Consolation

Charles Albert Tindley wrote the words and music of Consolation. It is also listed as “Arr. by Wm. D. Smith.” The song was copyrighted in 1909 in Soul Echoes No. 2, where it appeared as song No. 7.

For my fuller biography of Tindley, see Leave It There. Someone has written, “If Thomas A. Dorsey is the ‘Father of Gospel Music,’ then Charles Albert Tindley is the ‘Grandfather of Gospel Music.’”

1. Ye pilgrims through this vale of tears,
Come, let us cheer each other,
Amid the danger’s doubts and fear,
Let each console his brother.
Our way is often dark and hard,
Temptations all around us,
Unless we pray with one accord
They surely will confound us.

2. We see the pit where others lie,
All smitten by the Tempter,
We too shall come to grief and die,
If we to him surrender.
We’ll walk the blood-be-sprinkled way,
The road that leads to glory,
And as we go we’ll sing and pray,
And tell redemption’s story.

3. While some are shouting all the time,
Some other hearts are bleeding,
They want the heavenly peace to find
For which their souls are pleading.
Come, let us lead them through the gate,
The way of sins confessing,
The word of God will put them straight
And they will find the blessing.

4. There may be some that’s growing tired,
Because the way is tedious,
Let’s take the Book that was inspired
And tell them more ’bout Jesus.
Tell them of him who bled and died
The crucifixion story—
Who rendered justice satisfied
And then went home to glory.

5. We soon shall reach the shining shore,
And see our dear Redeemer,
Where we shall weep and sigh no more,
But praise his name forever.
Our time is short, and crosses great
And often hard to carry,
Unless we start we’ll be too late,
We’ve got no time to tarry.

6. We almost hear the happy shouts
Of saints beyond the river,
They’ve gone beyond this world of doubts,
They’re saved with God forever.
Our kindred they are in that happy throng,
O what a happy meeting,
We’ll watch and pray, it won’t be long
Before the Heavenly greeting.

God’s Wonderful Book Divine

“What light is this shining so brightly for me?” Why, it is none other than “God’s Wonderful Book Divine.” What hope for the traveler, what chart to guide? God’s Wonderful Book Divine!

• Psalm 119:105 Thy word is a lamp unto my feet, and a light unto my path.
• Psalm 119:114 Thou art my hiding place and my shield: I hope in thy word.

1. What light is that shining so brightly for me,
That gives me such courage, the right way to see?
What hope for my trusting soul ever shall be?
God’s wonderful book divine.

2. What hope for the traveler with strength almost gone,
That makes him determined to keep plodding on?
What sweet consolation from heaven’s bright throne?
God’s wonderful book divine.

3. What chart can you trust as a guide for your soul,
When tempests would strand you on some treacherous shoal?
What compass will point you to heaven’s bright goal?
God’s wonderful book divine.

Chorus:
I love the old Bible, the precious old Bible.
A light on my pathway to shine.
It keeps me so happy, always so happy.
God’s wonderful book divine.

God’s Wonderful Book Divine, Luther G. Presley, Starlit Crown: Our 1938 Book for Singing Schools, Conventions, etc. Virgil O. Stamps, et al., Dallas, TX: Stamps-Baxter Music Company, 1937.

God’s Wonderful Book Divine was written by gospel songwriter Luther G. Presley. It shows the Bible as light, hope, consolation, a chart, and a compass – and a source of happiness. It first appeared in the 1938 Stamps-Baxter publication Starlit Crown (copyright 1937). I have been unable to locate the first printing; the words above are a compilation from and representation of later printings, probably accurately representing the original with three stanzas and a chorus.

Luther G. Presley (March 6, 1887 – December 6, 1974) was born in Faulkner County, Arkansas, the son of James Thomas Presley and Nancy Ann Brooks. Presley married Julia Magdaline Yingling in 1911. They had three children. After Maggie’s death, Presley married Lorena Henderson. They had one child. Lorena Presley was also a songwriter. Luther Presley died in 1974. He and Lorena are buried at Saint Mary’s Cemetery near Rose Bud in White County, Arkansas.

Luther Presley wrote his first song when he was 17. He wrote this one when he was about 50. His best-known song likely is the spiritual When the Saints Go Marching In. Presley wrote the lyrics of that song in 1937, and Virgil O. Stamps composed the music. He also wrote When All of God’s Singers Get Home. According to the Encyclopedia of Arkansas, Luther Presley “told his friends that his best song was ‘I’d Rather Have Jesus.’” Heavenly Highway Hymns was compiled by Luther G. Presley for the Stamps-Baxter Music Company in 1956. Presley was inducted into the Southern Gospel Music Association Hall of Fame in 2008.

Some King James Bible defending churches sing the following stanza, and sometimes end the chorus as follows:

Now if you are wondering of what book I sing,
It’s the same one the old-time revival did bring,
It’s the only one version authorized by the King:
God’s wonderful book divine.

Chorus:

I love the old Bible, the Old King James Bible.
A light on my pathway it shines.
It keeps me so happy, always so happy.
God’s wonderful book divine.

Preach the word

2 Timothy 4:2 preach the word; be instant in season, out of season; reprove, rebuke, exhort with all longsuffering and doctrine.

1. Preach the word, the holy word,
Lade with meat the heav’nly board,
Stewards of the store of God,
Sound the saving truth abroad.
You are sent the world to draw
To the Saviour and His law,
Praying them to leave sin’s road
And be reconciled to God.

2. Preach the word, O ministry,
Let the earth salvation see.
Tell it, woman, child, and man
Where you may and where you can,
Let no sluggish spirit bind,
Let not earth absorb your mind,
Keep salvation on your tongue,
Roll the Saviour’s praise along.

3. Preach the word, ’twill faith produce,
Turn the struggling captive loose,
Heal his pain and give him sight,
Turn his darkness into light,
Cheer his soul on heaven’s way,
Keep him watchful day by day,
Cause him happy here to be,
Save him for eternity.

