The Story of the Hymns and Tunes Part 61

This is named from its chorus. The song is one of the spontaneous thanksgivings in revival meetings that break out at the announcement of a new conversion.

'Tis the promise of G.o.d full salvation to give Unto him who on Jesus His Son will believe, Hallelujah! 'tis done; I believe on the Son; I am saved by the blood of the crucified One.

Though the pathway be lonely and dangerous too, Surely Jesus is able to carry me through-- Hallelujah! etc.

The words and music are both by P.P. Bliss.

THE NINETY AND NINE.

The hymn was written by Mrs. Elizabeth Cecilia Clephane at Melrose, Scotland, early in 1868. She was born in Edinburgh, June 10, 1830, and died of consumption, Feb. 19, 1869. The little poem was seen by Mr.

Sankey in the _Christian Age_, and thinking it might be useful, he cut it out. At an impressive moment in one of the great meetings in Edinburgh, Mr. Moody said to him in a quiet aside, "Sing something."

Precisely what was wanted for the hour and theme, and for the thought in the general mind, was in Mr. Sankey's vest pocket. But how could it be sung without a tune? With a silent prayer for help, the musician took out the slip containing Mrs. Clephane's poem, laid it on the little reed-organ and began playing, and singing. He had to read the unfamiliar words and at the same time make up the music. The tune came--and grew as he went along till he finished the first verse. He remembered it well enough to repeat it with the second, and after that it was easy to finish the hymn. A new melody was born--in the presence of more than a thousand pairs of eyes and ears. It was a feat of invention, of memory, of concentration--and such was the elocution of the trained soloist that not a word was lost. He had a tearful audience at the close to reward him; but we can easily credit his testimony,

"It was the most intense moment of my life."

In a touching interview afterwards, a sister of Mrs. Clephane told Mr.

Sankey the auth.o.r.ess had not lived to see her hymn in print and to know of its blessed mission.

The first six lines give the situation of the lost sheep in the parable of that name--

There were ninety and nine that safely lay In the shelter of the fold; But one was out on the hills away, Far off from the gates of gold.

Away on the mountains wild and bare, Away from the tender Shepherd's care.

And, after describing the Shepherd's arduous search, the joy at his return is sketched and spiritualized in the concluding stanza--

But all through the mountains, thunder-riven, And up from the rocky steeps There arose a cry to the gate of heaven, "Rejoice! I have found my sheep."

And the angels echoed around the Throne, "Rejoice! for the Lord brings back His own."

"HOLD THE FORT!"

This is named also from its chorus. The historic foundation of the hymn was the flag-signal waved to Gen. G.M. Corse by Gen. Sherman's order from Kenesaw Mountain to Altoona during the "March through Georgia," in October, 1863. The flag is still in the possession of A.D. Frankenberry, one of the Federal Signal-Corps whose message to the besieged General said, "Hold the fort! We are coming!" A visit to the scene of the incident inspired P.P. Bliss to write both the words and the music.

Ho! my comrades, see the signal Waving in the sky!

Reinforcements now appearing, Victory is nigh.

"Hold the fort, for I am coming!"

Jesus signals still; Wave the answer back to heaven, "By Thy grace we will!"

The popularity of the song (it has been translated into several languages), made it the author's chief memento in many localities. On his monument in Rome, Pennsylvania, is inscribed "P.P. Bliss--author of 'Hold the Fort.'"

"RESCUE THE PERISHING."

Few hymns, ancient or modern, have been more useful, or more variously used, than this little sermon in song from Luke 14:23, by the blind poet, f.a.n.n.y J. Crosby, (Mrs. Van Alstyne). It is sung not only in the church prayer-meetings with its spiritual meaning and application, but in Salvation Army camps and marches, in mission-school devotions, in social settlement services, in King's Daughters and Sons of Temperance Meetings, and in the rallies of every reform organization that seeks the lost and fallen.

Rescue the perishing, care for the dying, s.n.a.t.c.h them in pity from sin and the grave; Weep o'er the erring ones, lift up the fallen, Tell them of Jesus, the Mighty to Save.

Down in the human heart crushed by the Tempter, Feelings lie buried that grace can restore.

Touched by a loving heart, wakened by kindness, Chords that were broken will vibrate once more.

The tune is by W.H. Doane, Mus.D., composed in 1870.

"WHAT A FRIEND WE HAVE IN JESUS."

The author was a pious gentleman of Dublin, Ireland, who came to Canada when he was twenty-five. His name was Joseph Scriven, born in Dublin, 1820, and graduated at Trinity College. The accidental death by drowning of his intended bride on the eve of their wedding day, led him to consecrate his life and fortune to the service of Christ. He died in Canada, Oct. 10, 1886, (Sankey's _Story of the Gospel Hymns_, pp.

245-6.)

_THE TUNE._

The music was composed by Charles Crozat Converse, LL.D., musician, lawyer, and writer. He was born in Warren, Ma.s.s., 1832; a descendant of Edward Converse, the friend of Gov. Winthrop and founder of Woburn, Ma.s.s. He pursued musical and other studies in Leipsic and Berlin. His compositions are numerous including concert overtures, symphonies and many sacred and secular pieces. Residence at Highwood, Bergen Co., N.J.

The hymn is one of the most helpful of the Gospel Collections, and the words and music have strengthened many a weak and failing soul to "try again."

Have we trials and temptations?

Is there trouble anywhere?

We should never be discouraged: Take it to the Lord in prayer.

"I HEAR THE SAVIOUR SAY."

This is cla.s.sed with the _Gospel Hymns_, but it was a much-used and much-loved revival hymn--especially in the Methodist churches--several years before Mr. Moody's great evangelical movement. It was written by Mrs. Elvina M. Hall (since Mrs. Myers) who was born in Alexandria, Va., in 1818. She composed it in the spring of 1865, while sitting in the choir of the M.E. Church, Baltimore, and the first draft was pencilled on a fly-leaf of a singing book, _The New Lute of Zion_.

I hear the Saviour say, Thy strength indeed is small; Child of weakness, watch and pray, Find in me thine all in all.

The music of the chorus helped to fix its words in the common mind, and some idea of the Atonement acceptable, apparently, to both Arminians and Calvinists; for Sunday-school children in the families of both, hummed the tune or sang the refrain when alone--

Jesus paid it all, All to Him I owe, Sin had left a crimson stain; He washed it white as snow.

_THE TUNE._

John Thomas Grape, who wrote the music, was born in Baltimore, Md., May 6, 1833. His modest estimate of his work appears in his remark that he "dabbled" in music for his own amus.e.m.e.nt. Few composers have amused themselves with better results.

"TELL ME THE OLD, OLD STORY."

Miss Kate Hankey, born about 1846, the daughter of an English banker, is the author of this very devout and tender Christian poem, written apparently in the eighteen-sixties. At least it is said that her little volume, _Heart to Heart_, was published in 1865 or 1866, and this volume contains "Tell me the Old, Old Story," and its answer.

We have been told that Miss Hankey was recovering from a serious illness, and employed her days of convalescence in composing this song of devotion, beginning it in January and finishing it in the following November.

The poem is very long--a thesaurus of evangelical thoughts, att.i.tudes, and moods of faith--and also a magazine of hymns. Four quatrains of it, or two eight-line stanzas, are the usual length of a hymnal selection, and editors can pick and choose anywhere among its expressive verses.

Tell me the old, old story Of unseen things above, Of Jesus and His glory, Of Jesus and His love.