THE QUAKER POET AS A HYMN-WRITER

Of all American poets, there is none who is so genuinely loved as John Greenleaf Whittier. A man of the people, a true American, and full of the milk of human kindness, Whittier’s poetry reflects so much of his own character that it will never lose its singular charm and beauty.

Whittier’s life is a story of struggle. He was born of humble Quaker parents at Haverhill, Mass., December 17, 1807. Instead of receiving the advantages of an education, he knew of nothing but drudgery and hard work throughout his childhood. But the poetic spark was in him even as a child. One day, when a small boy, he sat before the kitchen fire and wrote on his slate:

No doubt it was the memory of these childhood experiences that later inspired him to write with such depth of feeling and understanding the lines of “The Barefoot Boy”:

Through hard work he managed to save enough to attend Haverhill academy two seasons. Though this was the extent of his scholastic training, he never ceased to be a student.

A wandering Scotchman who chanced to visit the quiet Quaker home and sang such rollicking (!) lyrics as “Bonny Doon,” “Highland Mary,” and “Auld Lang Syne” kindled the boy’s imagination. He immediately borrowed a copy of Burns’ poems from the village schoolmaster, and now for the first time he seriously began to think of becoming a poet.

When he was only twenty-five years old he had already begun to attract attention by his poetry. He had also achieved some success in politics and was planning to run for Congress. Soon, however, came the call of the Abolition movement, and Whittier, always true to his Quaker conception of “the inner voice,” determined to sacrifice all of his political ambitions to become a champion of the slaves.

It was not long before he was recognized as preËminently the poet of anti-slavery, as Phillips was its orator, Mrs. Stowe its novelist, and Sumner its statesman. The fervor with which he threw himself into the cause may be seen reflected in the stirring lines of his poems written in those days, notably “The Star of Bethlehem.” However, since his anti-slavery poems are more vehement than inspiring, and as the events which suggested them were temporary, they will be read with constantly waning interest.

AMERICA’S GREATEST HYMN AND ITS AUTHOR

Although a number of America’s great poets wrote hymns, it was not given to any one of them to compose America’s finest Christian lyric. Bryant wrote “Look from Thy sphere of endless day,” Whittier was the author of “Dear Lord and Father of mankind,” Holmes composed “O Love Divine, that stooped to share,” and Longfellow has given us “I heard the bells of Christmas day;” but, beautiful as these hymns are, none of them can compare with “My faith looks up to Thee.” This, “the most precious contribution which American genius has yet made to the hymnology of the Christian Church,” came from the pen of a very humble but gifted minister, Ray Palmer.

Palmer, who was born at Little Compton, R. I., November 12, 1808, was a direct descendant of John Alden and his good wife, Priscilla. One of his forebears was William Palmer, who came to Plymouth in 1621.

Through pressure of poverty Ray found it necessary to leave home at the age of thirteen, after having received a grammar education. For two years he clerked in a Boston dry goods store, during which time he passed through some deep spiritual experiences, with the result that he gave his heart to God.

Friends who recognized unusual gifts in the young man urged him to attend school. Eventually he graduated from Phillips Andover Academy and from Yale. For a while he taught in New York and New Haven, but in 1835 he was ordained to the Congregational ministry. He served a congregation in Bath, Maine, for fifteen years, and another at Albany, N. Y., for a like period, after which he became Corresponding Secretary of the American Congregational Union, a position which he held until 1878, when he was compelled to retire because of failing health.

It was while he was teaching in New York City that “My faith looks up to Thee” was written. He was only twenty-two years old at the time, and he had no thought when writing it that he was composing a hymn for general use. He tells in his own account of the hymn how he had been reading a little German poem of two stanzas, picturing a penitent sinner before the cross. Deeply moved by the lines, he translated them into English, and then added the four stanzas that form his own hymn.

The words of the hymn, he tells us, were born out of his own spiritual experience.

“I gave form to what I felt, by writing, with little effort, the stanzas,” he said. “I recollect I wrote them with very tender emotion, and ended the last lines with tears.”

“A ransomed soul!” Who would not have been moved to deep emotion after having written a poem with such a sublime closing line!

This happened in the year 1832, almost a hundred years ago.

Palmer copied the poem into a little note-book which he constantly carried in his pocket. Frequently he would read it as a part of his private devotion. It never seemed to occur to him that it might some day be used as a hymn.

But God was watching over that little poem. One day as Palmer was walking along the busy streets of Boston, he chanced to meet Lowell Mason, the famous musician and composer of Savannah, Ga. Mason was compiling a hymn-book at the time and asked Palmer, who had established something of a reputation as a poet, if he could give him some words for which he could compose music. Palmer remembered the poem in his note-book, and, while the two men stepped into a nearby store, a copy of the poem was made and given to Mason.

When the two men met again a few days later, Mason exclaimed: “Dr. Palmer, you may live many years and do many good things, but I think you will be best known to posterity as the author of ‘My faith looks up to Thee.’”

Mason wrote the beautiful tune known as “Olivet” for the hymn, and perhaps the music contributed as much as the words to endear it to the hearts of millions. Certainly here is an instance where words and music are wedded, and should never be parted asunder.

Palmer wrote many other splendid hymns. Some of his most famous are translations from the Latin. His rendering of the noted hymn of Bernard of Clairvaux, “O Jesus, Joy of loving hearts,” is a gem of wondrous beauty. It has become a favorite communion hymn.

In his ministry Palmer laid much emphasis on the Lord’s Supper, and many of his hymns were written for communion services. He once said, in a communion address: “When the cares and the business of life have hurried me hither and thither with no little distraction of mind, I love to come back again, and sit down before the cross, and gaze on the blessed Sufferer with silent, tender memories. It is like coming once more into the sunshine after long walking through gloom and mist.”

Palmer’s whole life was characterized by a warm, almost passionate, devotion to Christ. His faith in the Saviour was so childlike and strong that it enabled him to rise above all external burdens and trials. Something of his personal love to Christ may be seen beautifully reflected in his hymn, “Jesus, these eyes have never seen,” which was his own favorite and which many regard as inferior only to “My faith looks up to Thee.” It is such an appealing lyric, we feel we must quote it in full.

Palmer looked upon his hymns as gifts from heaven, and therefore he refused to accept money for their use. He insisted, however, that those who published his hymns should print them exactly as they were written. He regarded the somewhat common practice of tampering with texts as “immoral.”

Palmer died in 1887. On the day before he breathed his last, he was heard repeating feebly the last stanza of his favorite hymn:

SAMUEL SMITH, A PATRIOTIC HYMN-WRITER

Nearly a century has now elapsed since our national hymn, “America,” was written, and, despite all efforts to displace it by other anthems, it seems to retain its hold on the hearts of the people. Samuel Francis Smith will always be gratefully remembered as the author of this hymn, but we should not lose sight of the fact that the New England pastor who gave his country such an inspiring patriotic song has also given to the Christian Church some of the choicest gems in her hymnody.

