Some of the world’s greatest books were written in prison. Think of the Epistles of St. Paul which came from such secluded confines. The Pilgrim’s Progress, which has been translated into more languages than any other book except the Bible, was written by Bunyan in Bedford Jail. Silvio Pellico, an Italian man of letters, recounted his ten years of imprisonment at Spielberg, Austria, and declared that religion was his chief consolation. The singing of St. Paul and Silas during their imprisonment at Philippi had memorable results. There are many other instances of beneficial consequences in connection with these dismal incarcerations. The incidents in this chapter have to do with the influences upon the prisoners themselves and how they were converted to Christ and comforted in their distress. Such transcripts of life under inconceivably trying circumstances give evidence of the power of the Gospel. One of the most remarkable recent books is entitled A Gentleman in Prison, giving the experiences of Tokichi Ishii, a converted The first one tells how Prisoners Sang “The Glory Song”“The Glory Song” attained a marvelous popularity soon after it was published in 1900. In less than five years it was being sung in many languages all over the world. Several interesting incidents are related of its influence but one that Homer Rodeheaver wrote in Zion’s Herald, Boston, is worthy of note: “I have heard it in a number of instances sung by over ten thousand people, but the most impressive rendering I ever heard given to it was by a certain audience of over one thousand men. These men were all dressed in steel gray suits, and sat with folded arms; the man who played the organ and the man who held the baton and led the song were dressed in exactly the same way. Down the right side, across the rear and up the left side of the chapel room, on high stools, sat a row of men in blue uniforms, holding heavy canes across their knees, these men seemed never for an instant to take their eyes from certain spots in front of them. “How strangely their voices impressed me—these men without a country, without a home, without a name, deprived of every privilege accorded to all men by the Almighty, and known only by a number. As I sat before them, the prison pallor of their faces against its background of gray within that frame of blue, made a picture never to be forgotten. With few exceptions, every man sang. Here sat one with downcast eyes, there another with mute lips, while yonder near the center a large, strong fellow was weeping like a little child—but silently. They told me he had been there but a short time, and I wondered if he had heard the song before, under different circumstances—and where, for he had a kindly face. Softly they sang that last stanza: ‘Friends will be there I have loved long ago; Joys like a river around me will flow; Yet, just a smile from my Saviour, I know, Will through the ages be glory for me.’ The song ended, the chaplain said a brief prayer, and that great crowd of men, at signals from the guards in blue, marched out squad by squad, keeping step to the music of the organ played by the man in gray.” Their deepest feelings are portrayed in The Hymn of the PrisonerDescribing a chapel service in Auburn (New York) prison, a newspaper correspondent wrote: “One of the hymns the men sang was ‘Pardon the Debt and Make Me Free.’ They sang that over and over again, and it seemed to express the feelings of every convict.” The extraordinary circumstances in which a hymn was used are described in this incident when A Condemned Man Wanted “Face to Face” SungThe story of the writings of Mrs. Carrie Ellis Breck, who spent her girlhood days on her father’s fruit farm in New Jersey, was related by A. L. Lawson in The Christian Herald. From that article the following is taken: “Perhaps the experience that touched her most deeply of all, and the one she most treasures, is that of the time when a poor condemned man, sentenced to be hanged, asked that her hymn, ‘Face to Face with Christ My Saviour,’ be sung before his execution. As the doomed wretch was led out, and looked for the last time upon what was left him of the world, there came to him the sweet words of her hymn— ‘Face to face with Christ my Saviour, Face to face, how can it be, When with rapture I behold Him, Jesus Christ, Who died for me? Face to face shall I behold Him Far beyond the starry sky; Face to face in all His glory, I shall see Him by and by!’” The pathos of the situation is recounted by a prison chaplain in England who tells of Hymns Selected by PrisonersThis chaplain, the Rev. G. A. Metcalfe, found men confined for various crimes. One was convicted “Holy Father, in Thy mercy, Hear our anxious prayer: Keep our loved ones, now far absent, ’Neath Thy care.” An experience of the days before prohibition was recorded in The Youth’s Companion, when Judge and Criminals Listened To “The Holy City”Thirty men, red-eyed and disheveled, lined up before a judge of the San Francisco police court. It was the regular morning company of “drunks and disorderlies.” Just as the momentary disorder “Last night I lay a-sleeping, There came a dream so fair.” Last night! It had been for them all a nightmare or a drunken stupor. The song was such a contrast to the horrible fact that no one could fail of a sudden shock at the thought the song suggested. “I stood in old Jerusalem, Beside the temple there,” the song went on. The judge had paused. He made a quiet inquiry. A former member of a famous opera company, known all over the country, was awaiting trial for forgery. It was he who was singing in his cell. Meantime the song went on, and every man on the line showed emotion. At length, one man protested. “Judge,” said he, “have we got to submit to this? We’re here to take our punishment, but this—” and he began to sob. It was impossible to proceed with the business of the court, yet the judge gave no order to stop the song. It moved on to its climax: “Jerusalem, Jerusalem! Sing for the night is o’er! Hosanna in the highest! Hosanna for evermore!” In an ecstasy of melody the last words rang out, and then there was silence. The judge looked into the faces of the men before him. There was not one who was not touched by the song; not one in whom some better impulse was not stirred. He did not call the cases singly—a kind word of advice, and he dismissed them all. No man was fined or sentenced to the workhouse that morning. The song had done more good than punishment could have accomplished. |