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John H. Hopkins

1820 - 1891 Hymnal Number: d72 Author of "Hosanna, hosanna, hosanna in the highest" in School Carols John Henry Hopkins, Jr MA USA 1820-1891. Born in Pittsburgh, PA, having 12 siblings, the son of pioneer parents (his father from Dublin, his mother from Hamburg) he became an ecclesiologist. His father had been an ironmaster, school teacher, lawyer, priest and second Episcopal Bishop of Vermont, (becoming presiding bishop in 1865). When his father founded the Vermont Episcopal Institute, he needed an assistant to help run it, so he picked his son to become a tutor and disciplinarian. The younger Hopkins played the flute and bugle in the school orchestra and also taught Sunday school. John Henry reflected the artistic talents of both parents in music, poetry, and art. After graduating from the University of Vermont in 1839, he returned to help his father with the school, but a financial crisis hit that year and the school had to close. He worked as a reported in New York City while studying law. He developed a throat ailment and went south to be in a warmer climate. From 1842-1844 he tutored the children of Episcopal Bishop Elliott of Savannah, GA, returning to take his M.A. from Vermont in 1845. He graduated from General Theological Seminary in 1850 and was ordained a deacon, serving as first instructor in church music at the Seminary. He founded and edited the “Church Journal” from 1853 to 1868. Interested in New York’s Ecclesiological Society, his artistic talents were apparent in designing stained-glass windows, episcopal seals, and a variety of other church ornaments. At the same time, his musical talents led to the writing and composing of a number of fine hymns and tunes, as well as anthems and services. He was ordained a priest in 1872, and was Rector of Trinity Church, Plattsburg, NY, from 1872-1876, then of Christ Episcopal Church in Williamsport, PA, from 1876-1887. He helped get the building debt paid off by 1879 with(in 10 years of its construction). During his time there a Sunday school building was also erected, having steam heat and a tiled floor. He designed some of the church furniture and bishop periphernalia as well as wrought iron tombs in Wildwood Cemetery. He also helped design two other church buildings in the area. A man of many talents, he was much beloved as a scholar, writer, preacher, controvertialist, musician, poet, and artist, excelling in all that he did. Totally devoted to his parish people, he especially loved children and was kind to anyone in need. He was considered very down-to-earth. He delivered the eulogy at the funeral of President Usysses S Grant in 1885. He was considered a great developer of hymnody in the Episcopal Church in the mid-19th century. His “Carols, hymns, and songs,”, published in 1863, had a 4th edition in 1883. In 1887 he edited “Great hymns of the church”. He wrote a biography of his father (the life of John Henry Hopkins, S.T.D.) He never married. He died at Hudson, NY. John Perry ======================= Hopkins, John Henry, D.D., Jun., son of J. H. Hopkins, sometime Bishop of Vermont, was born at Pittsburg, Pa., Oct. 28, 1820, educated at the University of Vermont, ordained in 1850, Rector of Christ's Church, Williamsport, Pa., 1876, and died at Troy, New York, Aug. 13, 1891. He published Poems by the Wayside written during more than Forty Years, N.Y., James Pott, 1883; and Carols, Hymns, and Songs, 1862; 3rd ed. 1882. Of his hymns the following are in common use: 1. Blow on, thou [ye] mighty Wind. Missions. 2. Come with us, O blessed Jesus. Holy Communion. 3. Glory to God the Father be. (Dated 1867.) Holy Trinity. 4. God hath made the moon whose beam. (Dated 1840.) Duty. 5. Lord, now round Thy Church behold. (Dated 1867.) For the Reunion of Christendom. These hymns are in his Poems by the Wayside, 1883. In the same volume there are translations of the O Antiphons. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============== Hopkins, J. H., p. 1571, ii. The following additional hymns by him are in the American Hymnal, revised and enlarged .... Protestant Episcopal Church. . . U.S.A., 1892:— 1. God of our fathers, bless this our land. National Hymn. 2. When from the east the wise men came. Epiphany. --John Julian, Dictionary of Hymnology, New Supplement (1907)

John Newton

1725 - 1807 Hymnal Number: d74 Author of "Glorious things of thee are spoken" in School Carols John Newton (b. London, England, 1725; d. London, 1807) was born into a Christian home, but his godly mother died when he was seven, and he joined his father at sea when he was eleven. His licentious and tumultuous sailing life included a flogging for attempted desertion from the Royal Navy and captivity by a slave trader in West Africa. After his escape he himself became the captain of a slave ship. Several factors contributed to Newton's conversion: a near-drowning in 1748, the piety of his friend Mary Catlett, (whom he married in 1750), and his reading of Thomas à Kempis' Imitation of Christ. In 1754 he gave up the slave trade and, in association with William Wilberforce, eventually became an ardent abolitionist. After becoming a tide-surveyor in Liverpool, England, Newton came under the influence of George Whitefield and John and Charles Wesley and began to study for the ministry. He was ordained in the Church of England and served in Olney (1764-1780) and St. Mary Woolnoth, London (1780-1807). His legacy to the Christian church includes his hymns as well as his collaboration with William Cowper (PHH 434) in publishing Olney Hymns (1779), to which Newton contributed 280 hymns, including “Amazing Grace.” Bert Polman ================== Newton, John, who was born in London, July 24, 1725, and died there Dec. 21, 1807, occupied an unique position among the founders of the Evangelical School, due as much to the romance of his young life and the striking history of his conversion, as to his force of character. His mother, a pious Dissenter, stored his childish mind with Scripture, but died when he was seven years old. At the age of eleven, after two years' schooling, during which he learned the rudiments of Latin, he went to sea with his father. His life at sea teems with wonderful escapes, vivid dreams, and sailor recklessness. He grew into an abandoned and godless sailor. The religious fits of his boyhood changed into settled infidelity, through the study of Shaftesbury and the instruction of one of his comrades. Disappointing repeatedly the plans of his father, he was flogged as a deserter from the navy, and for fifteen months lived, half-starved and ill-treated, in abject degradation under a slave-dealer in Africa. The one restraining influence of his life was his faithful love for his future wife, Mary Catlett, formed when he was seventeen, and she only in her fourteenth year. A chance reading of Thomas à Kempis sowed the seed of his conversion; which quickened under the awful contemplations of a night spent in steering a water-logged vessel in the face of apparent death (1748). He was then twenty-three. The six following years, during which he commanded a slave ship, matured his Christian belief. Nine years more, spent chiefly at Liverpool, in intercourse with Whitefield, Wesley, and Nonconformists, in the study of Hebrew and Greek, in exercises of devotion and occasional preaching among the Dissenters, elapsed before his ordination to the curacy of Olney, Bucks (1764). The Olney period was the most fruitful of his life. His zeal in pastoral visiting, preaching and prayer-meetings was unwearied. He formed his lifelong friendship with Cowper, and became the spiritual father of Scott the commentator. At Olney his best works—-Omicron's Letters (1774); Olney Hymns (1779); Cardiphonia, written from Olney, though published 1781—were composed. As rector of St. Mary Woolnoth, London, in the centre of the Evangelical movement (1780-1807) his zeal was as ardent as before. In 1805, when no longer able to read his text, his reply when pressed to discontinue preaching, was, "What, shall the old African blasphemer stop while he can speak!" The story of his sins and his conversion, published by himself, and the subject of lifelong allusion, was the base of his influence; but it would have been little but for the vigour of his mind (shown even in Africa by his reading Euclid drawing its figures on the sand), his warm heart, candour, tolerance, and piety. These qualities gained him the friendship of Hannah More, Cecil, Wilberforce, and others; and his renown as a guide in experimental religion made him the centre of a host of inquirers, with whom he maintained patient, loving, and generally judicious correspondence, of which a monument remains in the often beautiful letters of Cardiphonia. As a hymnwriter, Montgomery says that he was distanced by Cowper. But Lord Selborne's contrast of the "manliness" of Newton and the "tenderness" of Cowper is far juster. A comparison of the hymns of both in The Book of Praise will show no great inequality between them. Amid much that is bald, tame, and matter-of-fact, his rich acquaintance with Scripture, knowledge of the heart, directness and force, and a certain sailor imagination, tell strongly. The one splendid hymn of praise, "Glorious things of thee are spoken," in the Olney collection, is his. "One there is above all others" has a depth of realizing love, sustained excellence of expression, and ease of development. "How sweet the name of Jesus sounds" is in Scriptural richness superior, and in structure, cadence, and almost tenderness, equal to Cowper's "Oh! for a closer walk with God." The most characteristic hymns are those which depict in the language of intense humiliation his mourning for the abiding sins of his regenerate life, and the sense of the withdrawal of God's face, coincident with the never-failing conviction of acceptance in The Beloved. The feeling may be seen in the speeches, writings, and diaries of his whole life. [Rev. H. Leigh Bennett, M.A.] A large number of Newton's hymns have some personal history connected with them, or were associated with circumstances of importance. These are annotated under their respective first lines. Of the rest, the known history of which is confined to the fact that they appeared in the Olney Hymns, 1779, the following are in common use:— 1. Be still, my heart, these anxious cares. Conflict. 2. Begone, unbelief, my Saviour is near. Trust. 3. By the poor widow's oil and meal. Providence. 4. Chief Shepherd of Thy chosen sheep. On behalf of Ministers. 5. Darkness overspreads us here. Hope. 6. Does the Gospel-word proclaim. Rest in Christ. 7. Fix my heart and eyes on Thine. True Happiness. 8. From Egypt lately freed. The Pilgrim's Song. 9. He Who on earth as man was Known. Christ the Rock. 10. How blest are they to whom the Lord. Gospel Privileges. 11. How blest the righteous are. Death of the Righteous. 12. How lost was my [our] condition. Christ the Physician. 13. How tedious and tasteless the hours. Fellowship with Christ. 14. How welcome to the saints [soul] when pressed. Sunday. 15. Hungry, and faint, and poor. Before Sermon. 16. In mercy, not in wrath, rebuke. Pleading for Mercy. 17. In themselves, as weak as worms. Power of Prayer. 18. Incarnate God, the soul that knows. The Believer's Safety. 19. Jesus, Who bought us with His blood. The God of Israel. "Teach us, 0 Lord, aright to plead," is from this hymn. 20. Joy is a [the] fruit that will not grow. Joy. 21. Let hearts and tongues unite. Close of the Year. From this "Now, through another year," is taken. 22. Let us adore the grace that seeks. New Year. 23. Mary to her [the] Saviour's tomb. Easter. 24. Mercy, 0 Thou Son of David. Blind Bartimeus. 25. My harp untun'd and laid aside. Hoping for a Revival. From this "While I to grief my soul gave way" is taken. 26. Nay, I cannot let thee go. Prayer. Sometimes, "Lord, I cannot let Thee go." 27. Now may He Who from the dead. After Sermon. 28. 0 happy they who know the Lord, With whom He deigns to dwell. Gospel Privilege. 29. O Lord, how vile am I. Lent. 30. On man in His own Image made. Adam. 31. 0 speak that gracious word again. Peace through Pardon. 32. Our Lord, Who knows full well. The Importunate Widow. Sometimes altered to "Jesus, Who knows full well," and again, "The Lord, Who truly knows." 33. Physician of my sin-sick soul. Lent. 34. Pleasing spring again is here. Spring. 35. Poor, weak, and worthless, though I am. Jesus the Friend. 36. Prepare a thankful song. Praise to Jesus. 37. Refreshed by the bread and wine. Holy Communion. Sometimes given as "Refreshed by sacred bread and wine." 38. Rejoice, believer, in the Lord. Sometimes “Let us rejoice in Christ the Lord." Perseverance. 39. Salvation, what a glorious plan. Salvation. 40. Saviour, shine and cheer my soul. Trust in Jesus. The cento "Once I thought my mountain strong," is from this hymn. 41. Saviour, visit Thy plantation. Prayer for the Church. 42. See another year [week] is gone. Uncertainty of Life. 43. See the corn again in ear. Harvest. 44. Sinner, art thou still secure? Preparation for the Future. 45. Sinners, hear the [thy] Saviour's call. Invitation. 46. Sovereign grace has power alone. The two Malefactors. 47. Stop, poor sinner, stop and think. Caution and Alarm. 48. Sweeter sounds than music knows. Christmas. 49. Sweet was the time when first I felt. Joy in Believing. 50. Ten thousand talents once I owed. Forgiveness and Peace. 51. The grass and flowers, which clothe the field. Hay-time. 52. The peace which God alone reveals. Close of Service. 53. Thy promise, Lord, and Thy command. Before Sermon. 54. Time, by moments, steals away. The New Year. 55. To Thee our wants are known. Close of Divine Service. 56. We seek a rest beyond the skies. Heaven anticipated. 57. When any turn from Zion's way. Jesus only. 58. When Israel, by divine command. God, the Guide and Sustainer of Life. 59. With Israel's God who can compare? After Sermon. 60. Yes, since God Himself has said it. Confidence. 61. Zion, the city of our God. Journeying Zionward. -- John Julian, Dictionary of Hymnology (1907) ================= Newton, J., p. 803, i. Another hymn in common use from the Olney Hymns, 1779, is "Let me dwell on Golgotha" (Holy Communion). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ----- John Newton was born in London, July 24, 1725. His mother died when he was seven years old. In his eleventh year he accompanied his father, a sea captain, on a voyage. For several years his life was one of dissipation and crime. He was disgraced while in the navy. Afterwards he engaged in the slave trade. Returning to England in 1748, the vessel was nearly wrecked in a storm. This peril forced solemn reflection upon him, and from that time he was a changed man. It was six years, however, before he relinquished the slave trade, which was not then regarded as an unlawful occupation. But in 1754, he gave up sea-faring life, and holding some favourable civil position, began also religious work. In 1764, in his thirty-ninth year, he entered upon a regular ministry as the Curate of Olney. In this position he had intimate intercourse with Cowper, and with him produced the "Olney Hymns." In 1779, Newton became Rector of S. Mary Woolnoth, in London, in which position he became more widely known. It was here he died, Dec. 21, 1807, His published works are quite numerous, consisting of sermons, letters, devotional aids, and hymns. He calls his hymns "The fruit and expression of his own experience." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 See also in: Hymn Writers of the Church =======================