Associated with “My country, ’tis of thee” will be the stirring missionary hymn, “The morning light is breaking,” the two being regarded as the foremost of Dr. Smith’s poetical works. Both were written in the winter of 1832, when he was only twenty-four years old. He was a student at Andover Theological Seminary at the time.

Altogether Dr. Smith contributed nearly 150 hymns to American hymnody, many of them on missionary themes. They were written in an era that witnessed a remarkable revival of interest in foreign missions. The famous “Haystack Meeting” at Williams College, which marked the beginning of the modern missionary movement in America, was held in 1806, just two years before Smith was born. Smith himself, while a theological student at Andover, caught the spirit of the times and felt constrained to become a missionary.

At this time reports came from Adoniram Judson in Burmah that, after years of painful disappointment and failure, the light was breaking, and multitudes were turning to Christ. Smith was fired with hopeful enthusiasm, and it was in this spirit of glad exultation that he sat down to write his immortal missionary hymn:

Many other missionary hymns came from the gifted writer in succeeding years, and immediately after his graduation from Andover he became editor of a missionary magazine, through which he wielded a great influence. When the “Lone Star” mission in India was in danger of being abandoned because of lack of funds, Smith did much to save it by writing a poem with the title, “Lone Star.” Another missionary hymn by him begins with the line, “Onward speed thy conquering flight.” However, it does not attain to the poetic heights of “The morning light is breaking,” which has been compared to Heber’s “From Greenland’s icy mountains” in spiritual fervor and literary merit.

Another interesting hymn written by Smith during his student days is called “The Missionary’s Farewell.” The first stanza reads:

TWO FAMOUS CHRISTMAS HYMNS AND THEIR AUTHOR

To be the writer of one great hymn classic on the nativity is an enviable distinction, but to be the author of two immortal Christmas lyrics is fame that has probably come to only one man, and he an American. His name was Edmund Hamilton Sears, and so long as Christians celebrate Christmas, they will sing the two hymns he wrote—“It came upon a midnight clear” and “Calm on the listening ear of night.”

Strangely enough, an interval of sixteen years separated the writing of the two hymns. Sears had just graduated from Union College at the age of twenty-four when he wrote “Calm on the listening ear of night.” It appeared in the “Boston Observer,” and was immediately recognized as a poem of unusual merit. Oliver Wendell Holmes spoke of it as “one of the finest and most beautiful hymns ever written.”

Sixteen years elapsed, and then at Christmas time in 1850 the Christian world was delighted to find in the “Christian Register” another lyric, “It came upon the midnight clear,” which many believe is superior to the earlier hymn. The language of this hymn is so surpassingly lovely and its movement so rhythmical, it fairly sings itself.

There is, in fact, a close resemblance between the two hymns, and yet they are different. While the earlier hymn is largely descriptive, the later one is characterized by a note of joyous optimism and triumphant faith. In Sears’ “Sermons and Songs” he published the one at the beginning, and the other at the close, of a sermon for Christmas Eve on 1 Tim. 2:6.

Each of the two hymns had five stanzas in its original form. The fourth stanza of the older hymn is usually omitted. It reads:

The stanza omitted from the second Christmas hymn sounds the only minor note heard in that otherwise hopeful and joyous lyric:

Sears was a native of New England, having been born in Berkshire County, Massachusetts, in 1810. He completed his theological course at Harvard Divinity School in 1837, whereupon he entered the Unitarian Church, serving as a pastor for nearly forty years.

Surprise has often been expressed that a Unitarian could write such marvelous hymns on the nativity; but Sears was a Unitarian in name rather than in fact. He leaned strongly toward Swedenborgian teachings, and believed implicitly in the deity of Christ.

In addition to his hymns, he wrote a few works in prose. His books on “Regeneration,” “Foregleams of Immortality,” and “The Fourth Gospel the Heart of Christ” were widely read in his day. These have now been almost entirely forgotten, but his two great hymns go singing through the years. They are found in practically all standard hymn-books, although the final stanza of “It came upon the midnight clear” is often altered. Sears died in 1876.

HARRIET BEECHER STOWE AND HER HYMNS

Through the fame that her book, “Uncle Tom’s Cabin,” brought her, the name of Harriet Beecher Stowe has become almost a household word on both sides of the Atlantic. But not many, perhaps, are familiar with Mrs. Stowe the hymn-writer. And yet she wrote a number of hymns that are worthy of finding a place in the best of collections. Indeed, for sheer poetic beauty there is probably not a single American lyric that can excel “Still, still with Thee, when purple morning breaketh.”

It was her brother, Henry Ward Beecher, who introduced Mrs. Stowe as a hymn-writer, when he included three of her hymns in the “Plymouth Collection,” which he edited in 1865. One of the three was the hymn mentioned above; the other two were “That mystic word of Thine, O sovereign Lord” and “When winds are raging o’er the upper ocean.”

Like the Wesley family in England, the Beecher family became one of the most famous in religious and literary circles in America. Harriet Beecher was born in Litchfield, Conn., June 14, 1812. Her father was the noted Dr. Lyman Beecher, a distinguished clergyman of his day. Her mother, a very devout Christian, died when Harriet was less than four years of age. Her dying prayer was that her six sons might be called into the ministry. That prayer was answered, and the youngest of them, Henry Ward Beecher, who was only a boy when the mother died, became one of America’s greatest preachers. We do not know what the dying mother’s prayer for her daughter was, but we do know that Harriet Beecher achieved fame such as comes to few women. Even as a child she revealed a spiritual nature of unusual depth. An earnest sermon preached by her father when she was fourteen made such an impression on her youthful heart that she determined to give herself wholly to Christ. She tells of the experience in these words:

“As soon as my father came home and was seated in his study, I went up to him and fell in his arms, saying, ‘Father, I have given myself to Jesus, and He has taken me.’ I never shall forget the expression of his face as he looked down into my earnest childish eyes; it was so sweet, so gentle, and like sunlight breaking out upon a landscape. ‘Is it so?’ he said, holding me silently to his heart, as I felt the hot tears fall on my head. ‘Then has a new flower blossomed in the kingdom this day.’”

In 1832 the father removed to Cincinnati, Ohio, where he became president of Lane Theological Seminary. Here Harriet married Prof. Calvin E. Stowe, a member of the faculty. Many misfortunes and sorrows came into her life, but always she was sustained by her strong faith in God, and she bore them with unusual Christian fortitude. In 1849 her infant boy was snatched from her by the dreadful cholera scourge. Her husband, broken in health, was in an Eastern sanatorium at the time, and all the cares and anxieties of the household fell upon the shoulders of the brave young wife. A letter written to her husband, dated June 29, 1849, gives a graphic description of the plague as it was then raging in Cincinnati. She wrote:

“This week has been unusually fatal. The disease in the city has been malignant and virulent. Hearse drivers have scarce been allowed to unharness their horses, while furniture carts and common vehicles are often employed for the removal of the dead. The sable trains which pass our windows, the frequent indications of crowding haste, and the absence of reverent decency have, in many cases, been most painful.... On Tuesday, one hundred and sixteen deaths from cholera were reported, and that night the air was of that peculiarly oppressive, deathly kind that seems to lie like lead on the brain and soul. As regards your coming home, I am decidedly opposed to it.”

