sky. 

This  very  popular  children's  hymn  is  by  Albert  Mid- 
lane,  a  layman,  living  at  Newport,  Isle  of  Wight.  It 


296      Account  of  Third  Rank  Hymns. 

first  appeared  in  1860,  in  a  little  book  entitled  Good 
News  for  the  Little  Ones. 


297.  This  stone  to  Thee  in  faith  we  lay, 

We  build  the  temple,  Lord,  to  Thee; 
Thine  eye  be  open  night  and  day 
To  guard  this  house  and  sanctuary. 

This  beautiful  hymn,  suitable  for  the  consecration  of 
a  church,  is  from  the  pen  of  James  Montgomery,  and 
appeared  in  1825.  It  is  founded  on  Solomon's  prayer 
at  the  dedication  of  the  Temple :  *  O  God  of  Israel, 
have  Thou  respect  unto  the  prayer  of  Thy  servant,  that 
Thine  eyes  may  be  open  toward  this  house  night  and 
day,  even  toward  the  place  of  which  Thou  hast  said, 
My  Name  shall  be  there.' 

298.  To  Thy  temple  I  repair, 

Lord,  I  love  to  worship  there  ;> 
When  within  the  veil  I  meet 
Christ  before  the  mercy-seat. 

This  hymn,  well  adapted  for  public  worship,  was 
written  by  James  Montgomery,  and  appeared  in  1825. 
The  original  consisted  of  seven  stanzas,  of  which  the 
following  seldom  appears  in  modern  Hymnals  : — 

While  I  hearken  to  Thy  law, 
Fill  my  soul  with  humble  awe  ; 
Till  Thy  Gospel  bring  to  me 
Life  and  immortality  ! 


Account  of  Third  Rank  Hymns.       297 

299.  When  I  can  read  my  title  clear 
To  mansions  in  the  skies. 

This  hymn  of  faith  is  by  Dr.  Watts,  and  appeared  in 
1709.  The  allusions  in  this  hymn  to  aspects  of  the 
sea,  such  as  *  wild  deluge,' '  storms,' ( seas  of  rest,' '  bathe,' 
'wave,'  '  peaceful/  etc.,  were  probably  suggested  by  the 
views  of  '  Southampton  Water '  as  seen  from  the  resi 
dence  of  the  poet. 

300.  With  glory  clad,  with  strength  array'd, 
The  Lord  that  o'er  all  nature  reigns. 

This  hymn  is  a  paraphrase  of  the  93d  Psalm,  by  Tate 
and  Brady,  and  first  appeared  in  their  New  Version  of 
the  Psalms  in  1696. 

301.  With  joy  we  meditate  the  grace 
Of  our  High  Priest  above  ! 

This  hyftn,  founded  on  the  words,  '  We  have  not  an 
high  priest  which  cannot  be  touched  with  the  feeling  of 
our  infirmities,'  is  by  Dr.  Watts,  and  appeared  in  1709. 

302.  As  when  the  weary  traveller  gains 

The  height  of  some  o'erlooking  hill, 
His  heart  revives,  if,  'cross  the  plains, 
He  eyes  his  home,  though  distant  still. 

This  favourite  hymn,  by  John  Newton,  appeared  in 
the  Olney  collection  in  1779.  It  is  founded  on  the  pas 
sage  in  Hebrews  where  the  Patriarchs  of  old  are  spoken 


298       Account  of  Third  Rank  Hymns. 

of  as  pilgrims  journeying  towards  their  home  in  the 
heavens  :  '  These  all  died  in  faith,  not  having  received 
the  promises,  but  having  seen  them  afar  off,  and  were 
persuaded  of  them,  and  embraced  them,  and  confessed 
that  they  were  strangers  and  pilgrims  on  the  earth.' 

303.  Behold  !  the  mountain  of  the  Lord 
In  latter  days  shall  rise. 

This  beautiful  hymn,  suitable  for  Epiphany,  was 
written  by  Michael  Bruce,  born  1746,  died  1767,  a 
talented  Scottish  poet,  who  died  in  youth  of  a  rapid 
consumption.  The  above  was  embodied  in  the  Scottish 
Paraphrases  in  1781,  and  is  really  a  paraphrase  of  Isaiah 
ii.  2-6  :  '  It  shall  come  to  pass  in  the  last  days,  that  the 
mountain  of  the  Lord's  house  shall  be  established  in 
the  top  of  the  mountains,  and  shall  be  exalted  above  the 
hills ;  and  all  nations  shall  flow  unto  it.' 

304.  Blessed  city,  heavenly  Salem, 

Vision  dear  of  peace  and  love. 

This  is  a  translation  made  by  Dr.  Neale  of  a  grand 
old  Latin  hymn  of  the  eighth  century,  beginning  '  Urbs 
beata  Hierusalem.' 

305.  Breast  the  wave,  Christian,  when  it  is  strongest, 
Watch  for  day,  Christian,  when  the  night 's 

longest. 

This  hymn  was  written  about  1830  by  Joseph  Stam 
mers,  born  at  Bury  St.  Edmunds  in  1801.  He  still 
continues  to  pursue  the  profession  of  a  barrister. 


Account  of  Third  Rank  Hymns.       299 

306.  Dread  Jehovah,  God  of  nations, 
From  Thy  temple  in  the  skies. 

This  noble  hymn,  suitable  for  a  day  of  national  sup 
plication,  appeared  in  1804.  The  author  is  unknown, 
but  it  was  signed  with  the  initials  '  C.  F.' 

307.  Father,  again  in  Jesus'  name  we  meet, 
And  bow  in  penitence  beneath  Thy  feet. 

This  hymn,  suitable  for  Lent,  is  by  Lady  Whitmore, 
daughter  of  the  Earl  of  Bradford  ;  born  1792,  died  1840. 
The  hymn  appeared  in  1824  in  a  volume  of  Family 
prayers,  and  was  slightly  altered  in  1861  by  Rev. 

ancis  Pott. 