Charles Price Jones, preacher and songwriter, wrote this hymn about “preaching the word.” He also wrote the tune, which has been designated by the title Gaines. Charles P. Jones was born December 9, 1865, at Texas Valley near Rome, Floyd County, Georgia, the son of Mary Jones.[i] He grew up in Kingston, in Bartow County to the east of Floyd County. His family attended Shiloh Baptist Church at Kingston. After the death of his mother, Jones wandered about to live and work in various places. He was saved in 1884 at Locust Grove Baptist Church, while living in Cat Island, Arkansas. He soon surrendered to the call of the ministry and began preaching. Jones started attending Arkansas Baptist College in Little Rock in 1888, and was ordained that same year by the Mount Zion Baptist Church (also in Little Rock). He graduated in 1891, and married Fannie A. Brown in 1892 in Pulaski County, Arkansas. They had one child, a daughter, who died in 1897. Fannie was still living in Jackson, Mississippi when 1910 census was taken. She died, possibly in Jackson, in 1916.[ii] While living and pastoring in Arkansas, Jones served as the corresponding secretary of the Arkansas Baptist State Convention.

In or around 1894, Jones accepted a holiness view of a second work of grace, while pastor of Tabernacle Baptist Church in Selma, Alabama. When he began teaching this view in the church he pastored in Jackson, Mississippi in 1896 – the Mount Helm Baptist Church – some members of his congregation as well as other Baptist churches in the area opposed the new-fangled teaching. He eventually came to reject the teaching of eternal security as well.[iii] The congregation removed Jones as pastor, and he and his followers eventually built the Christ Temple campus in Jackson.[iv] In 1917, Jones organized Christ Temple Church in Los Angeles. In early 1918, C. P. Jones married Pearl Eleanor Reed.[v] They had three sons, Charles Price Jones Jr., Vance Reed Jones and Samuel Sherman Jones. Charles Price Jones died January 19, 1949 in Los Angeles. He and Pearl are buried at the Evergreen Cemetery in Los Angeles, Los Angeles County, California.

C. P. Jones is the author of over 1000 songs, many of which can be found in His Fullness Songs, published by the National Publishing Board of the Church of Christ (Holiness). Some of his better-known hymns include “Hark, ’tis the voice of love I hear,” “Hear the blessed Saviour calling the oppressed” (Come Unto Me), “Jesus Only is my motto.” The majority of Jones’s song were written in a ten-year period, between 1895 and 1905. Jones and Truth Publishing Company in Jackson, Mississippi published Jesus Only, Songs and Hymns in 1901.

Note: I found some discrepancies in various records about Charles Price Jones, and have tried to sort it out to the best of my ability. An early biography of Jones appears in The History of Negro Baptists in Mississippi (1898, pp. 613-615). A later reflection on his life can be found in History of the Church of Christ (Holiness) U.S.A. 1895-1965.

The History of Negro Baptists in Mississippi, 1898, p. 614

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[i] Various sources list Charles’s father as Edmond Jones or William Jones. It is uncertain who was his father or what happened to him. His mother later married Barry Latimer, who became his stepfather.

[ii] Wikipedia says she died in Little Rock, Arkansas, but does not give a source for this information. History of the Church of Christ (Holiness) U.S.A. 1895-1965, (p. 311) says she died in Jackson, Mississippi. Both History of the Church of Christ (Holiness) U.S.A. 1895-1965 and Hymnology Archive give the name of their daughter as Ola Mae, saying she was born in 1893 and died of severe burns in 1897.
[iii] Jones’s modification of views eventually led to the official organization of the “Church of Christ (Holiness)” denomination in 1920. Several sources (e.g. Handbook of Denominations) give the origin of the church as 1894. This is anachronistic at best, possibly trying to identify when Jones first adopted his new views. He was still pastor of a Baptist Church in 1896, and the first “holiness convention” connected with Jones was held in Jackson, Mississippi in 1897. Jackson, Mississippi is still the headquarters of the denomination.
[iv] “Church of Christ (Holiness) Founded in Jackson,” The Clarion-Ledger, Sunday, March 4, 1979, p. 1G. The removal of Jones from Mount Helm was a battle that took place over several years. The new denomination eventually rejected Baptist congregationalism and adopted an episcopal model of church government.
[v] Probably in January 1918. The California Eagle (Saturday, January 12, 1918, p. 6) describes C. P. Jones as lately married and “spending his honeymoon in Fresno.”

A Baptismal Hymn

Though I have not found a scan of the book, the hymn below on baptism is supposed to have appeared in Hymns and Spiritual Songs by Samuel Hall (Newport, RI: Samuel Hall, 1766). Hymns and Spiritual Songs, also known as “The Newport Collection,” is considered the first Baptist hymnal published in America.

The hymn appears in several publications, and what I post below is somewhat of a composite of those. The meter is 11s pretty much throughout, and could be sung to a tune like Bellevue/How Firm a Foundation. It’s only 16 stanzas!

This is Hymn XCVII (p. 74-75) in Divine Hymns: Or Spiritual Songs; for the Use of Religious Assemblies and Private Christians, by Joshua Smith and Samuel Sleeper, Portland: Printed for Thomas Clark, 1803. The heading contains this note: “A Hymn on Baptism, by Anna Beaman of Warren in Connecticut, composed about the time she was baptised.” (According to David Music in I Will Sing the Wondrous Story, p. 138, it appeared in Smith’s first printing of Divine Hymns in 1791.)

1. What think you, my friends, of the preaching of John?
Say, was it from heaven or was it of men?
We hear him declaring glad tidings of peace,
Proclaiming a jubilee year of release.

2. The Law and the Prophets continued till John,
Our Saviour hath told us when gospel began;
And since that God’s kingdom is preached faith the word
And all men press in, who have faith in the Lord.

3. The first of the gospel, the dawn of the day,
The voice of one crying prepare ye the way;
Bring forth your repentance, ye viperous breed,
And think not to say ye are Abraham’s seed.

4. A new dispensation to them he declares,
And preaches repentance to Abraham’s heirs;
The children of Abraham’s natural seed,
Found they had no right his baptism to plead.

5. But when he perceived that repentance was theirs,
Then he gave baptism to Abraham’s heirs;
For those who had been sealed to covenant things,
We find him baptising, confessing their sins.

6. He tells them their Saviour is already here,
And while he’s baptising our Lord doth appear
For to be baptised; and John shrinks at the thing,
And owns he has need to receive it from him.