Under date of July 26, she wrote again: “At last it is over and our dear little one is gone from us. He is now among the blessed. My Charley—my beautiful, loving, gladsome baby, so loving, so sweet, so full of life, and hope and strength—now lies shrouded, pale and cold, in the room below.... I write as though there were no sorrow like my sorrow, yet there has been in this city, as in the land of Egypt, scarce a house without its dead. This heart-break, this anguish, has been everywhere, and when it will end God alone knows.”

The succeeding years brought other tragedies to the sorely tried family. In 1857 the eldest son, Henry, pride of his mother’s heart, was drowned at the close of his freshman year at Dartmouth College. Then came the Civil War with its bloody battles. At Gettysburg a third son, Fred, was wounded in the head by a piece of shrapnel. Although it did not prove fatal, his mental faculties were permanently impaired.

Through all these afflictions the marvelous faith of Mrs. Stowe remained firm and unshaken. Many years afterwards, in looking back upon these bitter experiences, she wrote: “I thank God there is one thing running through all of them from the time I was thirteen years old, and that is the intense unwavering sense of Christ’s educating, guiding presence and care.”

It was in the midst of these dark tragedies that Mrs. Stowe wrote a hymn entitled “The Secret.”

It was the writing of “Uncle Tom’s Cabin” that brought world-wide fame to this unusual mother. The family had moved from Cincinnati to Brunswick, Maine, where Professor Stowe had accepted a position in the faculty of Bowdoin College. There were six children now and the father’s income was meager. In order to help meet the family expenses, Mrs. Stowe began to write articles for a magazine known as the “National Era.” She labored under difficulties. “If I sit by the open fire in the parlor,” she wrote, “my back freezes, if I sit in my bedroom and try to write my head and my feet are cold.... I can earn four hundred dollars a year by writing, but I don’t want to feel that I must, and when weary with teaching the children, and tending the baby, and buying provisions, and mending dresses, and darning stockings, I sit down and write a piece for some paper.”

The passage of the Fugitive Slave Act aroused the deepest feeling among Abolitionists in the North. While living in Cincinnati her family had aided the so-called “underground railway,” by which runaway slaves were helped in their efforts to reach the Canadian boundary. Now Mrs. Stowe’s spirit burned within her. “I wish,” she writes at this period, “some Martin Luther would arise to set this community right.”

It was then she conceived the idea of writing “Uncle Tom’s Cabin.” In the month of February, 1851, while attending communion service in the college church at Brunswick, the scene of the death of Uncle Tom passed before her mind like the unfolding of a vision. When she returned home she immediately wrote down the mental picture she had seen. Then she gathered her children around her and read what she had written. Two of them broke into violent weeping, the first of many thousands who have wept over “Uncle Tom’s Cabin.”

The first chapter was not completed until the following April, and on June 5 it began to appear in serial form in the “National Era.” She had intended to write a short tale of a few chapters, but as her task progressed the conviction grew on her that she had been intrusted with a holy mission. Afterwards she said: “I could not control the story; it wrote itself.” At another time she remarked: “The Lord himself wrote it, and I was but the humblest of instruments in His hand. To Him alone should be given all the praise.”

Mrs. Stowe received $300 for her serial story! However, scarcely had the last instalment appeared when a Boston publisher made arrangements to print it in book form. Within one year it had passed through 120 editions, and four months after the book was off the press the author had received $10,000 in royalties. Almost in a day Mrs. Stowe had become one of the most famous women in the world, and the specter of poverty had been banished forever. “Uncle Tom’s Cabin” exerted a profound influence not only over the American people, but its fame spread to Europe. The year following its publication Jenny Lind came to America. Asked to contribute to a fund Mrs. Stowe was raising for the purpose of purchasing the freedom of a slave family, the “Swedish Nightingale” gladly responded, also writing a letter to Mrs. Stowe in the following prophetic vein: “I have the feeling about ‘Uncle Tom’s Cabin’ that great changes will take place by and by, from the impression people receive from it, and that the writer of that book can fall asleep today or tomorrow with the bright, sweet consciousness of having been a strong means in the Creator’s hand of having accomplished essential good.”

Tributes like this came to Mrs. Stowe from the great and lowly in all parts of the world.

Concerning Jenny Lind’s singing, Mrs. Stowe wrote to her husband from New York: “Well, we have heard Jenny Lind, and the affair was a bewildering dream of sweetness and beauty. Her face and movements are full of poetry and feeling. She has the artless grace of a little child, the poetic effect of a wood-nymph.”

Mrs. Stowe died in 1896 at the ripe age of eighty-four. Not long before her death she wrote to a friend: “I have sometimes had in my sleep strange perceptions of a vivid spiritual life near to and with Christ, and multitudes of holy ones, and the joy of it is like no other joy—it cannot be told in the language of the world.... The inconceivable loveliness of Christ!... I was saying as I awoke:

A HYMN WRITTEN ON TWO SHORES

“Saviour, sprinkle many nations” has been called the “loveliest of missionary hymns.” The praise is scarcely too great. All the elements that make a great hymn are present here. Scriptural in language and devotional in spirit, it is fervent and touching in its appeal and exquisitely beautiful in poetic expression. It was given to the Church by Arthur Cleveland Coxe, an American bishop, in 1851, and since that time it has made its victorious course around the world.

A study of the hymn is interesting. The first stanza at once suggests the words of Jesus, uttered in the last week of His life, when Greek pilgrims in Jerusalem came seeking for Him: “And I, if I be lifted up from the earth, will draw all men unto me.” In the second stanza the author no doubt had in mind the immortal words of St. Augustine: “Thou, O Lord, hast made me for Thyself, and my heart can find no rest till it rest in Thee.” And in the final stanza we find almost an echo of the thought expressed by Paul in Romans: “How then shall they call on him in whom they have not believed? and how shall they believe in him of whom they have not heard? and how shall they hear without a preacher? And how shall they preach, except they be sent? as it is written, How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things!”

Curiously enough, this beautiful missionary lyric was written on two shores of the Atlantic. It was on Good Friday, in the year 1850, that the first stanza was written by Bishop Coxe at his home in Hartford, Conn. For lack of time, however, or because the needed inspiration did not come to him the unfinished manuscript was laid aside.

The next year he visited England, and one day, while wandering about the campus of Magdalen College, Oxford, the thought flashed through his mind that he had never completed the hymn. Finding a scrap of paper and a pencil, he sat down to write, and in a few moments the touching words of the two concluding stanzas were composed, and the hymn was sent on its way to stir the heart of the world.