Jeremiah Eames Rankin

1828 - 1904 Hymnal Number: d79 Author of "Till we meet, till we meet" in School Carols Pseudonym: R. E. Jeremy. Rankin, Jeremiah Eames, D.D., was born at Thornton, New Haven, Jan. 2, 1828, and educated at Middleburg College, Vermont, and at Andover. For two years he resided at Potsdam, U.S. Subsequently he held pastoral charges as a Congregational Minister at New York, St. Albans, Charlestown, Washington ( District of Columbia), &c. In 1878 he edited the Gospel Temperance Hymnal, and later the Gospel Bells. His hymns appeared in these collections, and in D. E. Jones's Songs of the New Life, 1869. His best known hymn is "Labouring and heavy laden" (Seeking Christ). This was "written [in 1855] for a sister who was an inquirer," was first printed in the Boston Recorder, and then included in Nason's Congregational Hymn Book, 1857. Another of his hymns is "Rest, rest, rest, brother rest." He died in 1904. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907) ======================== Rankin, J. 33., p. 951, ii. Dr. Rankin, b. in N. H. (not New Haven), and received his D.D. 1869, LL.D. 1889 from his Alma Mater. He was President for several years of Howard University, Washington, D.C. His publications included several volumes of Sermons, German-English Lyrics, Sacred and Secular, 1897; 2nd ed. 1898, &c. In addition to his hymns noted on p. 951, ii., he has written and published mainly in sheet form many others, the most important and best-known being:— 1. God be with you till we meet again. [Benediction.] Dr. Rankin's account of this hymn, supplied to us, in common with Mr. Brownlie, for his Hymns and H. Writers of The Church Hymnary, 1899, is: "It was written as a Christian good-bye, and first sung in the First Congregational Church, of which I was minister for fifteen years. We had Gospel meetings on Sunday nights, and our music was intentionally of the popular kind. I wrote the first stanza, and sent it to two gentlemen for music. The music which seemed to me to best suit the words was written by T. G. Tomer, teacher of public schools in New Jersey, at one time on the staff of General 0. 0. Howard. After receiving the music (which was revised by Dr. J. W. Bischoff, the organist of my church), I wrote the other stanzas." The hymn became at once popular, and has been translated into several languages. In America it is in numerous collections; and in Great Britain, in The Church Hymnary, 1898, Horder's Worship Song, 1905, The Methodist Hymn Book, 1904, and others. It was left undated by Dr. Rankin, but I.D. Sankey gives it as 1882. 2. Beautiful the little hands. [Little ones for Jesus.] Given without date in Gloria Deo, New York, 1900. Dr. Rankin's translations include versions of German, French, Latin, and Welsh hymns. His contributions to the periodical press have been numerous. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Phillips Brooks

1835 - 1893 Hymnal Number: d81 Author of "Angels, sing his triumph, as you sang his birth" in School Carols Brooks, Phillips, D.D., was born at Boston, Dec. 13, 1835, graduated at Harvard College 1855, and was ordained in 1859. Successively Rector of the Church of the Advent, Philadelphia, and Trinity Church, Boston, he became Bishop of Mass. in 1891, and died at Boston in Jan., 1893. His Carol, "O little town of Bethlehem," was written for his Sunday School in 1868, the author having spent Christmas, 1866, at Bethlehem. His hymn, "God hath sent His angels to the earth again," is dated 1877. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Philipp Friedrich Hiller

