The Story of the Hymns and Tunes Part 22

This song of Christian confidence was written by Mrs. Martha A.W. Cook, wife of the Rev. Parsons Cook, editor of the _Puritan Recorder_, Boston.

It was published in the _American Messenger_ in 1870, and is still in use here, as a German version of it is in Germany. The first stanza follows, in the two languages:

In some way or other the Lord will provide.

It may not be my way, It may not be thy way, And yet in His own way The Lord will provide.

Sei's so oder anders, der Herr wird's versehn; Mag's nicht sein, wie ich will, Mag's nicht sein, wie du willst, Doch wird's sein, wie Er will: Der Herr wird's versehn.

In the English version the easy flow of the two last lines into one sentence is an example of rhythmic advantage over the foreign syntax.

Mrs. Cook was married to the well-known clergyman and editor, Parsons Cook, (1800-1865) in Bridgeport, Ct., and survived him at his death in Lynn, Ma.s.s. She was Miss Martha Ann Woodbridge, afterwards Mrs. Hawley, and a widow at the time of her re-marriage as Mr. Cook's second wife.

_THE TUNE._

Professor Calvin S. Harrington, of Wesleyan University, Middletown, Ct., set music to the words as printed in _Winnowed Hymns_ (1873) and arranged by Dr. Eben Tourjee, organizer of the great American Peace Jubilee in Boston. In the _Gospel Hymns_ it is, however, superseded by the more popular composition of Philip Phillips.

Dr. Eben Tourjee, late Dean of the College of Music in Boston University, and founder and head of the New England Conservatory, was born in Warwick, R.I., June 1, 1834. With only an academy education he rose by native genius, from a hard-working boyhood to be a teacher of music and a master of its science. From a course of study in Europe he returned and soon made his reputation as an organizer of musical schools and sangerfests. The New England Conservatory of Music was first established by him in Providence, but removed in 1870 to Boston, its permanent home. His doctorate of music was conferred upon him by Wesleyan University. Died in Boston, April 12, 1891.

Philip Phillips, known as "the singing Pilgrim," was born in Jamestown, Chautauqua, Co., N.Y., Aug. 13, 1834. He compiled twenty-nine collections of sacred music for Sunday schools, gospel meetings, etc.; also a _Methodist Hymn and Tune Book_, 1866. He composed a great number of tunes, but wrote no hymns. Some of his books were published in London, for he was a cosmopolitan singer, and traveled through Europe and Australia as well as America. Died in Delaware, O., June 25, 1875.

"NEARER, MY G.o.d, TO THEE."

Mr. William Stead, fond of noting what is often believed to be the "providential chain of causes" in everything that happens, recalls the fact that Benjamin Flower, editor of the _Cambridge Intelligencer_, while in jail (1798) at the instigation of Bp. Watson for an article defending the French Revolution, and criticising the Bishop's political course, was visited by several sympathizing ladies, one of whom was Miss Eliza Gould. The young lady's first acquaintance with him there in his cell led to an attachment which eventuated in marriage. Of that marriage Sarah Flower was born. By the theory of providential sequences Mr. Stead makes it appear that the forgotten vindictiveness of a British prelate "was the _causa causans_ of one of the most spiritual and aspiring hymns in the Christian Hymnary."

"Nearer, My G.o.d, to Thee" was on the lips of President McKinley as he lay dying by a murderer's wicked shot. It is dear to President Roosevelt for its memories of the battle of Las Quasimas, where the Rough Riders sang it at the burial of their slain comrades. Bishop Marvin was saved by it from hopeless dejection, while practically an exile during the Civil War, by hearing it sung in the wilds of Arkansas, by an old woman in a log hut.

A letter from Pittsburg, Pa., to a leading Boston paper relates the name and experience of a forger who had left the latter city and wandered eight years a fugitive from justice. On the 5th of November, (Sunday,) 1905, he found himself in Pittsburg, and ventured into the Dixon Theatre, where a religious service was being held, to hear the music.

The hymn "Nearer, My G.o.d, to Thee" so overcame him that he went out weeping bitterly. He walked the floor of his room all night, and in the morning telephoned for the police, confessed his name and crime, and surrendered himself to be taken back to the Boston authorities.

Mrs. Sarah Flower Adams, author of the n.o.ble hymn (supposed to have been written in 1840), was born at Harlow, Eng., Feb. 22, 1805, and died there in 1848. At her funeral another of her hymns was sung, ending--

When falls the shadow, cold in death I yet will sing with fearless breath, As comes to me in shade or sun, "Father, Thy will, not mine, be done."

The attempts to _evangelize_ "Nearer, My G.o.d, to Thee" by those who cannot forget that Mrs. Adams was a Unitarian, are to be deplored. Such zeal is as needless as trying to sectarianize an Old Testament Psalm.

The poem is a perfect religious piece--to be sung as it stands, with thanks that it was ever created.