308.  Fierce  was  the  wild  billow 

Dark  was  the  night, 
Oars  laboured  heavily, 

Foam  glimmered  white. 
Trembled  the  mariners, 

Peril  was  nigh : 
Then  said  the  God  of  God, 

'  Peace  !  it  is  I.' 

This  is  one  of  Dr.  Neale's  happiest  translations  of  a 
Greek  hymn  by  S.  Anatolius  beginning  Zo<£epas 
r/DiKv/uas.  The  hymn  is  founded  on  the  passage,  '  When 
even  was  now  come,  His  disciples  went  down  unto  the 
sea ;  .  .  .  and  it  was  now  dark,  and  Jesus  was  not  come 
unto  them.  And  the  sea  arose  by  reason  of  a  great 


300      Account  of  Third  Rank  Hymns. 

wind  that  blew,  but  He  saith  unto  them,  It  is  I ;  be  not 
afraid.'  It  draws  a  vivid  picture  of  Christ  stilling  the 
waves  of  the  Sea  of  Galilee,  and  then  appeals  to  Him  as 
the  Calmer  of  the  storms  of  the  soul.  The  third  stanza 
of  Dr.  Neale's  translation  is  very  happy. 

309.  From  Egypt  lately  come, 

Where  death  and  darkness  reign, 
We  seek  our  new,  our  better  home, 
Where  we  our  rest  shall  gain. 

This  hymn,  by  Thomas  Kelly,  appeared  as  the  57th 
hymn  in  the  edition  of  the  author's  hymns  published  in 
1806.  The  original  consists  of  seven  stanzas,  with  a 
chorus,  and  is  founded  on  the  words,  '  For  they  that  say 
such  things  declare  plainly  that  they  seek  a  country.' 

310.  Gracious  Saviour,  gentle  Shepherd, 
Little  ones  are  dear  to  Thee. 

This  child's  hymn  was  written  by  the  Rev.  J.  Whittle- 
more,  a  Baptist  minister,  born  at  Sandy,  Bedfordshire, 
in  1802,  and  died  in  London  in  1860.  In  his  last 
year  he  published  a  Supplement  to  all  Hymn-Books, 
which  contained  this  hymn. 

311.  Gracious  Spirit,  Holy  Ghost, 

Taught  by  Thee,  we  covet  most. 

This  hymn  is  by  Bishop  Wordsworth,  and  appeared 
in  1862  in  his  Holy  Year.  It  is  appointed  for  Quin- 
quagesima  Sunday,  and  founded  on  the  words  that 


Account  of  Third  Rank  Hymns.       301 

occur  in  the  Epistle  for  that  day :  *  And  now  abideth 
faith,  hope,  charity,  these  three ;  but  the  greatest  of  these 
is  charity.' 

312.  I  need  Thee,  precious  Jesus, 

For  I  am  full  of  sin. 

This  hymn,  founded  on  the  words,  '  Unto  you  who 
believe  He  is  precious,'  was  written  in  1859  by  the 
Rev.  Frederick  Whitfield,  formerly  Vicar  of  Kirkby 
Ravensworth. 

313.  In  the  Lord's  atoning  grief, 
Be  our  rest  and  sure  relief. 

This  Passion  hymn  is  by  Canon  Oakeley,  formerly  a 
clergyman  of  the  Anglican  Church,  but  subsequently  a 
member  of  the  Church  of  Rome.  He  died  in  1880. 
The  above  is  a  rendering  of  a  Latin  piece  beginning 
'  In  passione  Domini/  supposed  to  be  by  Bonaventura, 
of  the  thirteenth  century. 

314.  It  came  upon  the  midnight  clear, 
That  glorious  song  of  old. 

This  Christmas  hymn  is  by  the  Rev.  Edmund  Hamil 
ton  Sears,  an  American  Unitarian  minister,  born  1810, 
died  1876.  The  hymn  was  composed  for  Christmas  1850. 

315.  Jesu  !  the  very  thought  is  sweet, 

In  that  dear  Name  all  heart  joys  mee't. 

This  hymn  is  a  translation  by  Dr.  Mason  Neale  of 
a  part  of  the  c  Jubilee  Rhythm '  of  Bernard  of  Clairvaux, 


302       Account  of  Third  Rank  Hymns. 

beginning,  'Jesu  dulcis  memoria.'  The  original  dates 
from  about  1150,  and  the  above  translation  appeared  in 
1851.  Another  well-known  rendering  of  the  same  is 
'  Jesu  !  the  very  thought  of  Thee,'  by  Edward  Caswall. 

316.  Joy  to  the  world  !  the  Lord  is  come, 
Let  earth  receive  her  King. 

This  Advent  hymn  is  by  Dr.  Watts,  and  appeared 
in  1709.  It  is  a  metrical  version  of  the  9  8th  Psalm, 
beginning,  '  O  sing  unto  the  Lord  a  new  song,'  etc. 

316.  My  God,  how  endless  is  Thy  love, 
Thy  gifts  are  every  evening  new. 

This  beautiful  morning  hymn  is  by  Dr.  Watts,  and 
appeared  in  1709.  It  is  founded  on  the  words,  'His 
compassions  fail  not ;  they  are  new  every  morning.' 

318.  O  love,  how  deep,  how  broad,  how  high, 
How  passing  thought  and  fantasy. 

This  is  a  translation  by  Dr.  Neale  from  a  Latin 
hymn  beginning,  <O  amor  quam  exstaticus,'  and  appeared 
in  Hymns  Ancient  and  Modern  in  1861. 

319.  O  Saviour,  is  Thy  promise  fled, 

Nor  longer  might  Thy  grace  endure. 

This  tender  and  exquisitely  simple  hymn  is  by  Heber, 
and  appeared  first  in  the  Christian  Observer  in  1811. 
In  his  collection  of  hymns  published  in  1827  this  is 
assigned  to  the  third  Sunday  in  Advent.  The  Gospel 


Account  of  Third  Rank  Hymns.        303 

for  that  day  represents  Christ  as  the  Great  Physician 
fulfilling  the  prophecy, '  Then  the  eyes  of  the  blind  shall 
be  opened,  and  the  ears  of  the  deaf  shall  be  unstopped  : 
then  shall  the  lame  man  leap  as  an  hart,  and  the  tongue 
of  the  dumb  sing.' 