Bishop Coxe was not primarily a hymn-writer. His fame rests chiefly on his religious ballads. It was in 1840, when a young student of twenty-two, that he published his first volume, entitled “Christian Ballads.” These are mostly moral poems, impressive and challenging in character, but not usually suitable as hymns. One of them, however, bearing the name of “Chelsea,” has yielded the famous hymn, “O where are kings and empires now?”

An interesting story is told concerning this hymn. In 1873 the General Conference of the Evangelical Alliance was held in New York City. It was a period when many scientific objections had been raised regarding the value of prayer, and many anxious souls were fearful that the faith of the Church was being shaken to its foundations. President Woolsey of Yale University gave the opening address. After he had referred to the wave of skepticism that had swept over the world, particularly in regard to prayer, he looked out upon the assembly with a quiet, confident smile lighting his features, and then quoted the first stanza of Bishop Coxe’s hymn:

“For a moment,” writes an eye-witness, “there was silence. In another moment the full significance of the reference had flashed on every mind, and the response was instantaneous and universal. Shouts, waving of handkerchiefs, clapping of hands, stamping of feet—I never knew anything like it. Round after round continued, until the storm of applause ended in a burst of grateful tears. No one doubted that the Church still believed in prayer and that the tempest had passed without the loss of a sail.”

In the same volume of “Christian Ballads” there appears another little poem, most appealing in its simplicity:

For a time Coxe gave promise of becoming the “John Keble of America,” but after his election as a bishop in the Episcopal Church, pressing duties interfered with his literary work, and in later years he wrote few poems.

Bishop Coxe was the son of a noted Presbyterian minister, Rev. Samuel H. Cox. He was born in Menham, N. J., in 1818. After his graduation from the University of the City of New York, he decided to leave the Presbyterian Church and to enter the Episcopalian fold. At the same time he added an “e” to the end of his name, much to his father’s displeasure! He died in 1896 at the age of seventy-eight years.

A HYMN THAT GREW OUT OF SUFFERING

The fruits of a sanctified life are often seen long after the person who lived that life has ceased from earthly strivings. This was true in a very special sense of Elizabeth Payson Prentiss, author of “More love to Thee, O Christ.” Although it is fifty years since Mrs. Prentiss went home to glory, her beautiful Christian life still radiates its spirit of trust and hope through her hymns and devotional writings.

As a child she was blessed with an unusual home. Her father, Edward Payson, was one of New England’s most famous clergymen, revered and beloved by thousands because of his saintly life. It is said that after his death the name of “Edward Payson” was given in baptism to thousands of children whose parents had been blessed through his consecrated ministry.

The daughter, who was born in 1818, was much like her father. Spiritually minded from childhood, she possessed unusual gifts as a writer. When she was only sixteen years old she contributed verses and prose to “The Youth’s Companion.” Later she taught school at Portland, Me., her birthplace, and in Ipswich, Mass., and Richmond, Va., at each place being greatly beloved by her pupils.

In 1845 she became the bride of Rev. George L. Prentiss, who later was a professor in Union Theological Seminary, New York City.

Her home life was beautiful. Those who knew her best, described her as “a very bright-eyed little woman, with a keen sense of humor, who cared more to shine in her own happy household than in a wide circle of society.”

But all the while she was carrying a heavy burden. Throughout life she was a sufferer, and scarcely knew what it meant to be well. Chronic insomnia added to her afflictions, but as her body languished under physical chastening her spirit rose above pain and tribulation, daily growing more radiant and beautiful. It was out of these trying experiences that she wrote her famous story, “Stepping Heavenward.” The purpose of the book, as she herself explained, was “for strengthening and comforting other souls.”

It met with instant success, more than 200,000 copies being sold. It also was translated into many foreign languages. Another story, “The Flower of the Family,” likewise became very popular.

It was as poet and hymn-writer, however, that Mrs. Prentiss was destined to achieve fame. Her volume, “Religious Poems,” numbering one hundred and twenty-three, breathes a spirit of fervent devotion to Christ. “To love Christ more,” she said, “is the deepest need, the constant cry of my soul.... Out in the woods, and on my bed, and out driving, when I am happy and busy, and when I am sad and idle, the whisper keeps going up for more love, more love, more love!”

It is easy to understand how such a longing should finally find expression in her most famous hymn, “More love to Thee, O Christ.” The hymn in reality was the prayer of her life. It was born in 1856 during a time of great physical suffering and spiritual anxiety. It was written in great haste, and the last stanza was left incompleted. Not until thirteen years later did Mrs. Prentiss show it to her husband. She then added a final line with a pencil and gave it to the printer, intending it only for private distribution. The following year, however, the “Great Revival” swept over America, and the hymn sprang into popularity everywhere.

When in August, 1878, the mortal remains of the sanctified singer were lowered into the grave, a company of intimate friends stood with bared heads and sang “More love to Thee, O Christ.” The whole Christian world seemed to join in mourning her death. From far-off China came a message of sympathy to the bereaved husband in the form of a fan on which Christian Chinese had inscribed the famous hymn in native characters.

After her death the following verse was found written on the flyleaf of one of her favorite books:

A FAMOUS HYMN WRITTEN FOR SAILORS

It does not surprise us that the writer of “Jesus, Saviour, pilot me” was the pastor of a sailors’ church. Rev. Edward Hopper, who for many years was minister of the Church of Sea and Land in New York harbor, had in mind the daily life of the seamen attending his church when he wrote his famous lyric. A hymn on the theme of the stormy sea, picturing Jesus as the divine Pilot—this, he felt, would appeal to sailors and be a source of constant comfort and encouragement.

Perhaps Hopper got his idea from Charles Wesley. It was a common practice of the great English hymn-writer to compose hymns that were particularly adapted to the audiences he addressed. When he visited the men who worked in the Portland quarries in England, he wrote the hymn containing the lines:

In any event, Hopper’s beautiful hymn at once sprang into popular use, not only with sailors, but with Christians everywhere. It appeared for the first time anonymously in “The Sailors’ Magazine,” but several hymn-books adopted it. It was not until 1880, nine years after it was published, however, that the author’s name became known. In that year the anniversary of the Seamen’s Friend Society was held in Broadway Tabernacle, New York City, and Hopper was asked to write a hymn for the occasion. He responded by producing “Jesus, Saviour, pilot me,” and the secret was out.

Hopper wrote several other hymns, but only this one has lived. Like Edward Perronet, the author of “All hail the power of Jesus’ Name,” he was “a bird of a single song.” We could have wished that the fires of inspired genius had continued to burn with both of these men. Here, however, apply the words: “Happy is the man who can produce one song which the world will keep on singing after its author shall have passed away.”

The author of “Jesus, Saviour, pilot me” was a child of the city. He was born in America’s great metropolis, New York City, in the year 1818. His father was a merchant. His mother was a descendant of the Huguenots, the persecuted French Protestants. He was educated for the ministry, and, after serving several churches in other places, he returned to New York in 1870 to begin his work among the men who go down to the sea in ships. He remained as pastor of the Church of Sea and Land until his death in 1888, and we scarcely need to add that his ministry was singularly successful.