1699 - 1769 Hymnal Number: d82 Author of "God, in human flesh appearing" in School Carols Hiller, Philipp Friedrich, son of Johann Jakob Hiller, pastor at Mühlhausen on the the Enz, Württemberg, was born at Mühlhausen, Jan. 6, 1699. He was educated at the clergy training schools at Denkendorf (under J. A. Bengel) and Maulbronn, and the University of Tübingen (M.A. 1720). His first clerical appointment was as assistant at Brettach, near Neckarsulm, 1724-27. He afterwards held similar posts at Hessigheim and elsewhere, and was also, from 1729-31, a private tutor at Nürnberg. He was then, on St. Bartholomew's Day, 1732, instituted as pastor of Neckargröningen, on the Neckar, near Marbach. In 1736 he became pastor of his native place, and in 1748 pastor at Steinheim, near Heidenheim. In his third year of residence at Steinheim he lost his voice, and had to employ an assistant to preach. He died at Steinheim, April 24, 1769. (Koch, v. 107-126; Allgemeine Deutsche Biographie, xii. 425-426, &c.) Of Hiller’s hymns the best appeared in:— (1) Arndt's Paradiss-Gartlein…..in teutsche Lieder, Nürnberg, N.D. [the copy in Berlin has a frontispiece dated 1730]. This was written during the time he was tutor at Nürnberg. P. Gerhardt had founded the fine hymn "O Jesu Christ, mein schönstes Licht," (q.v.) on one of the prayers in the volume of devotions which Johann Arndt had published, 1612, under the title of Paradies-Gärtlein; and Gerhardt's example led Hiller to think of turning the whole of these prayers into hymns. The book is in four parts, and contains 301 hymns, 297 being founded on Arndt and four original. (2) Geistliches Liederkästlein, Stuttgart, 1762, and a second series, Stuttgart, 1767. Each series contains 366 short hymns, one for each day of the year. A complete reprint of these and the other hymns of Hiller (1075 in all) wased. by C. C. E. Ehmann in 1844 (2nd ed. 1858). Hiller is the most productive and most important of the earlier hymnwriters of Württemberg; and is the poetical exponent of the practical theology of his friend J. A. Bengel. The hymns of his Paradiss-Gärtlein, while clear and Scriptural, are decidedly spun out (see No. xii. below). His Liederkästlein, contains the hymns of his riper years, and reveals a depth of spiritual wisdom, an almost proverbial conciseness, an adaptation to console and direct in the most diverse events of life, and the most varied experiences of the soul, a suitability as a manual for daily devotion, and a simple popularity of style that speedily endeared it to the pious in Southern Germany. It has passed through many editions in Germany, while colonists (especially from Württemberg) have carried it from thence wherever they went. It is said, e.g., that when a German colony in the Caucasus was attacked by a hostile Circassian tribe some fifty years ago the parents cut up their copies of the Liederkästlein and divided the leaves among their children as they were being torn from them into slavery. The use of Hiller's hymns in Germany has principally been in the hymnbooks of Württemberg, and, through J. J. Bambach's Haus Gesang-Buch, 1735, in Hannover. The following have passed into English:— I. Hymns in English common use: i. Herr über Leben und der Tod. Cross and Consolation. 1730, pt. iii. p. 332, founded on Arndt's Prayer, 26 (28) of Class iii. The part translated is stanzas viii.-xiv., "Herr, meine Burg, Herr Zebaoth," which is founded on the fourth part of the third section of Arndt's Prayer. The text is in Ehmann's Hiller, Nos. 885, 886. Translated as:— 0 God of Hosts! 0 mighty Lord, a translation of stanzas viii., xiii., xiv., signed "F. C. C.," as No. 162 in Dr. Pagenstecher's Collection, 1864. ii. Mein Gott in deine Hände. For the Dying. Liederkästlein, pt. ii., 1767, for August 3, in 9 stanzas of 4 lines, founded on Ps. xxxi. 6. In Ehmann, No. 986, and in Knapp's Evangelischer Lieder-Schatz, 1837 and 1865. Translated as:— My God, to Thee I now commend, a good translation of stanzas i., iii., iv., vi., viii., ix., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 245. In her 2nd ed., 1856, she substituted a translation of st. vii. for that of stanza vi. The text of 1856 is in her Chorale Book for England, 1863, No. 194, and in the Ohio Evangelical Lutheran Hymnal, 1880; and the text of 1855 in the Pennsylvania Lutheran Church Book, 1868. Another translation is: "My God, within Thy hand," by Miss Warner, 1858, p. 480. iii. Mein Hers, du mustt im Himmel sein. Eternal Life. Liederkästlein, p. ii., 1767, for Jan. 26, in 4 stanzas of 7 lines, founded on St. Matt. vi. 21. In Ehmann, No. 639, and Knapp's Evangelischer Lieder-Schatz, 1837. Translated as :— Aspire, my heart, on high to live, in full, by Dr. H. Mills, in his Horae Germanicae, 1845 (1856, p. 86), repeated, omitting stanzas iv., as No. 220 in the American Lutheran General Synod's Collection, 1850-52. iv. Wir warten dein, o Gottes Sehn. Second Advent. Liederkästlein, pt. ii., 1767, for Jan. 24, in 4 stanzas of 8 lines, founded on 1 Thess. i. 9, 10. In Ehmann, No. 1041, and the Württemberg Gesang-Buch, 1842, No. 640. Translated as:-— We wait for Thee, all glorious One, a good and full translation by J. D. Burns, in the Family Treasury, 1859, pt. ii. p. 111, and his Remains, 1869, p. 264. Included in the Christian Hymn Book, Cincinnati, 1865, and in H. L. Hastings's Songs of Pilgrimage, 1886. Another translation is: "We wait for Thee, O Son of God," in the British Herald, April, 1866, p. 252, and Reid's Praise Book, 1872. This follows the altered form in C. B. Garve's Christliche Gesänge, 1825. II. Hymns not in English common use: v. Abgrund wesentlicher Liebe. Love of God. 1730, pt. ii. p. 25, founded on Prayer 4 in Class II. of Arndt, which is "Thanksgiving for the Love of God, and prayer for it." Translated as, "Thou fathomless Abyss of Love," by Miss Winkworth, 1869, p. 281. vi. Angenehmes Krankenbette. For the Sick. Liederkästlein, 1762, p. 338, for Dec. 3, in 3 stanzas, founded on St. Luke v. 18. Translated as, "Bed of Sickness! thou art sweet," by Miss Winkworth, 1869, p. 283. vii. Betet an, verlorne Sünder. Lent. Liederkästlein, 1762, p. 43, for Feb. 18, in 3 stanzas, founded on St. Matt, xviii. 14. Translated as, "Sinners, pray! for mercy pleading," by Dr. H. Mills, 1856, p. 50. viii. Das Lamm, am Kreuzesstamme. For the Dying. Liederkästlein, pt. ii., 1767, for Feb. 12, in 8 stanzas, founded on Acts vii. 59. In the Württemberg Gesang-Buch, 1842, No. 609, altered to “Der Hirt, am Kreuz gestorben." This form is translated as, "The Shepherd by His passion," by J. D. Burns, in the Family Treasury, 1859, pt. ii. p. 61, and his Remains, 1869, p. 266. ix. Die Liebe darf wohl weinen. Burial of the Dead. Liederkästlein, 1762, p. 286, for Oct. 12, in 7 stanzas, founded on l Thess. iv. 13. Translated as, "Love over the departed," by J. D. Burns in his Remains, 1869, p. 253. x. Die Welt kommt einst zusammen. Second Advent. Liederkästlein, pt. ii., 1767, for Jan. 2, in 5 stanzas, founded on 2 Cor. v. 10. Translated as, "The world shall yet be cited," by J. D. Burns in the Family Treasury, 1859, pt. ii. P. 111, and his Remains, 1869, p. 263. xi. Herr, meine Leibeshütte. For the Dying. Liederkästlein, pt. ii., 1767, for Feb. 18, in 8 stanzas, founded on 2 Peter, i. 14. The translations are: (l) "Lord, my house of clay," by Miss Warner, 1858, p. 605. (2) "My fleshly house is sinking now," by Dr. G. Walker, 1860, p. 102. xii. Mein Jesus sitzt zur rechten Hand. Ascensiontide. 1730, pt iii. p. 408, as stanzas 118-125 of the hymn on Arndt's prayer 27 (29) in Class III. This prayer is a long paraphrase of the Apostles' Creed. Translated as, "Our Jesus now at God's right hand," by Dr. H. Mills, 1845 (1856, p. 330). xiii. Singet Gott, denn Gott ist liebe. The Love of God. Liederkästlein, 1762, p. 51, for Feb. 20, in 3 stanzas, founded on 1 John iv. 16. The translations are: (1) "God is love—-then sing His praises," by Dr. H. Mills, 1845 (1856, p. 16). (2) "God is love, sing loud before Him," by J. D. Burns in his Remains, 1869, p. 231. xiv. Singt doch unserm König. Ascensiontide. Liederkästlein, 1762, p. 328, for Nov. 23, in 3 stanzas, founded on Ps. xcvi. 10. Translated as, “Laud your King and Saviour," by J. Sheppard in bis Foreign Sacred Lyre. 1857, p. 94. xv. Untheilbare Dreifaltigkeit. Trinity Sunday. 1730, pt. ii. p. 226, founded on Arndt’s prayer 25 in Class II., entitled “Thanksgiving for the revelation of the Holy Trinity." The translation is from the recast of st. vi.-xii. made by J. S. Diterich for the Berlin Gesang-Buch, 1765, No. 51, and beginning "Lob, Ehre, Preis und Dank sel dir." Translated as, "Love, honour, thanks, to Thee we raise," by Dr. H. Mills, 1845 (1856, p. 110). xvi. Was freut mich noch wenn du's nicht bist. Joy in God. Liederkästlein, 1762, for June 20, in 2 stanzas, founded on Ps. xliii. 4. Translated as, "What earthly joy can fill my heart," by R. Massie in the British Herald, Nov. 1865, p. 175. xvii. Wer ausharrt bis ans Ende. Cross and Consolation. Liederkästlein, pt. ii., 1767, for May 19, in 4 stanzas, founded on St. Matt. xxiv. 13. Translated as,"He who to death maintaineth," by J. D. Burns in his Remains, 1869, p. 261. xviii. Wer kann dein Thun begreifen. God's Power. Liederkästlein, 1762, p. 18, for Jan. 18, in 3 stanzas, founded on Is. xlv. 7. Translated as, "Who, Lord, Thy deeds can measure," by Dr. H. Mills, 1845 (1856, p. 15). [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907) =============================== Hiller, Philipp F., p. 524, ii. His hymn "Gottes Sohn, in Fleisch gekleidet" (Christmas), from his Liederkastlein, 1762, is translation by Dr. Loy, in the Ohio Lutheran Hymnal, 1880, as "God in human flesh appearing." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