320.  Once  more  the  solemn  season  calls 
A  holy  fast  to  keep. 

This  Lenten  hymn,  founded  on  the  words,  '  Rend 
your  hearts,  and  not  your  garments,  and  turn  unto  the 
Lord  your  God,'  is  an  improved  version  that  appeared 
in  1 86 1  of  John  Chandler's  hymn,  'The  solemn  season 
calls  us  now.'  The  latter  is  a  translation  from  the  Paris 
Breviary,  where  the  Latin  piece  is  a  Lenten  hymn  for 
Lauds. 

321.  Saviour,  who  Thy  flock  art  feeding 
With  the  Shepherd's  kindest  care. 

This  hymn,  suitable  for  Holy  Baptism,  is  by  the  Rev. 
William  Augustus  Muhlenberg,  D.D.,  born  in  Penn 
sylvania  in  1796.  He  was  for  many  years  Chaplain  of 
St.  Luke's  Children's  Hospital,  New  York.  The  above 
first  appeared  in  1826,  and  the  tender  references  to 
children  have  probably  primary  reference  to  the  little 
ones  intrusted  to  the  author's  spiritual  care. 

322.  Son  of  God,  to  Thee  we  cry, 
By  the  wondrous  mystery. 

This  hymn,  suitable  for  Passion  Week,  is  based  on  a 
hymn  by  Bishop  Mant,  an  Irish  Bishop,  born  1776, 


304        Account  of  Third  Rank  Hymns. 

died  1848.     It  appeared  in  Denton's  Church  Hymnal 
in  1853. 

323.  The  Day  of  Resurrection  ! 
Earth,  tell  it  out  abroad. 

This  Easter  hymn  is  a  translation  from  the  Greek  by 
Dr.  Neale,  and  first  appeared  in  1862  in  his  Hymns  of 
the  Eastern  Church. 

The  Greek  is  by  St.  John  Damascene,  the  last  of 
the  Greek  Fathers,  who  died  about  780,  and  the  origi 
nal  is  a  hymn  of  victory,  sung  at  the  first  hour  of  Easter 
morning. 

^^F 

324.  This  is  the  day  of  light, 

Let  there  be  light  to-day. 

This  hymn  for  Sunday  morning  is  by  the  Rev.  John 
Ellerton,  Rector  of  Barnes,  one  of  our  best  living 
hymnists.  It  first  appeared  in  1868  in  the  Selection 
of  Hymns  compiled  for  use  in  Chester  Cathedral. 

325.  Ye  choirs  of  New  Jerusalem, 

Your  sweetest  notes  employ. 

This  Easter  hymn  is  a  translation  by  Robert  Campbell 
of  an  ancient  Latin  hymn,  written  about  1000  A.D.  by 
St.  Fulbert  of  Chartres.  Another  translation  by  Neale 
appeared  in  Hymns  Ancient  and  Modern  in  1861. 


CHAPTER  V. 

cultural  »>ummarp  anti 
»>tantiarti 


of 


GENERAL  SUMMARY  OF  STANDARD  HYMNS, 

THE  325  Standard  Hymns  were  composed  by  117 
hymn-writers,  of  whom 

74  authors  contributed  I  hymn  each  =  74  hymns. 


12                     ,,                        2 

„                   24 

,, 

8               „                 3 

>  »                   24 

,, 

4               „                 4 

16 

ii 

4              i,                S 

20 

,, 

4                „                  6 

24 

,, 

2               ,,                 7 

14 

„ 

2              „                 8 

16 

„ 

9 

9 

,, 

»                 II 

»              ii 

»» 

„                      12 

12 

,, 

16 

,,              16 

,, 

17 

17 

,, 

21 

ii                   21 

,, 

„                     22 

22 

,, 

Anon  .     5 

„ 

Total,  117  authors. 

325 

hymns. 

U 


306  Summary  Table. 

SUMMARY  TABLE. 

List  of  the  117  Authors  who  composed  the  325  Standard 
Hymns )  together  with  the  number  of  Hymns  in  each 
Rank  contributed  by  each. 


Authors'  Names. 

First 
Rank. 

Second 
Rank. 

Third 
Rank. 

Total. 

C.  Wesley,  . 

10 

8 

4 

22 

Watts, 

8 

7 

6 

21 

Neale, 

7 

4 

6 

17 

Montgomery, 

4 

8 

4 

16 

Heber, 

7 

2 

3 

12 

Tate  and  Brady,    . 

3 

4 

4 

II 

Doddridge, 

4 

5 

9 

Chandler, 

. 

5 

3 

8 

Newton, 

2 

4 

2 

8 

Cowper, 

3 

3 

I 

7 

Keble, 

2 

4 

I 

7 

Bonar, 

. 

3 

3 

6 

Caswall, 

2 

i 

3 

6 

Elliot, 

2 

2 

2 

6 

Lyte,    . 

2 

3 

I 

6 

Sir  H.  Baker, 

. 

i 

4 

5 

Faber, 

. 

i 

4 

5 

Gurney, 

I 

... 

4 

5 

Kelly, 

I 

2 

2 

5 

Alexander, 

I 

I 

2 

4 

Mant, 

. 

I 

3 

4 

Milman, 

3 

I 

4 

Wordsworth, 

. 

3 

I 

4 

Addison, 

i 

2 

3 

Alford, 

2 

I 

3 

Anstice, 

. 

I 

2 

3 

R.  Campbell, 

1 

2 

3 

Ellerton,      . 

3 

3 

Grant, 

3 

... 

3 

Steele, 

2 

i 

3 

J.  Wesley,    . 

. 

2 

i 

3 

Bruce, 

i 

... 

i 

2 

Cawood, 

. 

2 

2 

Cox,     . 

i 

I 

... 

2 

Summary  Table.  307 


Authors'  Names' 

First 
Rank. 