7. But when he informed him it was his request,
He freely baptised him as he did the rest;
And this institution was owned from above:
The Spirit of God was sent down as a dove.

8. And his sweet example is left on record,
Whoever steps in, they will find a reward;
They’ll find peace of conscience and joy of the same,
When they are baptisèd in Jesus’ own name.

9. The Eunuch we find was in haste to receive,
His water baptism, when he did believe;
He went on his way full [then] rejoicing in God,
While those that rebel must be tasting his rod.

10. The friends of Cornelius who heard Peter’s word,
Believed and received soon the seal of the Lord;
The Holy Ghost fell, then their joys did arise,
And Peter commands that they should be baptised.

11. Saint Paul’s great conversion he found in the way,
The light which shone round him exceeded the day;
Then he was three days, neither drank nor did eat,
Yet he was baptised e’en before he took meat.

12. We read where three thousand believed in a day,
And that they were baptised without a delay.
The house of the jailer believed in the night,
And they were baptisèd before it was light.

13. Forbear then to censure by being in haste,
Or show me an instance where it was the case,
That primitive Christians deferred in the thing—
I answer my conscience to Jesus my King.

14. I’ll tell you how gospel appears unto me,
And pray to kind heaven that you all may see;
The wise and the prudent, ‘tis hid from their eyes,
While the babes of the kingdom rejoice in the prize.

15. Some call it baptism and think it will stand,
A few drops of water dropt from a man’s hand,
In the face of the infant under the curse—
But we find no scripture which proves such to us.

16. There’s no being “buried with Christ” in this case,
For Jordan or Enon was John’s chosen place;
Our Lord in a fountain, John did him baptise,
And Christ’s sweet example we honour and prize.

The author of the hymn, Anna Keeney, married Parke Beaman December 15, 1757 in Kent, Litchfield County, Connecticut. The book The Descendants of Thomas Beeman of Kent, Connecticut (Gwen Boyer Bjorkman, Bellevue, WA: 1982), lists nine children of this couple, but does not give the death of Anna. Parke and Anna are supposed to be buried in the Kent Hollow Cemetery.

The Royal Invitation

The song The Royal Invitation (391, The Sacred Harp, 2012 Cooper Edition) was first published in The Sacred Harp in 1907. The tune was written by Daniel James Givens. The author of the words, below, is unknown. Perhaps Givens wrote them, or found them elsewhere and arranged to use with this tune. The text presents what Givens called “The Royal Invitation” for sinners to come to Jesus.

The chorus is sung after each stanza.

1. Come, sinner, come, and help bear the cross,
Jesus has suffered the great loss;
He will redeem you from all your sin,
If you will come, He will take you in.

2. Jesus so sweetly bids you to come,
He will receive you to His home;
Come to the fold, why do you delay?
Come to the Saviour, O! come today.

Chorus:
Come, sinner, come, without delay,
He is the truth, the light and the way;
He has the pow’r to save from all sin,
If you will come, He will take you in.

If anyone is aware of the author or origin of these words before the 1907 Sacred Harp, please let me know. So far, I have not found them anywhere else. D. J. Givens wrote six songs that are included in The Sacred Harp, and is credited with writing the words to The Crucified Saviour (p. 84). So, perhaps he wrote these words also and the original typesetter simply failed to put his name on the hymn side.

Daniel James “Jim” Givens (November 11, 1879–April 23, 1957) was born in Henry County, Alabama, a son of John Anderson Givens and Minerva A. R. Melvin. He married Lenora S. “Nora” Wiggins (1879–1950), a niece of W. M. Cooper’s stepfather Hopewell Wiggins. They had at least three children: Willie, Jewell, and Mavis. Jim and Nora are buried at the Webb Cemetery in Webb, Houston County, Alabama. His song, The Lamb of Calvary 508, was removed in 1992. Givens was primarily working as a farmer living in Houston County, Alabama.

84 The Crucified Saviour 

391 The Royal Invitation

490 Canaan’s Peaceful Shore

491 Closer Walk With God

541 I’m Going Home to Die No More

572 We Will Sing With the Angels There

The castle of the human heart

“The heart taken” is Hymn 101, Book One in Olney Hymns – on the text [Luke] “Chap. xi. 21, 22.”[i]

When a strong man armed keepeth his palace, his goods are in peace: but when a stronger than he shall come upon him, and overcome him, he taketh from him all his armour wherein he trusted, and divideth his spoils.

The hymn emphasizes the depravity of man, with native sin and Satan set up in the human heart. However, praise God, the strong man Satan is routed by the stronger man Jesus Christ, who rescues from sin and darkness, translating the delivered into his kingdom! The hymn ends with the rebel soul now subdued and rejoicing to be all in for Christ.

1. The castle of the human heart
Strong in its native sin,
Is guarded well, in ev’ry part,
By him who dwells within.

2. For Satan there, in arms, resides,
And calls the place his own;
With care against assaults provides,
And rules, as on a throne.

3. Each traitor thought on him, as chief,
In blind obedience waits;
And pride, self-will, and unbelief,
Are posted at the gates.

4. Thus Satan for a season reigns,
And keeps his goods in peace;
The soul is pleas’d to wear his chains,
Nor wishes a release.

5. But Jesus, stronger far than he,
In his appointed hour
Appears, to set his people free
From the usurper’s pow’r.

6. “This heart I bought with blood” he says,
“And now it shall be mine.”
His voice the strong one arm’d dismays,
He knows he must resign.

7. In spite of unbelief and pride,
And self, and Satan’s art;
The gates of brass fly open wide,
And Jesus wins the heart.

8. The rebel soul that once withstood
The Saviour’s kindest call;
Rejoices now, by grace subdued,
To serve Him with her all.

I have not found this particular hymn used with any tune, though it likely has been. Written in Common Meter, it offers many tune prospects. I suggest the wonderful old hymn tune Mear. One might also consider New Britain, commonly used with Newton’s “Amazing Grace,” or the tune Avon by Hugh Wilson. Hymnary.org suggests the tune Wrexford by A. H. Mann (but I did not notice an example of the two paired together).