P. P. Bliss

1838 - 1876 Person Name: Philip P. Bliss Hymnal Number: d83 Author of "God is always near me, Hearing what I say" in School Carols Philip P. Bliss (b. Clearfield County, PA, 1838; d. Ashtabula, OH, 1876) left home as a young boy to make a living by working on farms and in lumber camps, all while trying to continue his schooling. He was converted at a revival meeting at age twelve. Bliss became an itinerant music teacher, making house calls on horseback during the winter, and during the summer attending the Normal Academy of Music in Genesco, New York. His first song was published in 1864, and in 1868 Dwight L. Moody advised him to become a singing evangelist. For the last two years of his life Bliss traveled with Major D. W. Whittle and led the music at revival meetings in the Midwest and Southern United States. Bliss and Ira D. Sankey published a popular series of hymn collections entitled Gospel Hymns. The first book of the series, Gospel Songs, was published in 1874. Bliss's tragic death at the age of thirty-eight happened near the end of 1876. Philip P. Bliss and his wife were traveling to Chicago to sing for the evangelistic services led by Daniel W. Whittle at Dwight L. Moody's Tabernacle. But a train wreck and fire en route claimed their lives. Bert Polman ================= Bliss, Philip, b. at Clearfield County, Pennsylvania, July 9, 1838. In 1864 he went to Chicago in the employ of Dr. George F. Root, the musician, where he was engaged in conducting musical Institutes, and in composing Sunday School melodies. Originally a Methodist, he became, about 1871, a choirman of the First Congregational Church, Chicago, and the Superintendent of its Sunday Schools. In 1874 he joined D. W. Whittle in evangelical work. To this cause he gave (although a poor man) the royalty of his Gospel Songs, which was worth some thirty thousand dollars. His death was sudden. It occurred in the railway disaster at Ashtabula, Ohio, Dec. 30, 1876. ... Some of his verses have obtained wide popularity in most English-speaking countries. The more widely known, and specially those which are found in collections in use in G. Britain, are in the following American works:— i. The Prize, 1870. 1. I should like to die. Death anticipated. This is one of his earliest compositions, and is unworthy of the position it holds. 2. Through the valley of the shadow I must go. Death anticipated. 3. Whosoever heareth, shout, shout the sound. Jesus the Way. Written during the winter of 1869-70 after hearing Mr. H. Moorhouse (from England) preach on St. John iii. 16. ii. The Charm, 1871. 4. Almost persuaded now to believe. Procrastination. This was suggested by the following passage in a sermon by the Rev. Mr. Brundnge, Bliss being present at its delivery:—" He who is almost persuaded is almost saved, but to be almost saved is to be entirely lost." 5. Ho! my comrades! see the signal. Faithfulness. 6. O! Jerusalem, the golden city, bright, &c. Heaven. 7. On what Foundation do [did] you build? Christ the Foundation. iii. The Song Tree, 1872. 8. Light in the darkness, sailor, day is at hand. Safety. This hymn, “The Life-Boat," has attained to great popularity. The incident upon which it is based, that of the rescue of a ship's crew by a life-boat, is given in detail by Mr. Sankey in his Sacred Songs, &c, No. 99 (large ed.). It is sometimes known by its refrain, "Pull for the shore," &c. iv. The Joy, 1873. 9. In me ye may have peace. Peace. 10. To die is gain. Death anticipated. v. Sunshine, 1873. 11. Down life's dark vale we wander. Death anticipated. 12. More holiness give me. For Holiness. 13. Only an armour-bearer. Soldiers of the Cross. 14. Standing by a purpose true. Faithfulness. 15. This loving Saviour stands patiently. Invitation. vi. Gospel Songs, 1874. 16. A long time I wandered. Peace and Joy. 17. Brightly beams our Father's mercy. Mercy. 18. Come, brethren, as we march along. Praise. 19. Free from the law, O happy condition. Redemption. 20. Have you on the Lord believed? Fullness of Grace. This hymn arose out of the following circumstances :—" A vast fortune was left in the hands of a minister for one of his poor parishioners. Fearing that it might be sqmandered if suddenly bestowed upon him, the wise minister sent him a little at a time, with a note saying, “This is thine; use it wisely; there is more to follow.” Hence also the refrain ‘More to follow,’ by which the hymn is known." 21. How much owest thou? Divine Claims. 22. I know not the hour when my Lord will come. Death anticipated. Suggested by reading the book, The Gates Ajar. 23. See the gentle Shepherd standing. The Good Shepherd. 24. Though the way be sometimes dreary. Divine Leading. 25. Will you meet me at the fountain? Fountain of Living Water. The incident out of which this hymn arose is thus stated in The Christian, No. 365, "At the Industrial Exposition at Chicago it was an everyday appointment to meet at the Central Fountain. Mr. P. P. Bliss, whose mind seemed always set on things above, caught up the words, and wrote this hymn, 'Meet me at the Fountain.'" vii. Gospel Hymns, No. 1, 1875. 26. One offer of salvation. The Name of Jesus. 27. Wandering afar from the dwellings of men. The Lepers. viii. The International Lesson Monthly, 1875. 28. Weary gleaner, whence comest thou? Duty. 29. The whole world was lost in the darkness of Sin. Light of the world. 30. Man of sorrows! what a name. Redemption. 31. The Spirit, O sinner, in mercy doth move. Holy Spirit. ix. Gospel Hymns, No. 2, 1876. 32. At the feet of Jesus. The good choice. 33. Come, sing the Gospel's joyful sound. Salvation. 34. Cut it down, cut it down. Justice and Mercy. 35. Do you see the Hebrew captive? Prayer. 36. Hallelujah, He is risen. Easier. Written in the spring of 1876 and first sung by Bliss on Easter afternoon, 1876, in the Court House Square, Augusta, Georgia, to 5900 people. 37. In Zion's rock abiding. Safety. 38. Repeat the story o'er and o'er. Grace and Peace. 39. Tenderly the Shepherd. The Good Shepherd. x. Gospel Hymns, No. 3, 1878. 40. Hear ye the glad good news from heaven. Faith and Salvation. 41. I will sing of my Redeemer. Praise. xi. Gospel Hymns, No. 4, 1881. 42. 'Tis known on earth and heaven too. More about Jesus. xii. Various. 43. Sing over again to me. Words of Life. This appeared in a paper entitled Words of Life, 1874, The following are undated:— 44. March to the battle-field. Duty and Victory. 45. There is sin in the camp. Hinderances. 46. 'Tis the promise of God. Praise. 47. While the silvery moon-beams, fall, New Birth. 48. God is always near me. Omnipresence. Two hymns," I am so glad that our Father in heaven," and " Sowing the seed by the daylight [dawnlight] fair," (sometimes given as " Sowing our seed in the morning fair ") are usually attributed to Mr. Bliss. In his Gospel Songs, Cincinnati, 1874, however, he lays claim to the music only. Mr. Sankey attributes this last to "E. A. Oakey." With the exception of No. 48, these hymns are given in Mr. Sankey's Sacred Songs & Solos, Pts. i. and ii. Their popularity is far beyond their literary merits, and is mainly due to the simple melodies to which they are wedded. As a writer of hymns of this class Mr. Bliss is second only to Mrs. Van Alstyne. Many anecdotes concerning hymns of this class are given in American Evangelists; an Account of their work in England and America, by the Rev. Elias Nason, Boston, U.S., Lathrop & Co., 1877. Mr. Bliss is usually known as "P. P. Bliss." This is found on the title-pages of his collections. On his own authority, however, we are enabled to say that his name originally stood thus : “Philipp Bliss.” Early in life he separated the final p from his Christian name, constituted it a capital P, and thus produced "P. P. Bliss." (For this article we are mainly indebted to Professor F. M. Bird, and Mr. H. P. Main.) -John Julian, Dictionary of Hymnology (1907) ======================== Bliss, Philip , p. 151, i. "Sowing the seed by the daylight fair" is in the Family Treasury , Edinburgh, 1861, pt. i., p. 84. It is said to be by Miss Emily Sullivan Oakey; born at Albany, N. York, Oct. 8, 1829, died May 11, 1883. Note also that Bliss's hymn, No. 43. on p. 150, ii., should read, "Sing them over again to me." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== Bliss, P., p. 150, i. Two works have been brought to our notice, since the issue of our first edition of this Dictionary, which concern this author, viz.:— 1. Memoirs of Philip P. Bliss. Edited by D. W. Whittle. Contributions by Rev. E. P. Goodwin, Ira D. Sankey, and Geo. F. Root. Introduction by D. L. Moody. New York, &c.: A. S. Barnes & Co., 1877. 2. My Life and Sacred Songs. By Ira D. Sankey. With an Introduction by Theodore L. Cuyler, D.D). London: Hodder & Stoughton, and Morgan & Scott, 1906. These works have a special interest for those who use I. D. Sankey's Sacred Songs & Solos, and all of P. Bliss's publications. To Mr. Sankey's My Life, &c, we direct special attention for P. Bliss's hymns:— “Do you see the Hebrew captive kneeling?" p. 294. "Down life's dark vale we wander." p. 285. "Ho! my comrades, see the signal." p. 105. "'Tis the promise of God full salvation to give." p. 99. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Frances Ridley Havergal