Second 
Rank. 

Third 
Rank. 

Tot 

Edmeston,    .         . 

I 

I 

2 

Haweis, 

I 

I 

... 

2 

Ken,    .... 

2 

2 

Morrison, 

I 

I 

2 

Oakeley, 

I 

I 

2 

Ray  Palmer, 

... 

2 

... 

2 

Shirley, 

2 

... 

... 

2 

Stone, 

... 

I 

I 

2 

Toke, 

I 

... 

I 

2 

Adams, 

I 

Auber, 

I 

... 

... 

Baker,  F  

I 

... 

... 

Bakewell,     . 

I 

... 

Barbauld, 

... 

I 

Baring-Gould, 

... 

I 

Baxter, 

I 

I 

Bullock,        .        . 

I 

Byrom, 

I 

... 

... 

Browne, 

I 

... 

... 

C.  F.,           ... 

... 

I 

Cameron, 

I 

... 

... 

Carlyle, 

I 

... 

Cennick, 

I 

... 

... 

Collins, 

... 

I 

Conder, 

... 

I 

Cooper, 

I 

... 

... 

Cosin, 

I 

... 

Grossman,    . 

... 

I 

* 

Dix,     .... 

I 

... 

Doane, 

I 

... 

Downton,     . 

I 

... 

... 

Dryden, 

... 

I 

... 

Evans, 

I 

Flowerdew, 

I 

Hammond, 

... 

I 

... 

Hart,    .... 

I 

... 

Havergal,     . 

... 

... 

I 

Hill,    .... 

... 

I 

... 

How,  .... 

... 

... 

I 

308  Summary  Table. 

Total. 


Authors'  Names. 

First        Second      Third 
Rank.       Rank.        Rank. 

Huntingdon, 

I 

Irons, 

I 

Kethe, 

I 

Kirke  White,        . 

I 

King,            .         . 

I 

Mardley, 

I 

Marriott, 

I 

Maude, 

I 

M'Cheyne,  . 

I 

Midlane, 

I 

Milton, 

I 

Muhlenberg, 

I 

Newman, 

I 

Neele, 

I 

Nunn, 

I 

Olivers, 

I 

Osier, 

I 

Perronet, 

I 

Pott, 

I 

Prynne, 

I 

Rorison, 

I 

Ringwaldt,    . 

I 

Rinkart, 

I 

Scott, 

I 

Sears, 

I 

Shrubsole,   . 

I 

Smyttan, 

I 

Stammers,    . 

I 

I 

Stowell, 

I 

Thring, 

I 

Toplady, 

I 

Twells 

I 

Waring, 

I 

Whitfield,     . 

I 

Whiting, 

I 

Whitmore,    . 

I 

Williams,  I., 

I 

Williams,  W.,      . 

I 

Winkworth, 

I 

Summary  Table.  309 


Authors'  Names. 

First 
Rank. 

Second 
Rank. 

Third 
Rank. 

Total. 

Woodd, 

... 

I 

I 

Woodford,   . 

... 

1 

I 

Young, 

... 

I 

I 

Anon., 

2 

2 

I 

5 

117  authors. 

105 

110 

110 

325 

Of  the  117  standard  hymn-writers  it  ought  to  be 
noted  that — 

28  authors  contribute  to  first  rank  hymns  only. 

25  ,,  second  rank         „ 

27  ,,  third  rank  ,, 

5  ,,  first  and  second  rank  hymns  only. 

6  ,,  first  and  third  rank          ,, 
12  ,,  second  and  third  rank     ,, 
14  ,,  first,  second,  and  third    ,, 

117  authors. 

The  fourteen  hymn-writers  who  contribute  hymns  to 
the  First,  Second,  and  Third  Rank  are  : — Alexander, 
Caswall,  Cowper,  Elliott,  Heber,  Keble,  Kelly,  Lyte, 
Montgomery,  N'eale,  Newton,  Tate  and  Brady,  Watts, 
Wesley. 

The  following  general  summary  shows  that  the  six 
Hymnals,  arranged  according  to  the  number  of  classified 
hymns  contained  in  each,  stand  thus — 

First    Second   Third  Tntal    Dmin-^rl 
Rank.     Rank.    Rank.  TotaL  °E 

105.  1 10.  1 10.  325. 

1.  The  Hymnal  Companion  contains    103  96  78     277      48 

2.  Church  Hymnal  (Irish)            ,,           99  85  58     242       83 

3.  The  Church  of  England  Hymn- 

Book   .         .         .         contains    102       73       52     227       98 

4.  Church  Hymns  (S.P.C.K.)     ,,  97       62       51     210     115 

5.  The   Westminster  Abbey  Hymn- 

Book   .         .         .         contains     98      66      40    204     121 

6.  Hymns  Ancient  and  Modern  ,,          90      54      48     192     133 


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312  General  Index. 


GENERAL    INDEX. 

FIRST  RANK,      .  .  .        Nos.  i     to  105 

SECOND  RANK,  .  .  .        Nos.  106  to  215 

THIRD  RANK,    .  .  .        Nos.  216  to  325 

Order.                                        Hymns.  Page 

117.  A  few  more  years  shall  roll,  .            ....  212 

5.  Abide  with  me,          .             .            .            .             .            -58 
135.  According  to  Thy  gracious  word,    ....  223 

100.  All  glory,  laud,  and  honour,             ....  192 
46.  All  hail,  the  power  of  Jesus'  name,              .            .            .  136 
21.  All  people  that  on  earth  do  dwell,  ....  104 

i.  All  praise  to  Thee,  my  God,  this  night,       .  .  -47 

1 66.  Alleluia  !  song  of  sweetness,             ....  237 

167.  Almighty  God  !  Thy  Word  is  cast,             .             .             .  238 

88.  Angels  from  the  realms  of  glory,      ....  172 

192.  Approach,  my  soul,  the  mercy-seat,             .            .             .  254 

193.  Arm  of  the  Lord,  awake,  awake !    .        «  ,            .            .  254 

101.  Art  thou  weary,  art  thou  languid,    ....  192 

194.  As  now  the  sun's  declining  ray,        ....  255 

89.  As  pants  the  hart  for  cooling  streams,         .            .            .  172 
73.  As  with  gladness  men  of  old,           ....  162 