The beautiful prayer in the third stanza of Hopper’s hymn was answered in his own passing. He was sitting in his study-chair, pencil in hand, when the final summons came. On the sheet before him were found some freshly written lines on “Heaven.” Thus was fulfilled in his own death the beautiful prayer expressed in the final stanza of his hymn:

A TRAGEDY THAT INSPIRED A GREAT HYMN

The Christian Church has many stirring rally hymns, but none that is more effective when sung by a large assembly than George Duffield’s “Stand up, stand up for Jesus.” Who has not been moved to the depths of his soul by the inspiring words and resounding music of this unusual hymn?

A tragedy lies in its background. It was in the year 1858, and a great spiritual awakening was gripping the city of Philadelphia. Men referred to this revival afterwards as “the work of God in Philadelphia.”

One of the most earnest and zealous leaders in the movement was a young pastor, Dudley A. Tyng, not quite thirty years old. Because of his evangelical convictions and his strong opposition to slavery he had shortly before been compelled to resign as rector of the Church of the Epiphany, and in 1857 he had organized a little congregation that met in a public hall.

In the midst of the revival in 1858 he preached a powerful sermon at a noon-day meeting in Jayne’s Hall to a gathering of 5,000 men. His text was Exodus 10:11: “Go now, ye that are men, and serve the Lord.” It is said that the effect was overwhelming, no less than a thousand men giving themselves to the Lord.

A few weeks later the young pastor was watching a corn-shelling machine when his arm was caught in the machinery and terribly mangled. Though every effort was made to save his life, he died within a few hours. Shortly before the end came he cried to the friends who were gathered about him, “Sing, sing, can you not sing?” He himself then began the words of “Rock of Ages,” with the others trying to join him in the midst of their grief. When his father, the distinguished clergyman, Stephen H. Tyng, bent over him to ask if he had a last message for his friends, the dying soldier of the cross whispered:

“Tell them to stand up for Jesus!”

Rev. George Duffield, also of Philadelphia and a close friend of the greatly lamented Tyng, felt that the words were too impressive to be lost. On the following Sunday he preached a sermon in his own church on Ephesians 6:14, “Stand, therefore, having your loins girt about with truth, and having on the breastplate of righteousness.” As he concluded his sermon, he read the words of a poem he had written, “Stand up, stand up for Jesus.”

Not only did Duffield preserve the dying words of his devoted friend, but it will be noted that the second stanza also contains the challenge of Tyng’s last revival sermon: “Go now, ye that are men, and serve the Lord.”

The superintendent of Duffield’s Sunday school printed the words of the poem for distribution among his scholars. One of these leaflets found its way to a religious periodical, where it was published. Soon it began to appear in hymn-books, being generally set to a tune composed by George J. Webb a few years earlier. It is said that the first time the author heard it sung outside of his own church was in 1864, when the Christian men in the Army of the James sang it in their camp, just before they were about to enter into a bloody battle.

ANNA WARNER AND HER BEAUTIFUL HYMNS

In the last week of our Saviour’s life, a very beautiful and touching incident occurred in the city of Jerusalem. The Evangelist John tells the story in the following words:

“Now there were certain Greeks among those that went up to worship at the feast: these therefore came to Philip, who was of Bethsaida of Galilee, and asked him, saying, Sir, we would see Jesus. Philip cometh and telleth Andrew: Andrew cometh, and Philip, and they tell Jesus. And Jesus answereth them, saying, The hour is come, that the Son of man should be glorified.”

It was the petition of these Gentile pilgrims from the land of the Spartans and Athenians that inspired an American young woman to write one of our beautiful hymns, “We would see Jesus.”

Her name was Anna Bartlett Warner, and for almost a century she lived at a beautiful retreat in the Hudson river known as Constitution island, under the very shadows of the great military academy at West Point. She had a sister named Susan who achieved even greater literary fame than she, but it is Anna’s name, after all, that will live on and be cherished for her songs. We wonder if any child in America during the last half century has not learned to know and to love the little hymn—

PHILLIPS BROOKS AND HIS CAROLS

Phillips Brooks was a great man. Not only was he a giant in stature, but he possessed a great mind and a great heart. Also, he was a great preacher—one of America’s greatest—and he just missed being a great poet. Indeed, the flashes of poetic genius revealed in the few verses he wrote indicate that he might have become famous as a hymn-writer had he chosen such a career.

His poetic gift had its roots in childhood. Phillips was brought up in a pious New England home. Every Sunday the children of the Brooks household were required to memorize a hymn, and, when the father conducted the evening devotion on the Lord’s day, the children recited their hymns. When Phillips was ready to go to college, he could repeat no less than two hundred hymns from memory. In his later ministry this knowledge proved to be of inestimable value, and he frequently made effective use of hymn quotations in his preaching. But, more than that, the childhood training unconsciously had made of him a poet!

“O little town of Bethlehem,” his most famous Christmas carol, was written for a Sunday school Christmas festival in 1868, when Brooks was rector of Holy Trinity Episcopal Church in Philadelphia. He was only thirty-two years old at the time. Three years earlier he had visited the Holy Land, and on Christmas eve he had stood on the star-lit hills where the shepherds had watched their flocks. Below the hills he had seen the “little town of Bethlehem,” slumbering in the darkness just as it had done in the night when Jesus was born. Later he had attended midnight services in the Church of the Nativity in Bethlehem.

He could never entirely forget the impressions of that sublime night, and, when he was asked in 1868 to write a Christmas hymn for his Sunday school, he put down on paper the song that long had been ringing in his mind.

The beautiful tune “St. Louis,” to which the hymn is usually sung, also has an interesting story. It was composed by Lewis H. Redner, who was organist and Sunday school superintendent of Dr. Brooks’ church. When Brooks asked Redner to write a suitable tune for the words, the latter waited for the inspiration that never seemed to come. Christmas eve arrived and Redner went to sleep without having written the tune. In the middle of the night, however, he dreamed that he heard angels singing. He awoke with the melody still sounding in his ears. Quickly he seized a piece of paper, and jotted it down, and next morning he filled in the harmony.

Redner always insisted that the hymn tune was “a gift from heaven,” and those who have learned to love its exquisite strains are more than willing to believe it!

Phillips Brooks, though he never had a family of his own, possessed a boundless love for children. That, perhaps, is one reason why the Christmas season so fascinated him, and why he wrote so many Christmas carols for children. One of these is famous for its striking refrain, “Everywhere, everywhere, Christmas tonight.” “The voice of the Christ-child” is the title of another Christmas carol. He also wrote a number of Easter carols, among them, “God hath sent His angels.”

But Phillips Brooks not only made a strong appeal to children; it was not long before the great and learned men of America began to realize that a great preacher and prophet had risen among them. There was need of such a spiritual leader, for Unitarianism had threatened to engulf all New England.