1836 - 1879 Hymnal Number: d90 Author of "Jesus hath ascended" in School Carols Havergal, Frances Ridley, daughter of the Rev. W. H. Havergal, was born at Astley, Worcestershire, Dec. 14, 1836. Five years later her father removed to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, whose influence over her was most beneficial. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed, and on her return she was confirmed in Worcester Cathedral, July 17, 1853. In 1860 she left Worcester on her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswall Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. She died at Caswell Bay, Swansea, June 3, 1879. Miss Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew. She does not occupy, and did not claim for herself, a prominent place as a poet, but by her distinct individuality she carved out a niche which she alone could fill. Simply and sweetly she sang the love of God, and His way of salvation. To this end, and for this object, her whole life and all her powers were consecrated. She lives and speaks in every line of her poetry. Her poems are permeated with the fragrance of her passionate love of Jesus. Her religious views and theological bias are distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings is a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labours, literary efforts, and earnest interest in Foreign Missions. [Rev. James Davidson, B.A.] Miss Havergal's hymns were frequently printed by J. & R. Parlane as leaflets, and by Caswell & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— (1) Ministry of Song, 1869; (2) Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4) Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; (7) Life Echoes, 1883. About 15 of the more important of Miss Havergal's hymns, including "Golden harps are sounding," "I gave my life for thee," "Jesus, Master, Whose I am," "Lord, speak to me," "O Master, at Thy feet," "Take my life and let it be," "Tell it out among the heathen," &c, are annotated under their respective first lines. The rest, which are in common use, number nearly 50. These we give, together with dates and places of composition, from the Havergal mss. [manuscript], and the works in which they were published. Those, and they are many, which were printed in Parlane's Series of Leaflets are distinguished as (P., 1872, &c), and those in Caswell’s series (C., 1873, &c). 1. A happy New Year! Even such may it be. New Year. From Under the Surface, 1874. 2. Certainly I will be with thee. Birthday. Sept. 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 3. Church of God, beloved and chosen. Sanctified in Christ Jesus, 1873. (P. 1873.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 4. God Almighty, King of nations. Sovereignty of God. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 5. God doth not bid thee wait. God faithful to His promises. Oct. 22, 1868, at Oakhampton. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 6. God of heaven, hear our singing. A Child's hymn for Missions. Oct. 22, 1869, at Leamington. Published in her Twelve Sacred Songs for Little Singers, 1870, and her Life Chords, 1880. 7. God will take care of you, All through the day. The Good Shepherd. In Mrs. Brock's Children's Hymn Book, 1881. 8. God's reiterated all. New Year. 1873, at Winterdyne. (C. 1873.) Published in Loyal Responses, 1878, and Life Mosaic, 1879. 9. Have you not a word for Jesus? Boldness for the Truth. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 10. He hath spoken in the darkness. Voice of God in sorrow. June 10,1869, at Neuhausen. (P. 1870.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 11. Hear the Father's ancient promise. Promise of the Holy Spirit. Aug. 1870. Published in Under the Surface, 1874, and Life Mosaic, 1879. 12. Holy and Infinite! Viewless, Eternal. Infinity of God. 1872. Published in Under the Surf ace, 1874, and L. Mosaic, 1879. 13. Holy brethren, called and chosen. Election a motive for Earnestness. 1872. Published in Snepp's Songs of Grace & Glory, 1876. 14. I am trusting Thee, Lord Jesus. Faith. Sept. 1874, at Ormont Dessona. (P. 1874.) Published in Loyal Responses, 1878, and Life Chords, 1880. Miss Havergal’s tune, Urbane (Snepp's Songs of Grace & Glory, 1048), was composed for this hymn. The hymn was the author's "own favourite," and was found in her pocket Bible after her death. 15. I bring my sins to Thee. Besting all on Jesus. June, 1870. (P. 1870.) Printed in the Sunday Magazine, 1870, and Home Words, 1872. Published in Under the Surface, 1874, and Life Chords, 1880. 16. I could not do without Thee. Jesus All in All. May 7, 1873. (P. 1873.) Printed in Home Words, 1873, and published in Under the Surface, 1874, and Life Mosaic, 1879. 17. In full and glad surrender. Confirmation. Miss Havergal's sister says this hymn was “The epitome of her [Miss F. R. H.'s] life and the focus of its sunshine." It is a beautiful hymn of personal consecration to God at all times. 18. In the evening there is weeping. Sorrow followed by Joy. June 19, 1869, at the Hotel Jungfraublick, Interlaken. "It rained all day, except a very bright interval before dinner. Curious long soft white clouds went slowly creeping along the Scheinige Platte; I wrote “Evening Tears and Morning Songs” (Marg. reading of Ps. xxx. 5.)" (P. 1870.) Published in Under the Surface, 1874. 19. Increase our faith, beloved Lord. Increase of Faith desired. In Loyal Responses, 1878, in 11 stanzas of 4 lines, on St. Luke xvii. 5. It is usually given in an abridged form. 20. Is it for me, dear Saviour? Heaven anticipated. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 21. Israel of God, awaken. Christ our Righteousness. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 22. Jehovah's covenant shall endure. The Divine Covenant, 1872. Published in Snepp's Songs of Grace & Glory, 1876. 23 Jesus, blessed Saviour. New Year, Nov. 25, 1872, at Leamington. (P. 1873.) Printed in the Dayspring Magazine, Jan. 1873, and published in Life Chords, 1880. 24. Jesus only! In the shadow. Jesus All in All. Dec. 4, 1870, at Pyrmont Villa. (P. & C. 1871.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 25. Joined to Christ by [in] mystic union. The Church the Body of Christ. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, Life Mosaic, 1879. 26. Just when Thou wilt, 0 Master, call. Resignation. In Loyal Responses, 1878, in 5 stanzas of 4 lines, and Whiting's Hymns for the Church Catholic, 1882. 27. King Eternal and Immortal. God Eternal. Written at Perry Villa, Perry Barr, Feb. 11, 1871, and Published in Snepp's Songs of Grace & Glory, 1876; Under the Surface, 1874 ; and Life Mosaic, 1879. 28. Light after darkness, Gain after loss. Peace in Jesus, and the Divine Reward. In Sankey's Sacred Songs and Solos, from her Life Mosaic, 1879. 29. Like a river glorious, Is God's perfect Peace. Peace. In her Loyal Responses, 1878, in 3 st. of 8 1., with the chorus, "Stayed upon Jehovah." In several collections. 30. Master, speak! Thy servant heareth. Fellowship with and Assistance from Christ desired. Sunday evening, May 19, 1867, at Weston-super-Mare. Published in Ministry of Song, 1869, and L. Mosaic, 1879. It is very popular. 31. New mercies, new blessings, new light on thy way. New Life in Christ. 1874, at Winterdyne. (C. 1874.) Published in Under His Shadow, 1879, Life Chords, 1880. 32. Not your own, but His ye are. Missions. Jan. 21, 1867. (C. 1867.) Published in Ministry of Song, 1869; Life Mosaic, 1879; and the Hymnal for Church Missions, 1884. 33. Now let us sing the angels' song. Christmas. In her Life Mosaic, 1879; and W. B. Stevenson's School Hymnal, 1880. 34. Now the daylight goes away. Evening. Oct. 17, 1869, at Leamington. Published in Songs for Little Singers, 1870, and Life Chords, 1880. It originally read, " Now the light has gone away." 35. Now the sowing and the weeping. Sorrow followed by Joy. Jan. 4, 1870, at Leamington. Printed in Sunday at Home, 1870 ; and published in Under the Surface, 1874, and L. Mosaic, 1879. 36. 0 Glorious God and King. Praise to the Father, Feb. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 37. 0 Saviour, precious [holy] Saviour. Christ worshipped by the Church. Nov. 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 38. O thou chosen Church of Jesus. Election. April 6, 1871. Published in Under the Surface, 1874, and L. Mosaic, 1879. 39. O what everlasting blessings God outpoureth on His own. Salvation everlasting. Aug. 12, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 40. Our Father, our Father, Who dwellest in light. The blessing of the Father desired. May 14, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tertius, was composed for this hymn. 41. Our Saviour and our King. Presentation of the Church to the Father. (Heb. ii. 13.) May, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 42. Precious, precious blood of Jesus. The precious Blood. Sept. 1874, at Ormont Dessons. (C.) Published in Loyal Responses, 1878, and Life Chords, 1880. 43. Sing, O heavens, the Lord hath done it. Redemption. In her Life Mosaic, 1879, and the Universal Hymn Book, 1885. 44. Sit down beneath His shadow. Holy Communion. Nov. 27, 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 45. Sovereign Lord and gracious Master. Grace consummated in Glory. Oct. 22, 1871. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 46. Standing at the portal of the opening year. New Year. Jan. 4, 1873. Published in Under the Surface, 1874, and Life Chords, 1880. 47. To Thee, 0 Comforter divine. Praise to the Holy Spirit. Aug. 11, 1872, at Perry Barr. Published in Under the Surface 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tryphosa, was written for this hymn. 48. True-hearted, whole-hearted, faithful and loyal. Faithfulness to the Saviour. In her Loyal Responses, 1878, and the Universal Hymn Book, 1885. 49. What know we, Holy God, of Thee? God's Spirituality, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 50. Who is on the Lord's side? Home Missions. Oct. 13, 1877. Published in Loyal Responses, 1878, andLife Chords, 1880. 51. With quivering heart and trembling will. Resignation. July, 10, 1866, at Luccombe Rectory. (P. 1866.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 52. Will ye not come to Him for life? The Gospel Invitation. 1873. Published in Snepp's Songs of Grace and Glory, 1876. 53. Worthy of all adoration. Praise to Jesus as the Lamb upon the throne. Feb. 26 1867, at Oakhampton. Published in Ministry of Song, 1869, and Life Mosaic, 1874. It is pt. iii. of the "Threefold Praise," and was suggested by the "Worthy is the Lamb," the "Hallelujah" and "Amen" choruses in Handel's Messiah. 54. Ye who hear the blessed call. The Invitation of the Spirit and the Bride. March, 1869, at Leamington. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. Suggested by, and written for, the Young Men's Christian Association. 55. Yes, He knows the way is dreary. Encouragement. 1867. Published in Ministry of Song, 1869. Most of these hymns are given in Snepp's Songs of Grace and Glory, 1872]and 1876, his Appendix, 1874, and the Musical edition, 1880, and many of them are also in several other hymnbooks, including Hymns Ancient & Modern, Thring, Church Hymns, Hymnal Companion, &c, and some of the leading American collections. --John Julian, Dictionary of Hymnology (1907) ============================== Havergal, Frances Ridley, p. 496, i. Miss Havergal's Poetical Works were published in 2 vols. in 1884 (Lond., J. Nisbet); and the hymns therein are accompanied by notes. From these volumes, and the Havergal manuscript, we gather the following facts concerning additional hymns in common use: 1. In God's great field of labour. Work for Christ. Written Feb. 27, 1867, and published in her Ministry of Song, I860, and later works. In Snepp's Songs of Grace and Glory, 1872, it begins with stanza ii., "Sing to the little children." “The poem expresses her own life-ministry of song, and relates true incidents" in that life. [Hav. mss.] 2. Only a mortal's power. Consecration of Self to Christ. Published in her Loyal Responses, 1878, in 7 stanzas of 4 lines, and headed "Only.” In Common Praise, 1879, stanzas ii.-vi., are given for Confirmation as, "Only one heart to give." 3. Through the yesterday of ages. Jesus always the same. Written at Leamington, Nov. 1876, and published in her Loyal Responses, 1878. 4. What hast Thou done for me, 0 Thou my mighty Friend. Good Friday. Written at Leamington, Jan. 1877, and pub. in Loyal Responses, 1878. 5. Yes, He knows the way is dreary, p. 498, i. 55. This hymn was written at Shareshill Parsonage, Nov. 17, 1865, and first printed as one of Parlane's leaflets; then in Lyra Britannica, 1867; and later, in several of her books. It was "suggested by a letter from her niece, A. M. S., at school, and written to console her when weary, lonely, and the only absentee at the rejoicings for her brother J. H. S.'s coming of age." [Hav. mss.] --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Havergal, Frances R., pp. 426, ii., 1569, ii. During the past fifteen years Miss Havergal's hymns have been in great request by compilers of hymnals for Missions and Conventions. In addition to the large number already annotated in this Dictionary, the following are also in common use:— 1. Begin at once! in the pleasant days. [Temperance.] From her Poetical Works, vol. i., p. 303, into The Sunday School Hymnary, 1905. In her Poetical Works. It is given as a "Band of Hope Song," and dated "May, 1876." 2. God in heaven, hear our singing. An altered form of her "God of heaven, hear our singing," p. 497, i. 6. 3. Holy Father, Thou hast spoken. [Holy Spirit desired.] Written May 5, 1876. P. Works, 1874, ii., p. 261. 4. I love. I love my Master. [Jesus the object of love.] Written at Fins, Hants., July 16, 1876. In her Loyal Responses, 1878, and her Poetical Works, 18S4, ii., p. 274. 5. I love to feel that I am taught. [Love of Divine Teaching.] Written at Morecambe Bay, Aug., 1867, for her Ministry of Song, 1869. Included in her Poetical Works, 1884, i., p. 36. 6. Jesus, Thy life is mine. [Union with Christ.] Written June 2, 1876. Poetical Works, 1884, ii., p. 268. 7. Looking unto Jesus, Never need we yield. [Jesus, All in All.] Dated 1876. P. Works, 1884, ii., p. 253. 8. Master, how shall I bless Thy Name! [Holy Service.] Written at Whitby, Sept. 27, 1875. A long hymn of 17 stanzas of 6 lines. P. Works, 1884, ii., p. 280. 9. Resting on the faithfulness. [Union with Christ.] A metrical epitome of a dozen or more of the attributes of Our Lord and His manifestation of loving kindness towards men, in which the word "Resting" is used eighteen times. Written June 11, 1876. Poetical Works, 1884, ii., p. 260. 10. Singing for Jesus, our Saviour and King. [Praise of Jesus.] Written at Winterdyne, June 12. 1872; published in her Under the Surface, 1874, p. 94, and her P. Works, 1884, ii., p. 70. 11. Unfurl the Christian Standard with firm and fearless hand. [Courage for the Christian Warfare. This begins with st. iv. of her hymn, "Unfurl the Christian Standard, lift it manfully on high," written at Perry Barr, Sep. 23, 1872 ; published in her Under the Surface, 1874; and her Poetical Works, 1884, ii. 12. Unto him that hath Thou givest. [Growth in Grace.] Written at Leasowes, April 12, 1876. P. Works, 1884, ii. 259. Of these hymns Nos. 3, 4, 6, 7, 8, 9, and 12 were published in the first instance in J. Mountain's Hymns of Consecration and Faith, 1876. At the present time (1907) the number of Miss Havergal's hymns in common use reaches nearly one hundred. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Williams