302.  As  when  the  weary  traveller  gains,  .            ...            .  297 

234.  At  even,  ere  the  sun  was  set,           ....  275 

204.  At  the  Lamb's  high  feast  we  sing,  .            .            .            .  258 

118.  Awake  and  sing  the  song,                 .            .            .            .  213 

6.  Awake,  my  soul,  and  with  the  sun,              .            .            .60 
276.  Awake,  my  soul,  stretch  every  nerve,          .            .            .  288 


General  Index.  313 

Order.  Hymns.  Page 

102.  Before  Jehovah's  awful  throne,        .  .  .  .196 

303.  Behold !  the  mountain  of  the  Lord,  .  .  .     298 

304.  Blessed  city,  heavenly  Salem,  ....     298 
145.  Blest  are  the  pure  in  heart,  .....     227 

195.  Blow  ye  the  trumpet,  blow,              ....  255 
257.  Bound  upon  the  accursed  tree,        ....  282 
168.  Bread  of  Heaven,  on  Thee  we  feed,            .            .            .  238 

196.  Bread  of  the  world,  in  mercy  broken,          .             .             .  255 

305.  Breast  the  wave,  Christian,  when  it  is  strongest,    .            .  298 
22.  Brief  life  is  here  our  portion,           .            .            .            .107 
82.  Brightest  and  best  of  the  sons  of  the  morning,       .            .  167 


55.  Children  of  the  Heavenly  King,       ....  144 

258.  Christ  is  made  the  sure  foundation,             .            .            .  283 
154.  Christ  is  our  corner-stone,    .....  231 
277.  Christ  the  Lord  is  risen  again,         ....  288 

37.  Christ  the  Lord  is  risen  to-day,       ....  126 

34.  Christ,  whose  glory  fills  the  skies,    ....  124 

205.  Christian,  dost  thou  see  them,         .             .             .             .  259 

216.  Christian,  seek  not  yet  repose,          ....  269 
83.  Christians,  awake  !  salute  the  happy  morn,            .            .  168 
23.  Come,  Holy  Ghost,  our  souls  inspire,         .            .            .  in 

106.  Come,  Holy  Spirit,  come,    .....  207 
136.  Come,  Holy  Spirit,  from  above,       ....  224 

90.  Come,  gracious  Spirit,  Heavenly  Dove,      .            .            .  172 

30.  Come,  let  us  join  our  cheerful  songs,          .            .            .  120 

182.  Come,  let  us  j  oin  our  friends  above,            .            .            .  244 

169.  Come,  let  us  to  the  Lord  our  God,  ....  239 

183.  Come,  my  soul,  thy  suit  prepare,     ....  246 

217.  Come,  Thou  Fount  of  every  blessing,          .             .             .  269 

170.  Come,  Thou  long-expected  Jesus,   ....  239 
47.  Come,  ye  thankful  people,  come,     .           '.            .            .  -  137 

235.  Come,  ye  who  love  the  Lord,           .            .            .            .  276 

259.  Creator  of  the  stars  of  night,            ....  283 

107.  Creator  Spirit,  by  whose  aid,            ....  207 

260.  Crown  Him  with  many  crowns,        .....  283 


314  General  Index. 

Order.                                         Hymns.  Page 

197.   Day  of  judgment,  day  of  wonders,  .             .  .  256 

108.  Day  of  wrath,  O  day  of  mourning,  .             .  .  208 

306.  Dread  Jehovah,  God  of  nations,       .            .  .            .  299 

206.  Ere  another  Sabbath's  close,            .  .  259 

171.  Eternal  Father,  strong  to  save,        ....  240 

261.  Fair  waved  the  golden  corn,             ....  283 

155.  Far  from  my  heavenly  home,            .             .  .  231 

218.  Far  from  these  narrow  scenes  of  night,        .  •  270 

307.  Father,  again  in  Jesus'  name  we  meet,        .  .  299 

278.  Father,  by  Thy  love  and  power,       .             .  .  289 

279.  Father,  I  know  that  all  my  life,        .  •  289 

48.  Father  of  Heaven,  whose  love  profound,     .  .  138 
119.   Father  of  mercies,  in  Thy  Word,     .  .  214 

156.  Father,  whate'er  of  earthly  bliss,     .  .  232 

308.  Fierce  was  the  wild  billow,  .  .  299 

262.  For  all  Thy  saints,  O  Lord,             .            .  .            .284 

123.  For  ever  with  the  Lord,        ...  .  217 
38.  For  thee,  O  dear,  dear  country,       ....  127 
91.   For  Thy  mercy  and  Thy  grace,        .  .  173 
78.  Forth  in  Thy  name,  O  Lord,  I  go,              .  .            .  165 

263.  Forty  days  and  forty  nights,            .             .  .  284 
236.  Fountain  of  good,  to  own  Thy  love,            .  .            .  276 

219.  Fountain  of  mercy,  God  of  love,      .             .  .             .  270 

124.  From  all  that  dwell  below  the  skies,            .  .            .218 

309.  From  Egypt  lately  come,     .  .  300 

280.  From  every  stormy  wind  that  blows,  .  289 
17.  From  Greenland's  icy  mountains,    .            .  .            .98 

31.  Glorious  things  of  thee  are  spoken,             .  .            .  121 

56.  Glory  be  to  Jesus,     .            .            .  A            .  145 

220.  Glory  to  Thee,  O  Lord,       .            .            .  .            .271 

57.  Go  to  dark  Gethsemane,      .            .            .  .            .  145 

49.  God  moves  in  a  mysterious  way,      .            .  .  138 

109.  God  of  mercy,  God  of  grace,           ....  208 

221.  God  of  mercy,  throned  on  high,       ....  271 


General  Index.  315 


Order.  Hymns, 

103.  God  of  our  life,  to  Thee  we  call,     ....  197 

39.  God,  that  madest  earth  and  heaven,  .  .  .  127 

310.  Gracious  Saviour,  gentle  Shepherd,  .  .  .  300 

311.  Gracious  Spirit,  Holy  Ghost,  ....  300 

237.  Gracious  Spirit,  love  divine,            ....  276 
18.  Great  God,  what  do  I  see  and  hear,            .            .            .  101 