The life of John Newton is perhaps one of the best-known and widely circulated of English hymn writers – due to his dramatic deliverance from slaver to abolitionist, from reprobate to rector (minister). “Hymn of the Day” writes that John Newton’s “theological insights and pastoral care through his words are a dagger to my heart, a balm to my soul, and an encouragement in my race to press onto Christlikeness.” “Amazing Grace,” according to biographer Jonathan Aitken, is “the most sung, most recorded and most loved hymn in the world.” That hymn, titled “Faith’s Review and Expectation,” was prepared by John Newton for a New Year’s sermon on January 1, 1773. Newton was a prolific writer with amazing output –not only many hymns, but also for journals, theology, letters. and sermons.

John Newton was born in London August 4, 1725, the son of shipmaster John Newton. He married Mary Catlett in 1750. Mary died in 1790, and John died 21 December 21, 1807. They were originally buried in the vault beneath the St. Mary Woolnoth Church, where he had served as rector for 28 years. London’s progress could wait for no man, not even the author of the “Christian National Anthem.” Before they built a railway station beneath the church, the remains of John Newton and his wife Mary were removed in January of 1893 to the churchyard of St. Peter and Paul in Olney, where Newton had lived when he published Olney Hymns.

The Southern Echo, Monday, January 16, 1893, p. 4

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[i] The “Book One” section of Olney Hymns contains hymn “On Select Texts of Scripture.”

The hour of my departure’s come

The following hymn is “Hymn V” of five hymns included in the back of Translations and Paraphrases, in Verse, of Several Passages of Sacred Scripture. Collected and Prepared by a Committee of the General Assembly of the Church of Scotland, in order to be sung in Churches (Edinburgh: J. Dickson, 1781). This book addresses in its “Advertisement” the movement in the Church of Scotland to include singing more Scripture in addition to the Psalms, first publishing something in the year 1745.

“…it has been the general sentiment of devout persons, that it would be of advantage to enlarge the Psalmody in public worship, by joining with the Psalms of David some other passages of Scripture, both from the Old and the New Testament…”

These words below were (apparently) written by Michael Bruce. He was the son of a Scottish weaver. Bruce was born March 27, 1746 at Kinrossshire in Scotland, March 27, 1746. He studied at Edinburgh University, and there met John Logan (1748-1788). He studied at the Theological Hall of the Associate Synod under John Swanston. His purpose was to enter the ministry, but he died of consumption at age 21 on July 5, 1767, before fulfilling that purpose. He was buried at Portmoak Churchyard Kinross, Perth and Kinross, Scotland.

There let me sleep forgotten in the clay,

When death shall shut these weary aching eyes,

Rest in the hopes of an eternal day,

Till the long night’s gone, and the last morn arise.

Michael Bruce wrote poetry and hymns. Several of his poems were published posthumously under the title Poems on Several Occasions (Edinburgh: J. Robertson, 1770). This hymn is fitting for his circumstance, but for all of us as well. When God calls, when the hour of our departure’s come, may we gladly hear and answer his call and depart to him in peace.

1. The hour of my departure’s come;
I hear the voice that calls me home;
At last, O Lord! let trouble cease,
And let thy servant die in peace.

2. The race appointed I have run;
The combat’s o’er, the prize is won;
And now my witness is on high,
And now my record’s in the sky.

3. Not in mine innocence I trust;
I bow before thee in the dust;
And through my Saviour’s blood alone
I look for mercy at thy throne.

4. I leave the world without a tear,
Save for the friends I held so dear;
To heal their sorrows, Lord, descend,
And to the friendless prove a friend.

5. I come, I come, at thy command,
I give my spirit to thy hand;
Stretch forth thine everlasting arms,
And shield me in the last alarms.

6. The hour of my departure’s come;
I hear the voice that calls me home:
Now, O my God! let trouble cease,
Now let thy servant die in peace.

An unfortunate controversy (which apparently is still debated) surrounds this hymn, is explained by John Julian (A Dictionary of Hymnology, Volume 1, 1907, pp. 187-189).

The names of Michael Bruce and John Logan are brought together because of the painful controversy which has long prevailed concerning the authorship of certain Hymns and Paraphrases of Holy Scripture which are in extensive use in the Christian Church both at home and abroad. During the latter years of Bruce’s short life he wrote various Poems, and also Hymns for a singing class at Kinnesswood, which were well known to his family and neighbours, and were eventually copied out by Bruce himself in a quarto ms. book, with the hope that some day he might see them in print. Immediately upon his death, in 1767, Logan called upon his father and requested the loan of this book that he might publish the contents for the benefit of the family. This was granted. Not till three years afterwards did a certain work, containing seventeen poems, and entitled Poems on Several Occasions, by Michael Bruce, 1770, appear, with a Preface in which it was stated that some of the Poems were by others than Bruce. Bruce’s father immediately pointed out the absence from the volume of certain hymns which he called his son’s “Gospel Sonnets,” and members of the singing class at Kinnesswood also noted the absence of hymns with which they were familiar. Letters of remonstrance and demands for the return of the quarto manuscript book of Bruce by the father remaining unanswered, led him eventually to see Logan in person. No book was forthcoming, a few scraps of ms. only were returned, and Logan accounted for the absence of the book by saying he feared “that the servants had singed fowls with it.” For a time the matter rested here, only to be revived with renewed interest by the publication, in 1781 (14 years after the death of Bruce, and 11 after the Poems, &c, were issued), of Poems. By the Rev. Mr. Logan, One of the Ministers of Leith. In this volume, an “Ode to the Cuckoo,” a poem of exquisite beauty, and other poetical pieces which appeared in the Poems on Several Occasions, by Michael Bruce, were repeated, and claimed as his own by Logan. In addition, certain Hymns and Paraphrases were included, most of which were of sterling merit, and poetical excellence. It has been shown, we think, most conclusively by Dr. Mackelvie in his Life of Bruce prefixed to the Poems, 1837 and by Dr. Grosart in his Works of M. Bruce, 1865, that the “Ode to the Cuckoo,” “Lochleven,” and other poetical pieces were taken from ms. book of M. Bruce. The Hymns and Paraphrases, most of which were included in the Translations and Paraphrases during the same year, were also claimed for Bruce...