1717 - 1791 Person Name: William Williams, 1717-1791 Hymnal Number: d93 Author of "Guide me, O thou great Jehovah" in School Carols William Williams, called the "Watts of Wales," was born in 1717, at Cefn-y-coed, near Llandovery, Carmarthenshire. He originally studied medicine, but abandoned it for theology. He was ordained Deacon in the Church of England, but was refused Priest's Orders, and subsequently attached himself to the Calvinistic Methodists. For half a century he travelled in Wales, preaching the Gospel. He died in 1791. Williams composed his hymns chiefly in the Welsh language; they are still largely used by various religious bodies in the principality. Many of his hymns have appeared in English, and have been collected and published by Sedgwick. His two principal poetical works are "Hosannah to the Son of David," and "Gloria in Excelsis." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ===================== Williams, William, of Pantycelyn, was the Sweet Singer of Wales. He was born at Cefn-y-Coed, in the Parish of Llanfair-y-bryn, near Llandovery, in 1717. He was ordained a deacon of the Established Church in 1740, by Dr. Claget, Bishop of St. Davids, and for three years he served the Curacies of Llan-wrtyd and Llanddewi-Abergwesyn. He never received Priest's Orders. He became early acquainted with the revivalist Daniel Rowlands, and for thirty-five years he preached once a month at Llanllian and Caio and Llansawel, besides the preaching journeys he took in North and South Wales. He was held in great esteem as a preacher. In 1744 his first book of hymns appeared under the title of Halleluiah, and soon ran through three editions. In1762, he published another book under the title of Y Môr o Wydr, which soon went through five editions. His son John published an excellent edition of his hymns in the year 181lines In addition to his Welsh hymns Williams also published several in English as:— (1.) Hosannah to the Son of David; or, Hymns of Praise to God, For our glorious Redemption by Christ. Some few translated from the Welsh Hymn-Book, but mostly composed on new Subjects. By William Williams. Bristol: Printed by John Grabham, in Narrow-Wine Street, 1759. This contains 51 hymns of which 11 are translated from his Welsh hymns. This little book was reprinted by D. Sedgwick in 1859. (2.) Gloria in Excelsis: or, Hymns of Praise to God and the Lamb. By W. Williams . . . Carmarthen. Printed for the Author by John Ross, removed to Priory Street, near the Church, M.DCC.LXXI. This contains 70 hymns, not including parts. From these volumes the following hymns are in common use:— i. From the Hosannah, 1759:— 1. Jesus, my Saviour is enough. Jesus, All in All. 2. My God, my God, Who art my all. Communion with God desired. 3. The enormous load of human guilt. God's love unspeakable. ii. From the Gloria in Excelsis, 1772. 4. Awake, my soul, and rise. Passiontide. 5. Beneath Thy Cross I lay me down. Passiontide. 6. Hark! the voice of my Beloved. The Voice of Jesus. 7. Jesus, lead us with Thy power. Divine Guidance Desired. Sometimes given as "Father, lead us with Thy power." 8. Jesus, Whose Almighty sceptre. Jesus as King. 9. Saviour, look on Thy beloved. The Help of Jesus desired. 10. White and ruddy is my Beloved. Beauties of Jesus. Williams is most widely known through his two hymns, "Guide me, O Thou great Jehovah," and "O'er those gloomy hills of darkness." Williams died at Pantycelyn, Jan. 11, 1791. [Rev. W. Glanffrwd Thomas] -- John Julian, Dictionary of Hymnology (1907) ================= See also in: Hymn Writers of the Church