238.  Great  King  of  nations,  hear  our  prayer,      .            .            .  277 
58.  Guide  me,  O  Thou  great  Jehovah,  ....  147 

25.  Hail  the  day  that  sees  Him  rise,      .  .  .  .114 

198.  Hail !  Thou  once  despised  Jesus,     ....     256 

281.  Hail !  Thou  Source  of  every  blessing,          .  .  .     289 

26.  Hail  to  the  Lord's  Anointed,  .  .  .  .116 

239.  Hark  !  a  thrilling  voice  is  sounding,  .  .  .     277 

282.  Hark,  hark,  my  soul !.....     290 

157.  Hark  !  my  soul,  it  is  the  Lord,        ....     232 
14.   Hark  !  the  glad  sound,  the  Saviour  comes,  .  .81 

2.  Hark  !  the  herald  angels  sing,         .  .  .  .50 

146.  Hark  !  the  song  of  Jubilee,  .....     228 

158.  Hark  !  the  sound  of  holy  voices,      ....     233 
172.  Hark  !  the  voice  of  love  and  mercy,  .  .  .     240 

199.  Hark  !  what  mean  those  holy  voices,          .  .  .     257 
125.  Have  mercy,  Lord,  on  me,  .....     218 

283.  He  is  risen  !  He  is  risen  !    .  .  .  .  .     290 

284.  Head  of  the  Church  triumphant,     ....     290 
222.  High  let  us  swell  our  tuneful  notes,  .  .  .     271 

ii.   Holy  !  Holy  !  Holy  !  Lord  God  Almighty  !  -76 

285.  Hosanna,  raise  the  pealing  hymn,  ....     292 
27.   Hosanna  to  the  living  Lord,  .  .  .  .117 

120.    How  beauteous  are  their  feet,          .  .  .     215 

50.  How  bright  these  glorious  spirits  shine,      .  .  .     139 

15.  How  sweet  the  name  of  Jesus  sounds,         .  .  .84 

137.  I  heard  the  voice  of  Jesus  say,        .  .  .  .  224 

286.  I  lay  my  sins  on  Jesus,         .            .            .            .            .  292 
312.  I  need  Thee,  precious  Jesus,                                                .  301 
240.  I  was  a  wandering  sheep,     .....  277 


3 1 6  General  Index. 

Order.  Hymns.                                                             Page 

126.  In  the  hour  of  trial,  Jesu,     .  .            .            .            .     218 

313.  In  the  Lord's  atoning  grief,  ....     301 
105.  In  token  that  thou  shalt  not  fear,   .             .             .            .197 

314.  It  came  upon  the  midnight  clear,    ....     301 

16.  Jerusalem,  my  happy  home !           .            .            .            .86 

184.  Jerusalem  on  high ,  ......     246 

7.  Jerusalem  the  golden,  .            .            .            .            .62 

8.  Jesu,  Lover  of  my  soul,        .  .             .             .             .68 

223.  Jesu,  my  Lord,  my  God,  my  All,    .  .           ..             .     271 

315.  Jesu,  the  very  thought  is  sweet,      .  .            .            .301 
59.  Jesu,  the  very  thought  of  Thee,       ....     149 

no.  Jesu,  Thou  joy  of  loving  hearts,      ....     209 

241.  Jesu,  Thy  blood  and  righteousness,  .             .            .     278 
139.  Jesus  calls  us ;  o'er  the  tumult,       .            .                        .     225 

12.  Jesus  Christ  is  risen  to-day,              .             .             .             -78 

287.  Jesus,  I  my  cross  have  taken,          ....     292 
51.  Jesus  lives  !  no  longer  now,             .                        .            .     140 

138.  Jesus,  meek  and  gentle,        .....     224 

40.  Jesus  shall  reign  where'er  the  sun,              .            .            .     128 

127.  Jesus,  where'er  Thy  people  meet,    ....     219 

316.  Joy  to  the  world  !  the  Lord  is  come,          .  .            .     302 
64.  Just  as  I  am,  without  one  plea,       ....     155 

185.  Lead,  kindly  Light,  amid  the  encircling  gloom,    .  .     247 

92.  Lead  us,  Heavenly  Father,  lead  us,  ...     174 

288.  Let  me  be  with  Thee  where  Thou  art,        .  .            .     293 

224.  Let  us,  with  a  gladsome  mind,        ....     272 

173.  Light  of  those  whose  dreary  dwelling,        .  .            .     240 
3.  Lo  !  He  comes  with  clouds  descending,     .            .            -53 

174.  Lo  !  round  the  throne  at  God's  right  hand,  .            .     241 

93.  Lord  !  as  to  Thy  dear  Cross  we  flee,          .  ..           .     174 
79.  Lord,  dismiss  us  with  Thy  blessing,           .            .            .165 

264.  Lord  God,  the  Holy  Ghost,             ....     284 

94.  Lord,  in  this  Thy  mercy's  day,        .  .            .            .     175 

242.  Lord,  in  Thy  name  Thy  servants  plead,     .  .            .     278 
159.  Lord,  it  belongs  not  to  our  care,     ....     233 