Julian’s conclusion was that certain hymns were without doubt written by Bruce rather than Logan, while some others were unclear. For those that were unclear, including “The hours of my departure’s come” (which he said Dr. Grosart claims for Bruce), Julian (seemingly somewhat reluctantly) gave to Logan “as the defendant” on “the benefit of the doubt.” Some publications solve the problem (or avoid the issue) by simply crediting it to the book Scottish Paraphrases. I come down on the side of Michael Bruce.

This hymn does not seem to have become associated with any one particular tune. Being in Long Meter, it will not be hard for one to choose a good hymn to sing it with. In The Baptist Hymn and Tune Book, for Public Worship (Philadelphia, PA: American Baptist Publication Society, 1871), music editor John M. Evans set it below the tune Rest by William B. Bradbury.

Our Mortal State

Remember how short my time is: wherefore hast thou made all men in vain?
What man is he that liveth, and shall not see death? shall he deliver his soul from the hand of the grave? Selah.

The following hymn by Isaac Watts is the “Sixth Part” of his paraphrase of Psalm 89 “verse 47, &c.” which he called “Mortality and Hope.—A Funeral Psalm.” It was published in The Psalms of David, Imitated in the Language of the New Testament. The name makes clear the intent, to warn of the mortality of man – life how short and frail – but to also point to the hope that is found in Jesus Christ and his resurrection! The subtitle suggests this as an appropriate song or reading at a funeral.

1. Remember, Lord, our mortal state;
How frail our life! how short the date!
Where is the man that draws his breath,
Safe from disease, secure from death?

2. Lord, while we see whole nations die,
Our flesh and sense repine and cry;
Must death for ever rage and reign?
Or, hast thou made mankind in vain?

3. Where is the promise to the just?
Are not thy servants turned to dust?
But faith forbids these mournful sighs,
And sees the sleeping dust arise.

4. That glorious hour, that dreadful day
Wipes the reproach of saints away,
And clears the honour of thy word;
Awake our souls, and bless the Lord.

Isaac Watts (1674–1748) was an English independent (dissenting) minister, theologian, and hymn writer. Because of his prolific, original, and splendid poetry, he has been designated the “Father of English hymnody.” Watts was born in Southampton, Hampshire, England in 1674. He served as a pastor at the Mark Lane Congregational Chapel in London from about 1702 to 1712, but resigned due to poor health. He accepted an invitation from Sir Thomas Abney and Lady Mary Abney to live in Stoke Newington, where he remained the rest of his life.

In addition to hymns (for which he is best remembered), Watts also wrote on theology and logic. He died in 1748, in Stoke Newington and was buried in Bunhill Fields. Some of his best-known hymns include “Joy to the World,” “When I Survey the Wondrous Cross,” and “Our God, Our Help in Ages Past.”

The hymn is Long Meter and the recommended tune in some later printings of Watts’s “Psalms of David” is Pleyel’s (but apparently not the Pleyel’s we know in Sacred Harp, since it is a different meter). In The Sacred Harp 1991 Edition, two stanzas of this hymn were paired with the new tune Granville, written by Sacred Harp singer Judy Hauff of Chicago, Illinois.

Search After Happiness

I found the following in some old files, which I apparently wrote in June of 2020.

The Search After Happiness

The following hymn is an excerpt from A Search After Happiness: A Pastoral in Three Dialogues, written by “A Young Lady” (Hannah More), in 1762/1773.[1] In the second edition, the title was changed to The Search After Happiness: A Pastoral Drama, and this portion of the poem was expanded to seven 4-line stanzas.[2] The poem/hymn as used in The Sacred Harp and other shape-note books has some word changes, and only six stanzas (the third stanza is not used).

In later printings, the “Preface” explains the purpose of the “Pastoral Drama”:

The object of the following Poem, which was written in very early youth, was an earnest wish to furnish a substitute for the very improper custom, which then prevailed, of allowing plays, and those not always of the purest kind, to be acted by young Ladies in boarding schools. And it has afforded a serious satisfaction to the Author to learn that this little Poem, and likewise the Sacred Dramas, have very frequently been adopted to supply the place of those more dangerous amusements. If it may be still happily instrumental in promoting a regard to Religion and Virtue in the minds of young persons, and afford them an innocent, and perhaps not altogether unuseful, amusement in the exercise of recitation, the end for which it was originally composed, and the author’s utmost wish in its re-publication, will be fully answered.

In the drama this portion is sung by the character Florella, a young shepherdess.

1. While beauty and youth are in their full prime,
And folly and fashion affect our whole time;
O let not the phantom our wishes engage,
Let us live so in youth that we blush not in age.
 
2. The vain and the young may attend us a while,
But let not their flattery our prudence beguile;
Let us covet those charms that shall never decay
Nor listen to all that deceivers can say.
 
3. I sigh not for beauty, nor languish for wealth,
But grant me, kind Providence, virtue and health;
Then richer than kings, and far happier than they,
My days shall pass swiftly and sweetly away.
 
4. For when age steals on me, and youth is no more,
And the moralist Time shakes his glass at my door,
What pleasure in beauty or wealth can I find?
My beauty, my wealth, is a sweet peace of mind.
 
5. That peace! I’ll preserve it as pure as ’twas given
Shall last in my bosom an earnest of heaven;
For Virtue and Wisdom can warm the cold scene,
And sixty can flourish as gay as sixteen.
 
6. And when I the burden of life shall have borne,
And death with his sickle shall cut the ripe corn,
Reascend to my God without murmur or sigh,
I’ll bless the kind summons, and lie down and die.

The third stanza that Florella sings is:

How the tints of the rose, and the jess’mine’s perfume,[3]
The eglantine’s fragrance, the lilac’s gay bloom,
Tho’ fair and tho’ fragrant, unheeded may lie,
For that neither is sweet when Florella is by.

This is the stanza not used in songbooks. The other six stanzas are used with the tune Morality, number 136 in The Sacred Harp. It is in other shape-note tune books as well, such as The Southern Harmony. It can be found on YouTube sung at Waycross Primitive Baptist Church.