In its beginnings this movement was merely a protest against the stern and forbidding aspects of the Christian religion as it had been exemplified in New England Puritanism. It grew more and more radical, however, until the deity of Christ was denied.

The old-fashioned religion of “Christ and Him crucified” was all but forgotten in the intellectual circles of New England when a young man thirty-four years of age began preaching in Trinity church, Boston. He was preaching Jesus Christ, but he was presenting Him in a new and wonderful light. Crowds began to fill the church. Even sedate old Harvard was stirred.

That was the beginning of the ministry of Phillips Brooks in Boston, a ministry that made him famous throughout the land. It marked the turning point in religious tendencies in New England, and perhaps was the most potent factor in checking the spread of the Unitarian doctrine. Brooks was later elevated to a bishopric in his Church. He died in 1893.

It is said that when a little girl of five years was told by her mother that “Bishop Brooks has gone to heaven,” the child exclaimed, “Oh, mamma, how happy the angels will be!”

WOMEN WHO WROTE HYMNS FOR CHILDREN

Everybody loves the hymns the children sing. And that, perhaps, is the reason why Emily Huntington Miller’s name will not soon be forgotten, for the hymns she wrote were children’s hymns indeed—hymns that came from the heart of one who understood the heart of a child.

The daughter of a Methodist clergyman, Emily Huntington was born in Brooklyn, Conn., October 22, 1833. The spiritual and cultural influence of a New England parsonage was not lost on this little child, who early in life began to reveal unusual literary gifts. It was very unusual in those days for young women to attend college, but Emily enrolled at Oberlin College and graduated in the class of 1857.

Ten years later she became one of the editors of “The Little Corporal,” a very popular magazine for children. Each month she contributed a poem to this publication. Like all other contributors, she often found it difficult to have her poem ready each month on the required day. One month in 1867 she was handicapped by illness. The final day came, and her poem was not written. In spite of her weakness, she aroused herself to the task. The inspiration seemed to come immediately, and, so she tells us, “in less than fifteen minutes the hymn was written and sent away without any correction.”

The hymn referred to was “I love to hear the story.” Almost immediately it sprang into popularity. In England it was admitted in 1875 to “Hymns Ancient and Modern,” the hymn-book of the Church of England. This was a very unusual honor, since very few hymns of American origin have been included in that famous collection. It is said that no one was more surprised at the popularity achieved by the hymn than the author herself.

Another of her hymns that has won a place in the hearts of the smaller children is the sweet little gem:

Another of her hymns for children, though not so well known as the other two mentioned, possesses unusual merit:

Emily Huntington became the wife of Prof. John E. Miller in 1860. After his death she became dean of the Woman’s College of Northwestern University, in which position she exerted a blessed influence over large numbers of young women. She died in 1913.

Another American woman who at this time was also writing hymns for children was Mrs. Lydia Baxter. Although born at Petersburg, N. Y., September 2, 1809, it was not until nearly fifty years later that she seems to have begun to exercise her gifts as a song writer. Her “Gems by the Wayside” were published in 1855, after which she became a frequent contributor to hymn collections for Sunday schools and evangelistic services.

Mrs. Baxter may be regarded as one of the forerunners of the Gospel hymn movement of America. Her lyrics fall short of the severer standards required in a true hymn, and for this reason few of her hymns have been admitted to the authorized collections of the principal church communions. However, the woman who wrote “Take the Name of Jesus with you” and “There is a gate that stands ajar” will not soon be forgotten by pious Christians, even though the author receives scant notice at the hands of hymnologists. It is a significant fact that in 1921 the Church of Sweden included a translation of the latter hymn in the appendix to its “Psalm-book,” one of the most conservative hymn collections in Christendom. Mrs. Baxter died in New York, June 22, 1874.

FANNY CROSBY, AMERICA’S BLIND POET

Blindness is not always an affliction. If it serves to give the soul a clearer vision of Christ and of His redeeming love, as it did with Fanny Crosby, it may rather be regarded as a blessing.

America’s most famous hymn-writer could never remember having seen the light of day, nevertheless her life was one of the most happy and fruitful ever lived. Always she radiated a sweet and cheerful spirit, refusing to be pitied, while her soul poured out the songs that brought joy and salvation to countless multitudes.

Born of humble parents at Southeast, N. Y., March 24, 1823, she was only six weeks old when, through the application of a poultice to her eyes, her sight was forever destroyed. Such a disaster would have cast a perpetual gloom over most lives, but not so with Fanny Crosby. Even at the age of eight years she gave evidence not only of her happy optimism but also of her poetic genius by penning the following cheerful lines:

ONE OF AMERICA’S EARLIEST GOSPEL SINGERS

Among hymn-books that have exerted a profound influence over the spiritual lives of Christian people none has probably achieved greater fame or wider circulation than the volume known as Gospel Hymns. It was issued in a series of six editions, but now is usually found combined in a single book.

Philip P. Bliss, the subject of this chapter, was the first editor of Gospel Hymns. Associated with him in the publication of the first two editions was the renowned Ira D. Sankey, who gained world-wide fame through his evangelistic campaigns with Dwight L. Moody.

The story of the life of Bliss reads like romance.

Like many a poor lad endowed with love for the artistic, he was compelled to struggle almost all his life for the opportunity that finally came to him. Born at Rome, Pa., in 1838, he early revealed a passion for music when, as a boy, he made crude instruments on which he tried to produce tones.

The story is told of how Philip, when a ragged and barefoot boy of ten years, heard piano music for the first time. So entranced did he become that he entered the home unbidden, and stood listening at the parlor door. When the young woman at the instrument ceased playing, the child who hungered for music cried:

“O lady, play some more!”

Instead of complying with the request, the startled young woman is said to have invited young Bliss to leave the house forthwith!

Although he received practically no musical education, except from occasional attendance at a singing school, he wrote his first song at the age of twenty-six years. It was called “Lora Vale,” and because of its popular reception, Bliss was encouraged to devote all his time to writing songs and giving concerts.

Bliss usually wrote both the words and music of his hymns. His work was done very quickly, the inspiration for the whole song, text and melody, being born in his mind at once.

Any incident of an unusually impressive nature would immediately suggest a theme to his mind. He heard the story of a shipwreck. The doomed vessel was abandoned, and the captain ordered the sailors to exert their utmost strength to “pull for the shore.” Immediately he wrote his well-known song with the words as a refrain.

One night he listened to a sermon in which the preacher closed with the words, “He who is almost persuaded is almost saved, but to be almost saved is to be entirely lost.” He went home from the service and wrote “Almost persuaded,” a hymn that is said to have brought more souls to Christ than anything else Bliss ever composed.

In 1870 he heard Major Whittle, an evangelist, tell the story of how the message, “Hold the fort!” was signalled to the besieged garrison at Allatoona Pass. The words suggested the passage from Revelations 2:25, “That which ye have, hold fast till I come.” The result was one of his most famous Gospel songs, the chorus of which runs:

THE LYRIST OF CHAUTAUQUA

Those who have had the privilege of attending a vesper service in the great Chautauqua Institution auditorium on the shores of beautiful Lake Chautauqua, N. Y., have come away with at least one impression that is lasting. It is the singing by the vast assembly of Mary Lathbury’s famous vesper hymn, “Day is dying in the west.”