Benjamin Schmolck

1672 - 1737 Person Name: Benjamin Schmolk Hymnal Number: d98 Author of "Hallelujah, Lo, he wakes" in School Carols Schmolck, Benjamin, son of Martin Schmolck, or Schmolcke, Lutheran pastor at Brauchitschdorf (now Chrόstnik) near Liegnitz in Silesia (now Poland) was born at Brauchitschdorf, Dec. 21, 1672. He entered the Gymnasium at Lauban in 1688, and spent five years there. After his return home he preached for his father a sermon which so struck the patron of the living that he made Benjamin an allowance for three years to enable him to study theology. He matriculated, at Michaelmas, 1693, at the University of Leipzig, where he came under the influence of J. Olearius, J. B. Carpzov, and others, and throughout his life retained the character of their teaching, viz. a warm and living practical Christianity, but Churchly in tone and not Pietistic. In the autumn of 1697, after completing his studies at Leipzig (during his last year there he supported himself mainly by the proceeds of occasional poems written for wealthy citizens, for which he was also, crowned as a poet), he returned to Brauchitzchdorf to help his father, and, in 1701, was ordained as his assistant. On Feb. 12, 1702, he married Anna Rosina, daughter of Christoph Rehwald, merchant in Lauban and in the end of the same year was appointed diaconus of the Friedenskirche at Schweidnitz in Silesia. As the result of the Counter-Reformation in Silesia, the churches in the principality of Schweidnitz had been taken from the Lutherans, and for the whole district the Peace of Westphalia (1648) allowed only one church (and that only of timber and clay, without tower or bells), which the Lutherans had to build at Schweidnitz, outside the walls of the town; and the three clergy attached to this church had to minister to a population scattered over some thirty-six villages, and were moreover hampered by many restrictions, e.g. being unable to communicate a sick person without a permit from the local Roman Catholic priest. Here Schmolck remained till the close of his life, becoming in 1708 archidiaconus, in 1712 senior, and in 1714 pastor primarius and inspector. Probably as the result of his exhausting labours he had a stroke of paralysis on Laetare (Mid-Lent) Sunday, 1730, which for a time laid him aside altogether, and after which he never recovered the use of his right hand. For five years more he was still able to officiate, preaching for the last time on a Fastday in 1735. But two more strokes of paralysis followed, and then cataract came on, relieved for a time by a successful operation, but returning again incurably. For the last months of his life he was confined to bed, till the message of release came to him, on the anniversary of his wedding, Feb. 12, 1737. (Koch, v. 463; Bode, p. 144; Goedeke's Grundriss, vol. iii., 1887, p. 306; sketch prefixed to Ledderhose's edition of Schmolck's Geistliche Lieder, Halle, 1857, &c.) Schmolck was well known in his own district as a popular and useful preacher, a diligent pastor, and a man of wonderful tact and discretion. It was however his devotional books, and the original hymns therein contained, that brought him into wider popularity, and carried his name and fame all over Germany. Long lists of his works and of the various editions through which many of them passed are given by Koch, Bode and Goedehe. It is rather difficult to trace the hymns, as they are copied from one book of his into another, &c. Schmolck was the most popular hymnwriter of his time, and was hailed as the "Silesian Rist," as the "second Gerhardt," &c. Nor was he altogether unworthy of such praise. It is true that he did not possess the soaring genius of Gerhardt. Nor had he even Gerhardt's concise, simple style, but instead was too fond of high-sounding expressions, of plays upon words, of far-fetched but often recurring contrasts, and in general of straining after effect, especially in the pieces written in his later years. In fact he wrote a great deal too much, and latterly without proper attention to concentration or to proportion. Besides Cantatas, occasional pieces for weddings, funerals, &c, he is the author of some 900 hymns, properly so called. These were written for all sorts of occasions, and range over the whole field of churchly, family, and individual life. Naturally they are not all alike good; and those in his first three collections are decidedly the best. A deep and genuine personal religion, and a fervent love to the Saviour, inspire his best hymns; and as they are not simply thought out but felt, they come from the heart to the heart. The best of them are also written in a clear, flowing, forcible, natural, popular style, and abound in sententious sayings, easily to be remembered. Even of these many are, however, more suited for family use than for public worship. Nevertheless they very soon came into extensive use, not only in Silesia, but all over Germany. A number of Schmolck's hymns [that] have passed into English are:— i. Der beste Freund ist in dem Himmel. Love of Jesus. First published in his Heilige Flammen (ed. 1709, p. 100), in 6 stanzas of 6 lines, entitled "The best Friend." The translation in common use is:— A faithful friend is waiting yonder. This is a good translation, omitting stanza v., as No. 293, in Kennedy, 1863. ii. Die Woche geht zum Ende. Saturday Evening. In his Andächtige Hertze, 1714, p. 116, in 10 stanzas of 8 lines, entitled "Evening Hymn," and appointed for Evening Prayer on Saturday. In the Berlin Geistliche Lieder, ed. 1863, No. 1158. Translated as:— The week draws near its ending. This is a good translation of stanzas i., vi., vii., x., marked as by "A. G.," as No. 81 in the Dalston Hospital Hymn Book 1848. Other trs. are: (1) “Though now the week is ending," by H. J. Buckoll, 1842, p. 107. (2) “The week at length is over," by Miss Manington, 1863, p. 137. iii. Gott du hist selbst die Liehe. Holy Matrimony. Translated as:— O God, "Who all providest. This is a good translation, omitting stanza iii., by J. M. Sloan, as No. 312 in J. H. Wilson's Service of Praise, 1865. iv. Halleluja! Jesus lebt. Easter. In his Bochim und Elim, 1731, p. 67, in 5 stanzas of 6 lines, entitled "Hallelujah! at the grave of Jesus." In the Berlin Geistliche Lieder, ed. 1863, No. 296. Tr. as:— Hallelujah! Lo, He wakes. By E. Cronenwett, omitting st. iv., as No. 79 in the Ohio Lutheran Hymnal 1880. Another translation is: "Hallelujah! Jesus lives! Life, immortal life, He gives." This is a full and good translation, by Miss Warner, 1858, p. 486, repeated in the Treasury of Sacred Song, Kirkwall, n.d. v. Heute mir und Morgen dir. Funeral Hymn. In his Schmuck und Asche, 1717, p. 252, in 6 stanzas of 6 lines, entitled "Daily Dying". The tr. in common use is:— Today mine, tomorrow thine. This is a good and full translation, by Miss Warner, in her Hymns of the Church Militant, 1858, p. 260. vi. Je grösser Kreuz, je näher Himmel. Cross and Consolation. In his Andächtige Hertz, 1714, p. 273, in 9 stanzas of 6 lines, entitled "Hymn of Cross and Consolation." By its sententiousness and its manifold illustrations of the power of the Cross it has been a favourite with many. Translated as:— 1. Greater the Cross, the nearer heaven. 2. The more the cross, the nearer heaven. Another translation is: "The heavier the cross, the nearer heaven," by J. D. Burns, in the Family Treasury, 1859, p. 160. vii. Jesus soil die Losung sein. New Year. The translation in common use is:— Jesus shall the watchword he. Another translation is: "Jesu's name shall be our watchword," by J. Kelly, in the Family Treasury, 1868, p. 689. viii. Licht vom Licht, erleuchte mich. Sunday Morning. Translated as:— Light of Light, enlighten me. This is a very good tr. omitting stanza vii., by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 66, and thence in her Chorale Book for England, 1863, No. 17. Other translations are: (1) "Light of Light! illumine me," by H. J. Buckoll, 1842, p. 6. (2) "O thou blessed Light of Light," by Miss Dunn, 1857, p. 74. ix. Meinen Jesum lass ich nicht, Ach was wollt ich hessres haben. Love to Christ. Translated as:— I'll with Jesus never part. This is a translation of st. i., ii., iv., as stanzas iii.-v. of No. 378 in the Moravian Hymn Book, 1789. In the ed. of 1886, No. 452 (see p. 614, i.), the part from Schmolck begins, "He is mine and I am His" (the translation of stanza ii.). Another tr. is: "I'll not leave Jesus—-never, never," by Miss Warner, 1858, p. 509. x. Mein Gott, ich weiss wohl dass ich sterbe. For the Dying. Translated as:— My God! I know that I must die, My mortal. Other trs. are: (1) "That I shall die full well 1 know," by Dr. H. Mills, 1845 (1856, p. 232). (2) "My God! I know full well that I must die," by Miss Warner, 1858, p. 344. (3) "My God, I know that I must die; I know," by G. Moultrie, in his Espousals of S. Dorothea, 1870. xi. Mein Jesus lebt! was soil ich sterben. Easter. Translated as:— My Saviour lives; I shall not perish. xii. 0 wie fröhlich, o wie selig. Eternal Life. Translated as:— Oh how joyous, oh how blessed. Another tr. is: "Oh, how blest beyond our telling." xiii. Schmückt das Fest mit Maien. Whitsuntide. Translated as:— Come, deck our feast today. xiv. Thut mir auf die schöne Pforte. Sunday. Translated as:— 1. Open now thy gates of beauty. This is a good tr., omitting stanza iii., vii., by Miss Winkworth, in her Chorale Book for England, 1863, No. 15. 2. Open wide the gates of beauty. This is a translation of stanzas i., ii., iv., vi.-vii., by H. L. Hastings, dated 1885, as No. 1076, in his Songs of Pilgrimage, 1886. Another tr. is: "Throw the glorious gates wide open," by Miss Manington, 1863, p. 146. xv. Weine nicht, Gott lebet noch. Cross and Consolation. Tr. as:— "Weep not,-—Jesus lives on high. Another tr. is: "Weep not, for God, our God, doth live," by Dr. R. Maguire, 1883, p. 59. xvi. Willkommen, Held im Streite. Easter. The translation in common use is:— Welcome Thou victor in the strife. This is a good translation omitting st. ii.—iv., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 91. Hymns not in English common use:-- xvii. Ach wenn ich dich, mein Gott, nur habe. Love to God. Founded on Ps. lxxiii. 25, 26. Translated as "My God, if I possess but Thee," by G. Moultrie, in his Espousals of S. Dorothea, 1870. xviii. An Gott will ich gedenken. Remembering God's Love and Care. In his Heilige Flammen (ed. 1707, p. 59; ed. 1709, p. 131), in 6 stanzas of 8 lines, and Burg's Gesang-Buch, Breslau, 1746, No. 112. Translated as "My God will I remember," by J. Kelly, in the Family Treasury, 1868. xix. Der Sabbath ist vergangen. Sunday Evening. Tr. as "The Sabbath now is over," by Dr. H. Mills, 1856, p. 226. xx. Du angenehmer Tag. Sunday. In his Lustige Sabbath, 1712, p. 1, in 8 stanzas of 6 lines. Tr. as “Thou ever welcome day," by J. Kelly, in the Family Treasury, 1868, p. 688. xxi. Endlich, endlich, muss es doch. Cross and Consolation. Translated as "Yes, at last, our God shall make," in the Christian Examiner, Boston, U.S., Sept., 1860, p. 251. xxii. Gedenke mein, mein Gott, gedenke mein. For the Dying. Translated as "Remember me, my God! remember me," by Miss Borthwick, in Hymns from the Land of Luther 1854, p. 9. xxiii. Geh, müder Leib, zu deiner Euh. Evening. Translated as "Go, wearied body, to thy rest," by J. Kelly, in the Family Treasury, 1868. In his Lustige Sabbath, 1712, p. 35, in 10 stanzas of 6 lines, and Burg’s Gesang-Buch, Breslau, 1746, No. 403. Translated as "King, to Jews and Gentiles given," by Dr. H. Mills, 1845. xxiv. Gott der Juden,Gott der Heiden. Epiphany. Translated as “King, to Jews and Gentiles given,” by Dr. H. Mills, 1845. xxv. Gott lebt, wie kann ich traurig sein. Trust in God. Translated as "God lives! Can I despair," by Miss Warner, 1869, p. 44. xxvi. Gott mit uns, Immanuel. New Year. Translated as "God with us! Immanuel, Open with the year before us," by Dr. R. P. Dunn, in Sacred Lyrics from the German, Philadelphia, U.S., 1859, p. 166. xxvii. Hier ist Immanuel! New Year. Translated as "Here is Immanuel!" by Miss Manington, 1864, p. 24. xxviii. Hilf, Heifer, hilf! ich muss verzagen. Cross and Consolation. Translated as "Help, Saviour, help, I sink, I die,” in the Monthly Packet, vol. xviii., 1859, p. 664. xix. Ich habe Lust zu scheiden. For the Dying. Tr. as "Weary, waiting to depart," by Mrs. Findlater, in Hymns from the Land of Luther, 1855, p 130. xxx. Ich sterbe täglich, und mein Leben. For the Dying. Translated as "Both life and death are kept by Thee" (st. iv.), by J. Kelly, in the Family Treasury, 1868, p. 689. xxxi. Mein Gott, du hast mich eingeladen. Sunday. Translated as "My God, Thou hast the invite given," by Miss Manington, 1863, p. 150. xxxii. Mein Gott! du wohnst in einem Lichte. Holy Scripture. Translated as "In glory bright, O God, Thou dwellest," by Dr. H. Mills, 1845. xxxiii. Mein Gott, ich klopf an deine Pforte. Supplication. Tr.Translated as "given as "Mein Gott, mein Erstes und mein Alles." Translated as "My God! the Source of all my blessing," in the British Herald, August, 1866, p. 312; repeated in Reid's Praise Book, 1872. xxxv. Mein Gott, weil ich in meinem Leben. The ChristiaWho, Lord, has any good whatever," by Dr. H. Mills, 1845, p. 91. xxxiv. Mein Gott, mein Alles Uber Alles. Trust in God. Sometimes n Life. Translated as "Most High! with reverence to fear Thee," by Dr. H. Mills, 1845, p. 114.). xxxvi. Nun hab ich überwunden; Zu guter Nacht, o Welt. For the Dying. Translated as "Now soon I shall have conquer'd," by Miss Manington, 1863, p. 87. xxxvii. Seht welch ein Mensch ist das. Passiontide. The translations are (1) "See, what a man is this! How tearful is His glance," by J. Kelly, in the British Messenger, Feb., 1S68; repeated in the Family Treasury, 1868, p. 691. (2) "See what a man is this, O glances," by Miss Warner, 1869, p. 32. xxxviii. Sei getreu bis in den Tod. Christian Faithfulness. Translated as "Be thou faithful unto death! Let not troubles nor distresses," by R. Massie, in the Day of Rest, 1878, vol. ix. p. 219. xxxix. Theures Wort aus Gottes Munde. Holy Scripture. Translated as "Word by God the Father spoken," by Miss Manington, 1863. xl. Was Gott thut das ist wohlgethan! Er giebt und nimmt auch wieder. On the Death of a Child. The trs. are (1) "What God does is well done, "Who takes what He gave," by W. Graham, in his The Jordan and the Rhine, London, 1854, p. 251. (2) "Whatever God doth is well done, He gives, &c," by J. Kelly, in the Family Treasury, 1868, p. 688. xli. Wer will mich von der Liebe scheiden. Faith. Translated as "Who can my soul from Jesus sever," by Miss Manington, 1863, p. 39. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