_THE TUNE._

In English churches (since 1861) the hymn was and may still be sung to "Horbury," composed by Rev. John B. d.y.k.es, and "St. Edmund," by Sir Arthur Sullivan. Both tunes are simple and appropriate, but such a hymn earns and inevitably acquires a single tune-voice, so that its music instantly names it by its words when played on instruments. Such a voice was given it by Lowell Mason's "Bethany," (1856). (Why not "Bethel,"

instead, every one who notes the imagery of the words must wonder.) "Bethany" appealed to the popular heart, and long ago (in America) hymn and tune became each other's property. It is even simpler than the English tunes, and a single hearing fixes it in memory.

"I NEED THEE EVERY HOUR."

Mrs. Annie Sherwood Hawks, who wrote this hymn in 1872, was born in Hoosick, N.Y., in 1835.

She sent the hymn (five stanzas) to Dr. Lowry, who composed its tune, adding a chorus, to make it more effective. It first appeared in a small collection of original songs prepared by Lowry and Doane for the National Baptist Sunday School a.s.sociation, which met at Cincinnati, O., November, 1872, and was sung there.

I need Thee every hour, Most gracious Lord, No tender voice like Thine Can peace afford.

CHORUS.

I need Thee, Oh, I need Thee, Every hour I need Thee; Oh, bless me now, my Saviour, I come to Thee!

One instance, at least, of a hymn made doubly impressive by its chorus will be attested by all who have sung or heard the pleading words and music of Mrs. Hawks' and Dr. Lowry's "I need Thee, Oh, I need Thee."

"I GAVE MY LIFE FOR THEE."

This was written in her youth by Frances Ridley Havergal, and was suggested by the motto over the head of Christ in the great picture, "Ecce h.o.m.o," in the Art Gallery of Dusseldorf, Prussia, where she was at school. The sight--as was the case with young Count Zinzendorf--seems to have had much to do with the gifted girl's early religious experience, and indeed exerted its influence on her whole life. The motto read "I did this for thee; what doest thou for me?" and the generative effect of the solemn picture and its question soon appeared in the hymn that flowed from Miss Havergal's heart and pen.

I gave my life for thee, My precious blood I shed, That thou might'st ransomed be And quickened from the dead.

I gave my life for thee: What hast thou given for me?

Miss Frances Ridley Havergal, sometimes called "The Theodosia of the 19th century," was born at Astley, Worcestershire, Eng., Dec. 14, 1836.

Her father, Rev. William Henry Havergal, a clergyman of the Church of England, was himself a poet and a skilled musician, and much of the daughter's ability came to her by natural bequest as well as by education. Born a poet, she became a fine instrumentalist, a composer and an accomplished linguist. Her health was frail, but her life was a devoted one, and full of good works. Her consecrated _words_ were destined to outlast her by many generations.

"Writing is _praying_ with me," she said. Death met her in 1879, when still in the prime of womanhood.

_THE TUNE._

The music that has made this hymn of Miss Havergal familiar in America is named from its first line, and was composed by the lamented Philip P.

Bliss (christened Philipp Bliss[14]), a pupil of Dr. George F. Root.

[Footnote 14: Mr. Bliss himself changed the spelling of his name, preferring to let the third P. do duty alone, as a middle initial.]

He was born in Rome, Pa., Jan. 9, 1838, and less than thirty-nine years later suddenly ended his life, a victim of the awful railroad disaster at Ashtabula O., Dec. 29, 1876, while returning from a visit to his aged mother. His wife, Lucy Young Bliss, perished with him there, in the swift flames that enveloped the wreck of the train.

The name of Mr. Bliss had become almost a household word through his numerous popular Christian melodies, which were the American beginning of the series of _Gospel Hymns_. Many of these are still favorite prayer-meeting tunes throughout the country and are heard in song-service at Sunday-school and city mission meetings.

"JESUS KEEP ME NEAR THE CROSS."

This hymn, one of the best and probably most enduring of f.a.n.n.y J.

Crosby's sacred lyrics, was inspired by Col. 1:29.

Frances Jane Crosby (Mrs. Van Alstyne) the blind poet and hymnist, was born in Southeast, N.Y., March 24, 1820. She lost her eyesight at the age of six. Twelve years of her younger life were spent in the New York Inst.i.tution for the Blind, where she became a teacher, and in 1858 was happily married to a fellow inmate, Mr. Alexander Van Alstyne, a musician.

George F. Root was for a time musical instructor at the Inst.i.tution, and she began early to write words to his popular song-tunes. "Rosalie, the Prairie Flower," and the long favorite melody, "There's Music in the Air" are among the many to which she supplied the text and the song name.

She resides in Bridgeport, Ct., where she enjoys a serene and happy old age. She has written over six thousand hymns, and possibly will add other pearls to the cl.u.s.ter before she goes up to join the singing saints.

Jesus, keep me near the Cross, There a precious Fountain Free to all, a healing stream, Flows from Calv'ry's mountain.

CHORUS.