Hannah More was born February 2, 1745 in the village of Fishponds in Gloucestershire. She was a daughter of Jacob and Mary Grace More. He was a schoolmaster. She was taught by her father, then attended a girls’ school of her oldest sister Mary. Hannah later taught at the school, and wrote A Search After Happiness circa 1762.[4] She left teaching and earned most of her living through writing. After a religious conversion she became close friends of John Newton and& William Wilberforce. She was one of the most successful writers of her time. She died September 7, 1833 and is buried at All Saints Churchyard in Somerset, England.

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[1] A Search After Happiness: A Pastoral in Three Dialogues, A Young Lady, Bristol: S. Farley, 1773, pp. 30-31. The “Advertisement” in the Google version purported to be printed in 1773 strongly suggests that this is the first printed/book version of A Search After Happiness.
[2] The first printed version had 26 lines rather than 28 lines.
[3] The first version appears to have jessamine (jess’mine’s), while later versions change this to “jasmine.”

[4] The scan of the book at Google Books does not have a date printed, but it is believed to be from around 1762. However, Google Books dates it as 1766.

Far From My Thoughts

THIS LINK contains a recording of Emily Creel leading Westford (“Far from my thoughts, vain world begone”) at the Rusk County Singing Convention. In addition to the thoughts of the hymn and its meaning, I also have pleasant memories of our friend Leon Ballinger loving and often leading this song.

The words are by Isaac Watts, and remind us of our delight in worshipping our Lord Jesus Christ – generally, in church, and in singings. Watts originally called it “The enjoyment of Christ; or, Delight in worship.” Daniel Read used three stanzas of it with his tune Westford. There are three more stanzas not used with the tune, which I print below the three that go with it. May this wonderful song always serve as a reminder to us that when we sing, we are delighting in worship!

1. Far from my thoughts, vain world, begone!
Let my religious hours alone:
Fain would mine eyes my Saviour see;
I wait a visit, Lord, from thee.

2. My heart grows warm with holy fire,
And kindles with a pure desire;
Come, my dear Jesus! from above,
And feed my soul with heavenly love.

3. Blest Jesus, what delicious fare!
How sweet thine entertainments are?
Never did angels taste, above,
Redeeming grace and dying love.

The trees of life immortal stand,
In flourishing rows, at thy right hand,
And in sweet murmurs, by their side,
Rivers of bliss perpetual glide.

Haste then, but with a smiling face,
And spread the table of thy grace;
Bring down a taste of fruit divine,
And cheer my heart with sacred wine.

Hail, great Immanuel, all divine,
In thee thy Father’s glories shine;
Thou brightest, sweetest, fairest One,
That eyes have seen or angels known.

The above hymn is Hymn 15 in Book Two of Hymns and Spiritual Songs (1707). Watts also has a “Part the second” with six more stanzas on the topic. It is Hymn 16.

7. Lord, what a heaven of saving grace,
Shines through the beauties of thy face,
And lights our passions to a flame!
Lord, how we love thy charming Name!

8. When I can say, my God is mine,
When I can feel thy glories shine,
I tread the world beneath my feet,
And all that earth calls good or great.

9. While such a scene of sacred joys
Our raptured eyes and souls imploys,
Here we could sit, and gaze away
A long, an everlasting day.

10. Well, we shall quickly pass the night
To the fair coasts of perfect light;
Then shall our joyful senses rove
O’er the dear object of our love.

11. There shall we drink full draughts of bliss,
And pluck new life from heavenly trees:
Yet now, and then, dear Lord, bestow
A drop of heaven on worms below.

12. Send comforts down from thy right hand,
While we pass through this barren land,
And in thy temple let us see
A glimpse of love, a glimpse of thee.

The sinner

The following is Hymn XXXVIII in Hymns, &c. Composed on Various Subjects, by Joseph Hart (London: J. Everingham, 1759, pp. 54-56). The hymn does not have a title, but is preceded by a verse of scripture.

This is a faithful Saying, and worthy of all Acceptation, that Christ Jesus came into the World to save Sinners... 1 Tim. i. 15.

1. When Adam by transgression fell,
And conscious, fled his Maker’s face,
Linked in clandestine league with hell,
He ruined all his future race:
The seeds of evil once brought in,
Increased; and filled the world with sin.

2. This lurking leaven ferments the mass.
All nature’s sick; creation’s spoiled;
Each sin-infected sire, alas!
Begets the sin-infected child.
Thus propagation spreads the curse:
And man, born bad, grows worse and worse.

3. But lo! the second Adam came,
The serpent’s subtle head to bruise;
He cancels his malicious claim,
And disappoints his devilish views;
Ransoms poor prisoners with his blood,
And brings the sinner back to God.

4. To understand these terms aright,
This grand distinction should be known:
Though all are sinners in God’s sight,
There are but few so in their own.
To such as these our Lord was sent;
They’re only sinners, who repent.

5. What comfort can a Saviour bring
To those who never felt their woe?
A sinner is a sacred thing;
The Holy Ghost has made him so.
New life from him we must receive,
Before for sin we rightly grieve.

6. Let the self-righteous hence beware,
Lest he this great salvation scorn.
Let every careless soul take care;
For they that laugh shall one day mourn.
High-flying lights, learn hence to stoop;
Dry knowledge only puffs men up.

7. This faithful saying let us own,
(Well worthy ’tis to be believed)
That Christ into the world came down,
That sinners might by him be saved.
Sinners are high in his esteem,
And sinners highly value him.

Joseph Hart (1712-1768) was a teacher, an independent evangelical minister, and a hymn writer. Hart is well-known is some circles, but not that well known among English-speaking Christians in general. In the spring of 1759, he published 119 “hymns, etc.” in his book Hymns, &c. Composed on Various Subjects. This work included “a Preface, containing a Brief Account of the Author’s Experience, and the Great Things that God hath done for his Soul.” His hymns are full of grace, passion, and Christian experience. A few of Hart’s hymns have achieved general acceptance; his most popular is likely that which begins “Come, ye sinners, poor and wretched, weak and wounded, sick and sore.” Most of Hart’s hymns are reprinted in William Gadsby’s A Selection of Hymns for Public Worship (this hymn is #89). Peter C. Rae has an article on “Joseph Hart and His Hymns” in the Scottish Bulletin of Evangelical Theology.