This beautiful evening lyric, which was written especially for the Chautauqua vesper hour, has been called by a distinguished critic “one of the finest and most distinctive hymns of modern times,” and there are few who will not concur in his judgment.

The “lyrist of Chautauqua” was born in Manchester, N. Y., August 10, 1841. As a child she began to reveal artistic tendencies. She developed a special talent in drawing pictures of children, and her illustrations in magazines and periodicals made her name widely known. She also wrote books and poetry, illustrating them with her own sketches.

Very early in life she felt constrained to dedicate her talent to Christian service. She tells how she seemed to hear a voice saying to her: “Remember, my child, that you have a gift of weaving fancies into verse, and a gift with the pencil of producing visions that come to your heart; consecrate these to Me as thoroughly and as definitely as you do your inmost spirit.”

An opportunity to serve her Lord in a very definite way came in 1874, when Dr. John H. Vincent, then secretary of the Methodist Sunday School Union, employed her as his assistant. The Chautauqua movement had just been launched the previous year and the formal opening on the shores of the beautiful lake from which the institution has received its name took place on August 4, 1874. Dr. Vincent became the outstanding leader of the movement, and he began to make use of Miss Lathbury’s literary talent almost immediately.

Dr. Jesse Lyman Hurlbut, historian of Chautauqua, writes: “In Dr. Vincent’s many-sided nature was a strain of poetry, although I do not know that he ever wrote a verse. Yet he always looked at life and truth through poetic eyes. Who otherwise would have thought of songs for Chautauqua and called upon a poet to write them? Dr. Vincent found in Mary A. Lathbury a poet who could compose fitting verses for the expression of the Chautauqua spirit.”

The beautiful evening hymn, “Day is dying in the west,” was written in 1880, at Dr. Vincent’s request, for the vesper services which are held every evening. It originally consisted of only two stanzas, and it was not until ten years later that Miss Lathbury, at the strong insistence of friends, added the last two stanzas. We are happy that she did so, for the last two lines, with their allusion to the “eternal morning” when “shadows” shall end, bring the hymn to a sublime conclusion.

It was also in 1880 that she wrote another hymn of two stanzas that has shared in the fame that has come to her evening hymn. It was composed for the Chautauqua Literary and Scientific Circle, and Miss Lathbury called it “A Study Song.” Its beautiful reference to the Sea of Galilee is made the more interesting when we are reminded that the hymn was written on the shores of lovely Lake Chautauqua. The hymn is particularly adapted for Bible study, and it is said that the great London preacher, G. Campbell Morgan, always announced it before his mid-week discourse. The hymn reads:

Miss Lathbury was greatly esteemed, not only for her lovely lyrics which have given inspiration to thousands of souls, but also for her gentle, Christian character. There was an indescribable charm about her personality, and she exerted an abiding influence over those who came in contact with her devout and consecrated spirit. She died in New York City in 1913.

GLADDEN’S HYMN OF CHRISTIAN SERVICE

For more than half a century, until his death in 1918, the name of Washington Gladden was known throughout the length of the country as one of America’s most distinguished clergymen. A prolific writer, his books and his magazine contributions were widely read by the American people.

Like most literary productions, however, his books and pamphlets have already been largely forgotten. It is only a little hymn, written on a moment’s inspiration, that seems destined to preserve Gladden’s name for posterity. That hymn is “O Master, let me walk with Thee.”

The author was born in Pottsgrove, Pa., February 11, 1836. After his graduation from Williams College in 1859, he was called as pastor to a Congregational church in Brooklyn. In 1882 he removed to Columbus, O., where he remained as pastor until 1914, a period of thirty-two years.

During these years he exerted a profound influence, not only over the city of Columbus, but in much wider circles. Gladden was deeply interested in social service, believing that it is the duty of the Christian Church to elevate the masses not only spiritually and morally, but in a social and economic sense as well. By sermons, lectures and by his writings, he was ever trying to bring about more cordial relationship between employer and employee.

Gladden was often the center of a storm of criticism on the part of those who charged him with liberalism. His beautiful hymn, written in 1879, seems to be in part an answer to his critics. It originally consisted of three stanzas of eight lines each. The second stanza, which was omitted when the poem was first published as a hymn, indicates how keenly Gladden felt the condemnation of his opponents:

Dr. Gladden always insisted that he was nothing but a preacher, and he gloried in his high calling. In spite of busy pastorates, however, he always found time to give expression to his literary talent. At one time he was a member of the editorial staff of the New York Independent. Later he was an editor of the “Sunday Afternoon,” a weekly magazine. It was in this magazine that “O Master, let me walk with Thee” was first published.

The writer had no idea of composing a hymn when it was written, and no one was more surprised than he at its popularity. He himself agreed that the second stanza quoted above was not suitable for hymn purposes.

Whatever judgment may be passed on Dr. Gladden’s liberalistic views, it will be agreed that he looked upon Christianity as an intensely practical thing; and, if he underestimated the value of Christian dogma, it was because he emphasized so strongly the necessity of Christian life and practice.

A HYMN WITH A MODERN MESSAGE

Among the more recent hymns that have found their way into the hymn-books of the Christian churches in America, there is none that enjoys such popularity and esteem as Frank Mason North’s hymn, “Where cross the crowded ways of life.” It is a hymn of the highest order, beautiful in thought and unusually tender in expression. It is typical of the trend in modern hymns to emphasize the Church’s mission among the lowly and the fallen.

From beginning to end this hymn is a picture of the modern city with its sins and sorrows and spiritual hunger. We see the city as the meeting place of all races and tongues; we hear the din and noise of selfish striving; we behold the haunts of poverty and sin and wretchedness; we catch a glimpse of the sufferings of helpless childhood, of woman’s secret griefs and man’s ceaseless toil. And all these multitudes are hungering for Christ!

North has, consciously or unconsciously, made a striking distinction between mere social service work, which aims at the alleviation of human need and suffering, and inner mission work, which seeks to help men spiritually as well as physically. “The cup of water” is never to be despised, but when it is given in Christ’s Name it has double value; for it is Christ Himself, after all, that men need, and it is only Christ who can truly satisfy. Social service can never take the place of salvation.

What a beautiful prayer is that contained in the fifth stanza, where the Master is entreated to “tread the city’s streets again!” And then, as a fitting climax to this whole remarkable poem, comes the triumphant thought expressed in the final lines of the coming of the New Jerusalem from above—“the city of our God.”

North was well qualified to write such a hymn. He himself was a child of the city, having been born in America’s greatest metropolis in 1850. His early education, too, was received in New York City and after his graduation from Wesleyan University in 1872 he served several congregations in the city of his birth. In 1892 he was made Corresponding Secretary of the New York City Church Extension and Missionary Society and in 1912 he was elected a Corresponding Secretary of the Methodist Episcopal Board of Foreign Missions. Thus, almost his whole life has been devoted to missionary activities at home and abroad.