General  Index.  317 

Order.  Hymns.  Page 

80.  Lord  of  mercy  and  of  might,  .  .  .  .167 

200.   Lord  of  the  harvest,  once  again,     ....     257 

289.   Lord  of  the  harvest,  Thee  we  hail,  .  .  .     293 

243.  Lord  of  the  Sabbath,  hear  us  pray,  .  .  .     278 

84.  Lord  of  the  worlds  above,   .  .  .  .  .169 

186.   Lord,  pour  Thy  Spirit  from  on  high,          .  .  .     248 

160.  Lord,  teach  us  how  to  pray  aright,  .  .  .     234 

35.   Lord,  when  we  bend  before  Thy  throne,    .  .  .     124 

74.  Love  Divine,  all  love  excelling,        ....     163 


161.  May  the  grace  of  Christ  our  Saviour,          .            .            .  234 

201.  My  faith  looks  up  to  Thee,  .....  257 

41.  My  God,  and  is  Thy  table  spread  ?  130 

316.  My  God,  how  endless  is  Thy  love,              .            .            .  302 

265.  My  God,  how  wonderful  Thou  art,              .            .            .  284 

266.  My  God,  I  love  Thee,  not  because,             .            .            .  285 
24.  My  God,  my  Father,  while  I  stray,             .            .            .  113 

13.  Nearer,  my  God,  to-Thee,   .            .            .            .  79 

65.  New  every  morning  is  the  love,       ....  156 

140.  Not  all  the  blood  of  beasts,              ....  225 

290.  Now,  my  soul,  thy  voice  upraising,             .            .            .  293 

105.  Now  tfiank  we  all  our  God,              ....  198 

207.  O  Christ,  who  hast  prepared  a  place,          .            .            .  260 

75.  O  come,  all  ye  faithful,        .....  163 

244.  O  come  and  mourn  with  me  a  while,           .            .            .  279 

267.  O  come,  loud  anthems  let  us  sing,  ....  285 

128.  O  day  of  rest  and  gladness,             ....  220 
85.  O  for  a  closer  walk  with  God,    .                  .            .            .  ^o 

in.  O  for  a  heart  to  praise  my  God,      ....  209 

129.  O  for  a  thousand  tongues  to  sing,  ....  220 
60.  O  God  of  Bethel !  by  whose  hand,  .            .  .         .            .  152 

147.  O  God  of  Hosts,  the  mighty  Lord,             .            .            .  228 

19.  O  God,  our  help  in  ages  past,          ....  103 

95.  O  God,  unseen  yet  ever  near,          .            .            .            .  176 


3 1 8  General  Index. 

Order.  Hymns.  Page 

208.  O  happy  band  of  pilgrims,  .....  260 
76.  O  help  us,  Lord,  each  hour  of  need,           .            .            .  164 

202.  O  holy  Saviour,  Friend  unseen,        ....  258 

268.  O  Jesu,  King  most  wonderful,         .            .                    .     .  285 

148.  O  Jesu,  Lord  of  heavenly  grace,      ....  228 

245.  O  Lord,  how  happy  should  we  be,  ....  279 

269.  O  Lord,  how  joyful  'tis  to  see,         ....  286 

209.  O  Lord  of  heaven  and  earth  and  sea,          .            .            .  261 

52.  O  Lord,  turn  not  Thy  face  from  me,           .            .             .  141 

210.  O  Love  Divine,  how  sweet  Thou  art !                     .            .  261 

318.  O  love,  how  deep,  how  broad,  how  high,    .            .            .  302 

225.  O  Paradise  !  O  Paradise  !     .            .            ...            .  272 

226.  O  praise  ye  the  Lord  !.....  273 
291.  O  render  thanks  to  God  above,        ....  294 

319.  O  Saviour,  is  Thy  promise  fled  ?                   .             .             .  302 

149.  O  Spirit  of  the  living  God,  .....  229 
42.  O  Thou  from  whom  all  goodness  flows,      .            .            .  131 

211.  O  Thou,  the  contrite  sinner's  Friend,          .             .             .  262 

175.  O  Thou,  to  whose  all-searching  sight,         .            .            .  241 
187.  O  where  shall  rest  be  found,            ....  249 

32.  O  worship  the  King,             .....  122 

227.  Of  the  Father's  love  begotten,          ....  273 
28.  Oft  in  danger,  oft  in  woe,     .            .            .            .            .118 

246.  Oh!  what  if  we  are  Christ's,             .            .          *.            .  279 
130.  On  Jordan's  bank  the  Baptist's  cry,             .            .             ,  221 

320.  Once  more  the  solemn  season  calls,             .            .            .  303 

228.  One  there  is  above  all  others,            .            .            .            .  273 

176.  Onward,  Christian  soldiers,              ....  242 

53.  Our  blest  Redeemer,  ere  He  breathed,         .            .            .  142 


131.  Pleasant  are  Thy  courts  above,        .  .  .  .     221 

66.  Praise,  my  soul,  the  King  of  heaven,  .  .  .     157 
292.  Praise,  O  praise  our  God  and  King,            .            .            -294 

67.  Praise  the  Lord  ;  ye  heavens,  adore  Him,  .  .  .     158 
121.  Praise  to  God,  immortal  praise,        ....     215 
247.  Prayer  is  the  soul's  sincere  desire,    .            .            .  .280 


General  Index,  319 


Order.  Hymns. 

86.  Rejoice,  the  Lord  is  King,   .  ...     170 

61.  Ride  on,  ride  on  in  majesty,  ....     153 
4.  Rock  of  Ages,  cleft  for  me,  .  .            .           ..            '55 

248.  Round  the  Lord  in  glory  seated,  ....     280 

177.  Salvation,  O  the  joyful  sound,          ....     242 

229.  Saviour,  again  to  Thy  dear  name  we  raise,  .  .     273 
212.  Saviour,  blessed  Saviour,      .....     262 
132.  Saviour,  breathe  an  evening  blessing,          .            .  .     222 

20.  Saviour,  when  in  dust  to  Thee,        .            .   .         .            .  103 

321.  Saviour,  who  Thy  flock  art  feeding,             .            .            .  303 

178.  See  the  destined  day  arise,    .....  243 

249.  Sing  Alleluia  forth  in  duteous  praise,           .            .            .  280 
68.  Soldiers  of  Christ,  arise,        .....  158 

322.  Son  of  God,  to  Thee  I  cry,  .....     303 

62.  Songs  of  praise  the  angels  sang,       ....     154 

270.  Sons  of  men,  behold  from  far,          ....     286 

112.  Spirit  of  mercy,  truth,  and  love,       ....     210 

250.  Spirit  of  truth,  on  this  Thy  day,       .  .  .  .281 
9.  Sun  of  my  soul,  Thou  Saviour  dear,             .            .  -70 