Joseph Hart died at age 56, on May 24, 1768, and was buried in the Bunhill Fields Burial Ground in London.

I have not seen this hymn printed in a book with music. I suggest two tunes with the L.P.M. metrical pattern, from the The Sacred Harp 2012 Cooper Edition: Vernon (416b) by Amzi Chapin and Edwards (197) by H. S. Woodard.[i]

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[i] Vernon is a variant or arrangement of Farewell Hymn by Jeremiah Ingalls (The Christian Harmony, 1805). Henry Stephen “Steave” Woodard (1861-1945) was born in South Carolina, but lived most of his life in southeast Alabama. He wrote or arranged Edwards for the 1902 revision of The Sacred Harp by W. M. Cooper.

The Gospel

Philip Doddridge wrote the following hymn, which is titled “Fruitful Showers, Emblems of the Salutary Effects of the Gospel.” The idea is derived from Isaiah 55:10-12.

For as the rain cometh down, and the snow from heaven, and returneth not thither, but watereth the earth, and maketh it bring forth and bud, that it may give seed to the sower, and bread to the eater: so shall my word be that goeth forth out of my mouth: it shall not return unto me void, but it shall accomplish that which I please, and it shall prosper in the thing whereto I sent it. For ye shall go out with joy, and be led forth with peace: the mountains and the hills shall break forth before you into singing, and all the trees of the field shall clap their hands.

1. Mark the soft-falling snow
And the diffusive rain!
To heaven, from whence it fell,
It turns not back again;
But waters Earth through every pore,
And calls forth all its secret store.

2. Arrayed in beauteous green,
The hills and valleys shine,
And man and beast are fed
By providence divine:
The harvest bows its golden ears,
The copious seed of future years.

3. “So,” saith the God of Grace,
“My gospel shall descend,
“Almighty to effect
“The purpose I intend;
“Millions of souls shall feel its power,
“And bear it down to millions more.”

4. “Joy shall begin your march
“And peace protect your ways,
“While all the mountains round
“Echo melodious praise;
“The vocal groves shall sing the God
“And every tree consenting nod.”

This hymn was published posthumously in 1755 in Hymns Founded on Various Texts in the Holy Scriptures, by Job Orton (J. Eddowes and J. Cotton, 1755). It is Hymn CXI and is written in Hallelujah Meter (H. M.). The hymn does not seem to be settled with any one particular tune. It will fit well with Lenox, with which it has been paired at times, as well as Allerton. More recently, shape-note composer Raymond Hamrick arranged a tune named Harvest for this text.

Philip Doddridge (1702–1751) was an English Nonconformist minister and hymnwriter. In addition to his hymns, his published works include The Rise and Progress of Religion in the Soul, The Family Expositor, Three Sermons on the Evidences of the Gospel, Ten Sermons on the Power and Grace of Christ, and A Dissertation on the Inspiration of the New Testament. Doddridge died October 26, 1751, at age 49 while in Lisbon, Portugal. He was buried at the British Cemetery in Lisbon. Well-known hymns written by Philip Doddridge include “Grace ’tis a charming sound,” “Hark, the glad sound, the Saviour comes,” “O God of Bethel, by Whose hand,” and “O happy day, that fixed my choice.”

Pisgah

Awhile back, I looked at my email inbox and noticed I had 58 unread emails. The number 58 made me think of Pisgah, the tune on page number 58 in The Sacred Harp (all of ’em). The tune appears there with the old standard hymn by Richard Burnham, “Jesus, thou art the sinners friend.” As much as I love and have sung this song in The Sacred Harp, my mind actually associates this tune more with the hymn beginning “When I can read my title clear,” by Isaac Watts. That is the hymn that was attached to the tune in a church song book we used when I was growing up. It has been my go to tune for singing any common meter hymn for which I did not have a tune.

When I was growing up, I was a bit confused by the first line, as to just what it meant. This began to clear up when I discovered the original title of the hymn. These words are titled “The Hopes of Heaven our Support under Trials on Earth,” and first appeared in Isaac Watts’s Hymns and Spiritual Songs in 1707. Just to restate Watts’s title, the Christian’s hope of heaven is what supports us when we go through trials on earth. That is a great comfort.

1. When I can read my title clear
To mansions in the skies,
I’ll bid farewell to every fear,
And wipe my weeping eyes.

2. Should earth against my soul engage,
And fiery darts be hurled,
Then I can smile at Satan’s rage,
And face a frowning world.

3. Let cares like a wild deluge come,
And storms of sorrow fall!
May I but safely reach my home:
My God, my heaven my all.

4. There shall I bathe my weary soul
In seas of heavenly rest,
And not a wave of trouble roll
Across my peaceful breast.

“A clear title is a title without any lien from creditors or other parties and poses no question as to legal ownership. An owner of a car with a clear title is the sole undisputed owner, and no other party can make any legal claim to its ownership. Born again Christians who have had their debt of sin blotted out by Christ’s redemptive work have a clear title indicating that God in Heaven has redeemed his soul and is the sole owner of the child of God.” -- Bob Swisher

I have read that the tune Pisgah was first published in the 1817 2nd edition of The Kentucky Harmony, by Ananias Davisson. I have not seen that book and cannot confirm the accuracy of the statement. However, the 3rd edition of A Supplement to The Kentucky Harmony is online. I can confirm that not only is it in that book but it does indeed appear with the words “When I can read my title clear.” The tune is credited to Lowry. In the 1819 Tennessee Harmony, the publisher, Alexander Johnson, takes credit for a different arrangement of the same melody.

The tune is named for Pisgah, a mountain mentioned in the Bible as being on the east side of the Jordan River. From Pisgah, God showed Moses the Promised Land. See Deuteronomy 34:1ff. Note that in stanza two Isaac Watts’s original has “hellish darts.” Most hymn books have instead “fiery darts,” probably to bring it to match the adjective describing darts in Ephesians 6:16.

Charles S. Nutter and Wilbur F. Tillet in The Hymns and Hymn Writers of the Church: An Annotated Edition of the Methodist Hymnal (p. 231) notes how William Cowper alludes to this hymn by Watts.