Fanny Crosby

1820 - 1915 Person Name: Fanny J. Crosby Hymnal Number: d102 Author of "He who safely keepeth, slumbers not" in School Carols Pseudonymns: A.V., Mrs. A. E. Andrews, Mrs. E. A. Andrews, Mrs. E. L. Andrews, James L. Black, Henrietta E. Blair, Charles Bruce, Robert Bruce, Leah Carlton, Eleanor Craddock, Lyman G. Cuyler, D.H.W., Ella Dare, Ellen Dare, Mrs. Ellen Douglass, Lizzie Edwards. Miss Grace Elliot, Grace J. Frances, Victoria Frances, Jennie Garnett, Frank Gould, H. D. K., Frances Hope, Annie L. James, Martha J. Lankton [Langton], Grace Lindsey, Maud Marion, Sallie Martin, Wilson Meade, Alice Monteith, Martha C. Oliver, Mrs. N. D. Plume, Kate Smiley, Sallie Smith, J. L. Sterling, John Sterling, Julia Sterling, Anna C. Storey, Victoria Stuart, Ida Scott Taylor, Mary R. Tilden, Mrs. J. B. Thresher, Hope Tryaway, Grace Tureman, Carrie M. Wilson, W.H.D. Frances Jane Crosby, the daughter of John and Mercy Crosby, was born in Southeast, Putnam County, N. Y., March 24, 1820. She became blind at the age of six weeks from maltreatment of her eyes during a spell of sickness. When she was eight years old she moved with her parents to Ridgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, where she received a good education. She became a teacher in the institution in 1847, and continued her work until March 1, 1858. She taught English grammar, rhetoric and American history. This was the great developing period in her life. During the vacations of 1852 and 1853, spent at North Reading, Mass., she wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution. Among them were, "Hazel Dell,", "The Honeysuckle Glen," "Rosalie, the Prairie Flower," "Music in the Air," "Proud World, Good-bye, I'm Going Home," "All Together", "Never Forget the Dear Ones," and others. Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author. While teaching at the institution she met Presidents Van Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Concerning Mr. Clay, she gives the following: "When Mr. Clay came to the institution during his last visit to New York, I was selected to welcome him with a poem. Six months before he had lost a son at the battle of Monterey, and I had sent him some verses. In my address I carefully avoided any allusion to them, in order not to wound him. When I had finished he drew my arm in his, and, addressing the audience, said through his tears: 'This is not the first poem for which I am indebted to this lady. Six months ago she sent me some lines on the death of my dear son.' Both of us were overcome for a few moments. Soon, by a splendid effort, Mr. Clay recovered himself, but I could not control my tears." In connection with her meeting these notable men, we might add that Miss Fanny Crosby had the honor of being the first woman whose voice was heard publicly in the Senate Chamber at Washington. She read a poem there on one occasion. In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses, with a biographical sketch by Rev. Robert Lowry, and a fine half-tone portrait, in 1897, the sales of which have reached a fourth edition. The book is published by The Biglow & Main Co., New York. Though these show the poetical bent of her mind, they have little to do with her world-wide fame. It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken, and, in fact, wherever any other language is heard. Fanny was married March 5, 1858, to Alex. Van Alstyne, who was also a scholar in the same institution in which she was educated. She began to write Sunday-school hymns for Wm. B. Bradbury in 1864. Her first hymn, "We are going, we are going To a home beyond the skies", was written at the Ponton Hotel on Franklin Street, New York City, on February 5th of that year. This hymn was sung at Mr. Bradbury's funeral in January, 1868. Since 1864 she supported herself by writing hymns. She resided in New York City nearly all her life, where, she says, she is "a member of the Old John Street M. E. Church in good standing." She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns. Her hymns have been in great demand and have been used by many of our most popular composers, among whom may be mentioned Wm. B. Bradbury, Geo. F. Root, W. H. Doane, Rev. Robert Lowry, Ira D. Sankey, J. R. Sweney, W. J. Kirkpatrick, H. P. Main, H. P. Danks, Philip Phillips, B. G. Unseld, and others. She could compose at any time and did not need to wait for any special inspiration, and her best hymns have come on the spur of the moment. She always composed with an open book in her hand, generally a copy of Golden Hymns, held closely over her eyes, bottom side up. She learned to play on the guitar and piano while at the institution, and has a clear soprano voice. She also received a technical training in music, and for this reason she could, and did, compose airs for some of her hymns. One of these is, "Jesus, dear, I come to Thee, Thou hast said I may," both words and music of which are wonderfully sweet. "Safe in the arms of Jesus", probably one of her best known hymns, was her own favorite. Fanny loved her work, and was happy in it. She was always ready either to sympathize or join in a mirthful conversation, as the case may be. The secret of this contentment dates from her first composition at the age of eight years. "It has been the motto of my life," she says. It is: "O what a happy soul am I! Although I cannot see, I am resolved that in this world Contented I will be;" This has continued to be her philosophy. She says that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knows a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age. Her scope of subjects is wide, embracing everything from a contemplation of heaven, as in "The Bright Forever" and "The Blessed Homeland", to an appeal to the work of this world, as in "To the Work" and "Rescue the Perishing." The most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but quite a large number have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names. -Biographies of Gospel Song and Hymn Writers (excerpts) ======================= Van Alstyne, Frances Jane, née Crosby, a member of the Methodist Episcopal Church, was born at South East, Putnam County, New York, March 24, 1823. When six weeks old she lost her sight. About 1835 she entered the New York City Institution for the Blind. On completing her training she became a teacher therein from 1847 to 1858. In 1858 she was married to Alexander Van Alstyne, a musician, who was also blind. Her first poem was published in 1831; and her first volumes of verse as A Blind Girl, and Other Poems, 1844; Monteresy, and Other Poems, 1849; and A Wreath of Columbia's Flowers, 1858. Her first hymn was "We are going, we are going" (Death and Burial), which was written for Mr. Bradbury and published in the Golden Censer, 1864. From 1853 to 1858 she wrote 20 songs, which were set to music by G. F. Root. Her songs and hymns number some 2,000 or more, and have been published mainly in several of the popular American Sunday school collections, and often under a nom de plume. About 60 have come into common use in Great Britain. The majority of these are taken from the following American collections:— i. From The Shining Star, 1864. 1. Softly on the breath of evening. Evening. ii. From Fresh Laurels, 1867. 2. Beautiful Mansions, home of the blest. Heaven. 3. Jesus the Water of Life has given. The Water of Life. 4. Light and Comfort of my soul. In Affliction. 5. There's a cry from Macedonia. Missions. 6. We are marching on with shield and banner bright. Sunday School Anniversary. iii. From Musical Leaves, 1868. 7. 0 what are you going to do, brother? Youth for God. iv. From Sabbath Carols, 1868. 8. Dark is the night, and cold the wind is blowing. Affliction anticipated. 9. Lord, at Thy mercy seat, Humbly I fall. Lent. v. From Silver Spray, 1868. 10. If I come to Jesus, He will make me glad. Peace in Jesus. 11. 'Twill not be long—our journey here. Heaven anticipated. vi. From Notes of Joy, 1869. 12. Little beams of rosy light. The Divine Father. 13. Press on! press on! a glorious throng. Pressing towards the Prize. vii. From Bright Jewels, 1869. 14. Christ the Lord is risen today, He is risen indeed. Easter. 15. Holy, holy, holy is the Lord! Sing 0 ye people, &c. Holiness of God. 16. Jesus, keep me near the Cross. Near the Cross of Christ. 17. Saviour, bless a little child. A Child's Prayer. Written Feb. 6, 1869. viii. From Songs of Devotion, 1870. 18. Pass me not, 0 gentle Saviour. Lent. Written in 1868. 19. Rescue the perishing, care for the dying. Home Missions. ix. From Pure Gold, 1871. 20. Great is Jehovah. King of kings. Greatness of God. 21. I would be Thy little lamb. The Good Shepherd. 22. Lead me to Jesus, lead me to Jesus. Desiring Jesus. 23. To the work, to the work, we are servants of God. Home Missions. 24. Why labour for treasures that rust and decay? The Fadeless Crown. x. From the Royal Diadem, 1873. 25. I am Jesus' little friend. For Infant Schools. 26. Jesus I love Thee. Loving Jesus. 27. Mourner, wheresoe'er thou art. To the Sorrowing and Penitent. Written Oct. 3, 1871. 28. Never be faint or weary. Joy in Jesus. 29. Only a step to Jesus. Invitation. xi. From Winnowed Hymns, 1873-4. 30. Loving Saviour, hear my cry. Lent. xii. From Echoes of Zion, 1874. 31. Say, where is thy refuge, my brother? Home Missions. xiii. From Songs of Grace and Glory, 1874. 32. Thou my everlasting Portion. Christ the Portion of His People. xiv. From Brightest and Best, 1875. 33. All the way my Saviour leads me. Jesus the Guide. 34. I am Thine, O Lord: I have heard Thy voice. Holiness desired. 35. O come to the Saviour, believe in His name. Invitation. Written, Sep. 7, 1874. 36. O how sweet when we mingle. Communion of Saints. Written in 1866. 37. O my Saviour, hear me. Prayer to Jesus for blessing and love. 38. Only Jesus feels and knows. Jesus the Divine Friend. 39. Revive Thy work, O Lord. Home Missions. 40. Saviour, more than life to me. Jesus All and in All. 41. To God be the glory, great things He hath done. Praise for Redemption. xv. From Calvary Songs, 1875. 42. Come, O come with thy broken heart. Invitation. xvi. From Gospel Music, 1876. 43. Here from the world we turn. Divine Worship. 44. When Jesus comes to reward His servants. Watching, xvii. From Welcome Tidings, 1877. 45. O hear my cry, be gracious now to me. For Pardon and Peace. xviii. From The Fountain of Song, 1877. 46. Lord, my trust I repose on Thee. Trusting in Jesus. xix. From Good as Gold, 1880. 47. In Thy cleft, O Rock of Ages. Safety in Jesus. 48. Sound the alarm ! let the watchman cry. Home Missions. 49. Tenderly He leads us. Christ the Leader. 50. 'Tis the blessed hour of prayer. The Hour of Prayer. In addition to these hymns, all of which are in common use in Great Britain (mainly through I. D. Sankey's Sacred Songs and Solos, the Methodist Sunday School Hymn Book, the Silver Street Sunday Scholars Companion, and other collections for Sunday schools), there are also "A blessing for you, will you take it?" (Pardon through Jesus); "My song shall be of Jesus" (Praise of Jesus); “Now, just a word for Jesus"(Home Missions); "Onward, upward, Christian soldier" (Pressing Heavenward); 44 Sinner, how thy heart is troubled" (Invitation); "'Tis a goodly, pleasant land" (Heaven anticipated); and "When the dewy light was fading" (Death anticipated). All of these are in I. D. Sankey's Sacred Songs & Solos. Mrs. Van Alstyne's most popular composition is "Safe in the arms of Jesus" (Safety in Jesus). This was written in 1868, at the request of Mr. W. H. Doane, to his well-known melody with which it is inseparably associated, and published in Bright Jewels, 1869. Mrs. Van Alstyne's hymns have sometimes been published anonymously; but the greater part are signed by a bewildering number of initials. The combined sales of the volumes of songs and hymns named above have amounted in English-speaking countries to millions of copies. Notwithstanding the immense circulation thus given to Mrs. Van Alstyne's hymns, they are, with few exceptions, very weak and poor, their simplicity and earnestness being their redeeming features. Their popularity is largely due to the melodies to which they are wedded. Since the above was in type we have found that the following are also in common use in Great Britain:— 51. Suppose the little cowslip. Value of Little Things. 52. Sweet hour of prayer. The Hour of Prayer. These are in Bradbury's Golden Chain, 1861. 53. Never lose the golden rule. Love to our Neighbours. In Bradbury's Golden Censer, 1864. 54. I will not be afraid at night. Trust in God. In Bradbury's Fresh Laurels, 1867. 55. Praise Him, praise Him, Jesus our, &c. Praise of Jesus. In Biglow & Main's Bright Jewels, 1869. 56. More like Jesus would I be. More like Jesus. In Perkins & Taylor's Songs of Salvation, 1870. 57. Behold me standing at the door. Christ at the Door. In Biglow & Main's Christian Songs, 1872. 58. If I come to Jesus. Jesus the Children's Guide. 59. Jesus, Lord, I come to Thee. Trust in Jesus. 60. Let me learn of Jesus. Jesus the Children's Friend. 61. Singing for Jesus, O singing for Jesus. Singing for Jesus. 62. There is a Name divinely sweet Holy Name of Jesus. Of these hymns Nos. 58-62 we have not been able to trace. --Excerpts from John Julian, Dictionary of Hymnology (1907 ================ Van Alstyne, Frances J., p. 1203, ii. From the American collections of recent date we find that Mrs. Van Alstyne is still actively engaged in hymn-writing. In the Funk and Wagnalls Company Gloria Deo, 1903, there are about 30 of her hymns, most of which are new. They are all signed, and some are dated, but we have not space to quote the first lines and subjects, as this hymnal is not an official collection of any denomination. Another name, "Mrs. S. K. Bourne" is credited in the same hymnal with about 40 new hymns. If this signature is not another pen-name of Mrs. Van Alstyne's (and these pen-names and initials of hers are very numerous), we can only say that she has a very successful understudy in "Mrs. S. K. Bourne." --John Julian, Dictionary of Hymnology, New Supplement (1907)