141.  Sweet  is  the  work,  my  God,  my  King,        .  .  .     225 

162.  Sweet  Saviour,  bless  us  ere  we  go,  ....     235 
36.  Sweet  the  moments,  rich  in  blessing,  .  .  .125 

271.  Take  up  thy  cross,  the  Saviour  said,  .  .  .     286 

96.  That  day  of  wrath,  that  dreadful  day,         .  .  .177 
293.  The  advent  of  our  King,       .....     294 

230.  The  Church  has  waited  long,  ....     274 

188.  The  Church's  one  foundation,  "  249 

97.  The  day  is  past  and  over,     .....     187 

323.  The  day  of  resurrection,        .....     304 

189.  The  God  of  Abraham  praise,  ....     249 

163.  The  happy  morn  is  come,     .  .  .  .  .     236 

142.  The  head  that  once  was  crowned  with  thorns,        .  .     226 

113.  The  Lord  my  pasture  shall  prepare,  .  .  .210 
150.  The  Lord  of  might  from  Sinai's  brow,         .            .  .     229 

87.  The  Lord  will  come,  the  earth  shall  quake,  .  .     171 


320  General  Index. 

Order.  Hymns.  Page 

294.  The  race  that  long  in  darkness  pined,          .  *          .  .     295 
98.  The  roseate  hues  of  early  dawn,       ....     188 
33.  The  Son  of  God  goes  forth  to  war,  ....     122 

122.  The  spacious  firmament  on  high,     ....     216 

69.  The  strain  upraise  of  joy  and  praise,  .  .  .     159 

190.  The  strife  is  o'er,  the  battle  done,    ....     253 

179.  The  sun  is  sinking  fast,          .....     243 

114.  The  voice  that  breathed  o'er  Eden,  .  .  .     211 

213.  Thee  we  adore,  O  hidden  Saviour,  Thee,    .  .  .     263 

164.  There  is  a  blessed  home,      .....  236 
143.  There  is  a  book,  who  runs  may  read,           .            .            .  226 
133.  There  is  a  fountain  filled  with  blood,           .            .            .  223 

295.  There  is  a  happy  land,          .....  295 

70.  There  is  a  land  of  pure  delight,        .  .  .  .160 

296.  There  's  a  Friend  for  little  children,  .  .  .     295 

1 80.  Thine  for  ever,  God  of  love,  ....     243 
324.  This  is  the  day  of  light,         .....     304 
203.  This  is  the  day  the  Lord  hath  made,  .  .  .     258 

297.  This  stone  to  Thee  in  faith  we  lay,  .  .  .  .296 
272.  Thou  art  gone  to  the  grave,              ....     287 

71.  Thou  art  gone  up  on  high,  .....     161 
77.  Thou  art  the  Way  ;  to  Thee  alone,  .  .  .     164 

181.  Thou  hidden  love  of  God,      .....     244 

251.  Thou  Judge  of  quick  and  dead,        .  .  .  .281 
29.  Thou  whose  almighty  word,             ....     120 

165.  Three  in  One,  and  One  in  Three,     ....     237 
63.  Through  all  the  changing  scenes  of  life,      .  .  .     155 
54.  Through  the  day  Thy  love  hath  spared  us,             .            .     143 

115.  Thy  way,  not  mine,  O  Lord,  .  .  .  .211 
151.  To  bless  Thy  chosen  race,    .....     230 

214.  To  the  Name  that  speaks  salvation,  .  .  .     263 

298.  To  Thy  temple  I  repair,        .....     296 
231.  To-morrow,  Lord,  is  Thine,  ....     274 

252.  We  give  immortal  praise,     .  .  .  ••_        .  .281 

253.  We  give  Thee  but  Thine  own,         .    .        .  .  .     281 

191.  We  love  the  place,  O  Lord,  ....     253 


General  Index.  321 

Order.  Hymns.  Page 

232.  We  saw  Thee  not  when  Thou  didst  come,  .  .  .     274 
1 16.  We  sing  the  praise  of  Him  who  died,  .        .            .  .     212 

273.  Weary  of  earth,  and  laden  with  my  sin,      .  .  .     287 

254.  We  've  no  abiding  city  here,  ....     282 

233.  What  various  hindrances  we  meet,  ....     275 
99.  When  all  Thy  mercies,  O  my  God,  .  .  .189 

'215.  When  Christ  the  Lord  would  come  on  earth,        .  .  263 

81.  When  gathering  clouds  around  I  view,        .  .  .  167 

152.  When  God  of  old  came  down  from  heaven ,  .  .  230 

274.  When,  His  salvation  bringing,         ....  288 

299.  When  I  can  read  my  title  clear,       ....     297 
10.  When  I  survey  the  wondrous  cross,  .  .  -73 

43.  When  our  heads  are  bowed  with  woe,          .  .  .131 

255.  When  this  passing  world  is  done,    ....     282 

256.  When  wounded  sore,  the  stricken  soul,       .  .  .     282 

44.  Where  high  the  heavenly  temple  stands,     .  .  .132 

45.  While  shepherds  watched  their  flocks  by  night,  .  .     134 

275.  While  with  ceaseless  course  the  sun,            .  .  .288 
144.  Who  are  these,  like  stars  appearing,            .  .  .     226 

300.  With  glory  clad,  with  strength  arrayed,      .  .  .     297 

301.  With  joy  we  meditate  the  grace,      ....     297 

134.  Ye  boundless  realms  of  joy,  .  .  .  .  .  223 

325.  Ye  choirs  of  New  Jerusalem,  ....  304 

153.  Ye  servants  of  God,  your  Master  proclaim,              .             .  230 
72.  Ye  servants  of  the  Lord,         .....  162 


THOMAS  AND  ARCHIBALD  CONSTABLE,  PRINTERS  TO  HER  MAJESTY. 


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