Cowper in his poem titled “Truth” compares the lot of the infidel Voltaire with that of a poor and believing cottager who

Just knows, and knows no more, her Bible true—
A truth the brilliant Frenchman never knew:
And in that charter reads, with sparkling eyes,
Her title to a treasure in the skies.

Morning Has Broken

I struggle to see “Morning Has Broken” as a Christian or church hymn – not because of the words, but because I first knew it as sung by Cat Stevens when I was a teenager. Stevens was, I suppose, in my time, considered a folk-rock singer. Nevertheless, it has been published in many church hymnals (and long before Stevens recorded it).

This editors of the 1931 enlarged edition of Songs of Praise, With Music (Percy Dearmer, Martin Shaw, Ralph Vaughan Williams, London: Oxford University Press) asked Eleanor Farjeon to write a hymn of thanksgiving for the day to fit the tune Bunessan. In that book, the hymn is titled “Thanks for a Day” and seems to be based on the theme Psalm 118:24.

This is the day which the Lord hath made; we will rejoice and be glad in it.

1. Morning has broken Like the first morning,
Blackbird has spoken Like the first bird.
Praise for the singing! Praise for the morning!
Praise for them, springing Fresh from the Word!

2. Sweet the rain’s new fall Sunlit from heaven,
Like the first dewfall On the first grass.
Praise for the sweetness Of the wet garden,
Sprung in completeness Where God’s feet pass.

3. Mine is the sunlight! Mine is the morning
Born of the one light Eden saw play!
Praise with elation, Praise every morning,
God’s re-creation Of the new day!

The author of the hymn is Eleanor H. Farjeon, born February 13, 1881 in London, the daughter of British novelist Benjamin Leopold Farjeon and Margaret Jane Jefferson. Eleanor was an author primarily of nursery rhymes and children’s educational books. She died June 5, 1965, and is buried at the St John-at-Hampstead Churchyard in London, England.

The hymn is set to the tune Bunessan. Bunessan is considered a traditional Gaelic melody. It was first published in Songs and Hymns of the Gael, with Translations and Music (Lachlan Macbean, Stirling: Eneas MacKay, 1900, p. 60)[i] as the setting for the Mary MacDonald carol “Leanabh an àigh/Child in the Manger.” The meter is not common, 5.5.5.4.D. (or 10.9.10.9.). Many consider its best use as a tune for unison singing.

The “child of the manger” hymn, in English, is metered 5.5.5.3.D. (or 10.9.10.8.) and requires a musical slur on the first word of the 3 line.

1. Child of the manger, infant of Mary,
Outcast and stranger, Lord of all.
Child who inherits all our transgressions,
All our demerits on him fall.

 
2. Monarch have tender delicate children,
Nourished in splendour, proud and gay;
Death soon shall banish honour and beauty
Pleasure shall vanish, forms decay.

3. But the most holy child of Salvation,
Gentle and lowly lived below;
Now as our glorious mighty Redeemer,
See him victorious o’er each foe.

4. Prophets foretold him—infant of wonder;
Angels behold him on his throne;
Worthy our Saviour of all their praises,
Happy for ever are his own.

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[i] Some sources say this book was first published in 1888. I have not yet confirmed that.

To Be With Christ

The author of the following hymn is unknown to me. At present, I earliest I have found it thus far is in The Christian Lyre (Joshua Leavitt, New York, NY: Sleight and Robinson Printers, 1830) – with the tune Whiting on page 146, and the entire hymn printed on page 147. The hymn is without attribution, in length eight stanzas of common meter, and is titled “The Saint’s Choice.” That title seems connected to Philippians 1:21-24, and that ultimately “the saint’s choice” is “to be with Christ.”

It seems most later hymn books abbreviated to use only 5 stanzas of the hymn. Many show the theme’s connection to Philippians 1:23, especially the last half – “…to be with Christ; which is far better.” I have posted the entire hymn, but numbering the stanzas as they appear in No. 383 in The Baptist Hymn Book by William C. Buck (Louisville, KY: J. Eliot & Co., 1842), and adding the other stanzas from The Christian Lyre in brackets.

1. Long have I tried terrestrial joys,
But here can find no rest:
Far from earth’s vanity and noise
“To be with Christ is best.”

[Fair is the Siren’s painted face,
And sin looks gaily drest
To cheat me; but I fly t’embrace,
“To be with Christ is best.”]

[Temptation, with malignant smart,
Betray the unguarded breast:
Safe from the poison of each dart,
“To be with Christ is best.”]

2. ’Tis desert here – and thorns and foes
Do all the road infest;
The danger of the journey’s short
“To be with Christ is best.”

3. When earth can no delights afford,
He spreads a heavenly feast;
Such dainties crown his royal board
“To be with Christ is best.”

4. By this I fly the desert through
And feel my soul refreshed;
What can obstruct me when I know,
“To be with Christ is best.”

5. There an eternity with thee,
I’ll think myself well blest;
I see thee here; but oh! to be—
“To be with Christ is best.”

[Loosed from my clog, I’ll dart the wing,
And seek on high my rest;
Sit in some heavenly grove and sing,
“To be with Christ is best.”]

This hymn has come down to us in the shape note tradition with the tune Communion (basically the same as Whiting) – for example on page 61 of The Social Harp.

Interesting comments by Joshua Leavitt about his tunebook and tunes:

When Joshua Leavitt sent out The Christian Lyre, he testified that “the work is not designed to please scientific musicians, so much as to profit plain christians…” He generally gave a melody and bass for the tune, but sometimes only the melody, writing, “As the number of parts is apt to distract the attention of an audience, or to occupy them with the music instead of the sentiment, the tunes here printed will generally be accompanied with only a simple bass, and sometimes not even with that. In a vast multitude of cases the religious effect of a hymn is heightened by having all sing the air only.”

He seems to have a good attitude about whether or not the work would be accepted by the public: “Possessing no musical skill beyond that of ordinary plain singers, I send out my work, without pretensions. If it aids the progress of Christ’s cause, I shall be rewarded. If not, I shall be accepted according to what I had, and not according to what I had not. And it will prepare the way for some other person to do it better.” (Preface, page 3)