It was in 1905, in response to a request from the Methodist hymnal committee, that North wrote his celebrated hymn. He tells the story in the following words:

“My life was for long years, both by personal choice, and official duty, given to the people in all phases of their community life. New York was to me an open book. I spent days and weeks and years in close contact with every phase of the life of the multitudes, and at the morning, noon and evening hours was familiar with the tragedy, as it always seemed to me, of the jostling, moving currents of the life of the people as revealed upon the streets and at great crossings of the avenues; and I have watched them by the hour as they passed, by tens of thousands. This is no more than many another man whose sympathies are with the crowd and with the eager, unsatisfied folk of the world, has done.

“As I recall it, I came to write the hymn itself at the suggestion of Professor C. T. Winchester, who, as a member of the committee on the new hymnal, was struggling with the fact that we have so few modern missionary hymns. He said to me one day, ‘Why do you not write us a missionary hymn?’ I wrote what was in my thought and feeling.... That it has found its way into so many of the modern hymnals and by translation into so many of the other languages, is significant not as to the quality of the hymn itself but as to the fact that it is an expression of the tremendous movement of the soul of the gospel in our times which demands that the follower of Christ must make the interest of the people his own, and must find the heart of the world’s need if he is in any way to represent his Master among men.”

Another lovely hymn by North was written in 1884. The first stanza reads:

The spirit of this hymn reminds us very much of the two classic hymns of Bernard of Clairvaux—“O Jesus, joy of loving hearts” and “Jesus, the very thought of Thee.” The last line quoted above is evidently inspired by a line from the latter hymn.

A LUTHERAN PSALMIST OF TODAY

It is gratifying to know that the spirit of hymnody is not dead, and that still today consecrated men and women are being inspired to “sing new songs unto Jehovah,” In Milwaukee, Wis., lives a young woman who for several years has been attracting wide-spread attention by her Christian lyrics. Her name is Anna Hoppe, and the hymns she writes suggest strongly something of the style and spirit of the Lutheran hymns of a by-gone age.

Born of German parents in Milwaukee in 1889, she began to write verse in early childhood. Most of them were on patriotic themes, such as Washington, Lincoln, The Battle of Gettysburg, and Paul Jones.

“At the age of about eleven,” Miss Hoppe tells us, “I wrote a few lines on Angels.”

It was at the age of twenty-five years, however, that she began in earnest the writing of spiritual poetry. Many of her poems were published in religious periodicals and aroused much interest. In the hymnal of the Augustana Synod, published in 1925, twenty-three of her hymns were included. Since that time a collection of her hymns under the title, “Songs of the Church Year,” has appeared. In 1930 eight of her lyrics were published in the “American Lutheran Hymnal.”

As a prolific writer of hymns, Miss Hoppe probably has no equal in the Lutheran Church today. Her unusual talent seems all the more remarkable when it is known that she is practically self-educated. After she had finished the eighth grade in the Milwaukee public schools, she entered a business office. Since that time she has worked continuously, and has received the benefit of only a few months’ training at evening schools. At present she is employed in the office of the Westinghouse Company.

Her hymns are composed in the midst of the stress and hurry of modern life.

“Many of my hymns,” she writes, “have been written on my way to and from church, and to and from work. I utilize my lunch hours for typing the hymns and keeping up correspondence. I used to do quite a bit of writing on Sunday afternoons, but now we have a Layman’s Hour in our church at that time, and I do not like to miss it. I also attend our Fundamentalist Bible lectures, Jewish mission meetings, and the like. Still I find a minute here and there in which to jot down some verse.”

Although few of Miss Hoppe’s hymns rise to heights of poetic rapture, they are characterized by a warmth of feeling and fervency of spirit that make them true lyrics. They are thoroughly Scriptural in language, although they sometimes become too dogmatic in phraseology. A deep certainty of faith, however, breathes through their lines and saves them from becoming prosaic.

One of her most beautiful hymns is for New Year’s. Its opening stanza reads:

A hymn for Epiphany reflects something of the same spirit of adoration:

SURVEY OF AMERICAN LUTHERAN HYMNODY

It is a significant fact that the first Lutheran pastor to be ordained in America was a hymn-writer. He was Justus Falckner, author of the stirring hymn, “Rise, ye children of salvation.”

Falckner, who was born on November 22, 1672, in Langenreinsdorf, Saxony, was the son of a Lutheran pastor at that place. He entered the University of Halle in 1693 as a student of theology under Francke, but for conscientious reasons refused to be ordained upon the completion of his studies. Together with his brother Daniel he became associated with the William Penn colony in America and arranged for the sale of 10,000 acres of land to Rev. Andreas Rudman, who was the spiritual leader of the Swedish Lutherans along the Delaware.

Through Rudman’s influence Falckner was induced to enter the ministry, and on November 24, 1703, he was ordained in Gloria Dei Lutheran Church at Wicacoa, Philadelphia. The ordination service was carried out by the Swedish Lutheran pastors, Rudman, Erik BjÖrk, and Andreas Sandel. Falckner was the first German Lutheran pastor in America, and he also had the distinction of building the first German Lutheran church in the New World—at Falckner’s Swamp, New Hanover, Pa. Later he removed to New York, where for twenty years he labored faithfully among the German, Dutch, and Scandinavian settlers in a parish that extended some two hundred miles from Albany to Long Island.

It seems that Falckner’s hymn, “Rise, ye children of salvation,” was written while he was a student at Halle. It appeared as early as 1697 in “Geistreiches Gesangbuch,” and in 1704 it was given a place in Freylinghausen’s hymn-book. There is no evidence that Falckner ever translated it into English.

Since the Lutheran Church in America to a large extent employed the German and Scandinavian languages in its worship, it was content for nearly two hundred years to depend on hymn-books originating in the Old World. Not until the latter half of the nineteenth century were serious efforts made to provide Lutheran hymn-books in the English language. Writers of original hymns were few in number, but a number of excellent translators appeared.

Through the efforts of these translators, an increasing number of Lutheran hymns from the rich store of German and Scandinavian hymnody are being introduced in the hymn-books of this country. Pioneers in this endeavor about half a century ago were Charles Porterfield Krauth, noted theologian and vice-provost of the University of Pennsylvania; Joseph A. Seiss, of Philadelphia, pastor and author, to whom we are indebted for the translation of “Beautiful Saviour” and “Winter reigns o’er many a region”; and Charles William Schaeffer, Philadelphia theologian, who translated Held’s “Come, O come, Thou quickening Spirit” and Rambach’s beautiful baptism hymn, “Father, Son, and Holy Spirit.” Mrs. Harriet Krauth Spaeth also belongs to this group, her most notable contribution being the translation of the medieval Christian hymn, “Behold, a Branch is growing.”