The Only Son from Heaven

The author of the hymn below – Elisabeth Cruciger (or Elisabethe Creutziger, Elisabet Creutzigerin) – was born around 1500 to the von Meseritz family, a family off Polish nobility. She grew up as a nun in a convent. For some reason Elisabeth left the convent in Pomerania and came to Wittenberg. She heard the gospel from a preacher named Johannes Bugenhagen. It may be that she heard the gospel from Bugenhagen before she left Pomerania, and then came to Wittenberg with this family. In 1524 she married Caspar Cruciger, a student of Martin Luther. Elisabeth Cruciger became a close friend of Luther’s wife Katherina. She is probably the first female Lutheran hymn writer. Her hymn was included on page 20 in the Lutheran hymnal Enchiridion Oder eyn Handbuchlein, published in 1524. Elisabeth died at the young age of 35, at Wittenberg, in May 1535. Her hymn, written in German, begins “Herr Christ der eynig gots son” (Lord Christ, the one Son of God). It bears the title “Eyn Lobgsang von Christo” (“A Song of Praise to Christ,” I think). Later it is credited as “Ein geistlich liedt von Christo, Elisabet Creutzigerin,” in the Geistliche Lieder (Wittenberg, 1531).

The hymn in Enchiridion is made up of five stanzas, with seven lines each. In German its meter appears to me to be 7.6.7.6.7.7.6., and a corresponding tune is given with it. This tune, or at least an adaptation of it, is called Herr Christ Der Einig Gotts Sohn and is used with the hymn in modern hymnals. “The only Son from heaven” is a translation made by Arthur Tozer Russell of stanzas 1-3. Russell follows the original hymn meter. The translation is Hymn No. 41 in Russell’s Psalms and Hymns, Partly Original, Partly Selected, for the Use of the Church of England (Cambridge: John Deighton, 1851).

Arthur Tozer Russell (1806–1874) was born at Northampton, the son of Thomas Russell. He was a Church of England clergyman and theologian, as well as a hymn writer and translator of hymns. He died at Southwick in 1874 and was buried at the St. Michael & All Angels Churchyard there.

1. The only Son from heaven,
By prophets long foretold,
Now by the Father given,
His glory doth unfold.
No bound his light confineth;
No star so brightly shineth,
As he our Morning Star.

2. Lo! In the time appointed,
Christ of a Virgin born,
Our King of God anointed:
Oh bright and holy morn!
The power of death he breaketh;
Man of his heaven partaketh—
An heir of life again.

3. O Lord, our hearts awaken
To know and love you more,—
In faith to stand unshaken,—
In spirit to adore;
That we whilst onward hasting,
O Lord, thy sweetness tasting,
May ever thirst for thee.

The hymn sometimes appears with a sort of doxology as the fourth stanza. That stanza is not part of Russell’s original translation/poetry in Psalms and Hymns. for the Use of the Church of England, neither is it from Cruciger’s original hymn.

O Father, here before you
With God the Holy Ghost
And Jesus, we adore you,
O Pride of angel host.
Before you mortals lowly
Cry, “Holy, holy, holy,
O blessed Trinity!”

Rufus Norton Grisham

Back in 2016, I posted about the song The Church That Jesus Built by R. N. Grisham. This song was Dedicated to the American Baptist Association. Then, I tentatively identified Grisham as Rufus Norton Grisham (1877–1936), who is buried at the Hickory Grove Cemetery at Laurel in Jones County, Mississippi. I believe that identification is correct. A friend on Library Thing has put together some information that supports this, and I post the following picture of Grisham with his permission.

R. N. Grisham was co-editor of Songs of Heaven circa 1924, while living in Greenville, South Carolina. He was an associate editor on Service Songs for Christian Work and Worship, 1929, published by Firm Foundation and Showalter Publishing (edited by J. W. Gaines). He published Heaven’s Highway while living in Ellisville, Mississippi and Our Bells of Heaven while living in Laurel, Mississippi.

Grisham also taught singing schools. For example, an ad in the Jones County News (November 14, 1912, p. 11) identifies R. N. Grisham as “Principal” of the Analytical and New Light Music School, to be held at Indian Springs and continuing 6 days a week for four weeks. When Grisham registered for the World War I draft in September of 1918, he was living in Greenville, South Carolina. He listed his occupation as “Vocal Teacher” and his employer as James D. Vaughan of Lawrenceburg, Tennessee.[i]  The (Laurel) Morning Call in 1928 describes him as “an evangelistic singer, song publisher and has conducted several normal schools in the county.” The article also indicates Mr. & Mrs. Grisham recorded on Columbia Records a song called We’ll Be At Home Again.[ii] (The Morning Call, March 22, 1928, p. 3)

R. N. Grisham was the son of Isaac Grisham and Sarah Mason. He married Lavada Bush in 1912. The Bush family was active gospel singers as well.

Movement

1880, Blackland, Prentiss County, Mississippi (Census)

1915, Lawrenceburg, Lawrence County, Tennessee (Birth of daughter)

1917, Greenville, Greenville County, South Carolina (City Directory)

1920, Greenville, Greenville County, South Carolina (Census)

1924, Greenville, Greenville County, South Carolina (City Directory)

1930, Ellisville, Jones County, Mississippi (Census)

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[i] The Grisham’s resided in Greenville, South Carolina at least from 1917 to 1924.

[ii] Columbia Record 15177, with Reaching to You on the other side.

How Sweet the Words

The “How Sweet the Words” hymn was written by Harry Presley (b. 1924). As of February 2019, he was still living near Stilwell, Oklahoma, where he was born. Roy Joseph “R.J.” Stevens (1927-2012) composed the tune. On his blog, Wayne Walker tells of the union of hymn and tune. “Harry sent me [R. J. Stevens] some religious poetry nearly thirty-five to forty years ago. He lived in a small town in Oklahoma and preached for the church in that community. I never met him and I haven’t been in touch with him since then. As you know, I put some of his poems to music.” The text is 8s.7s. meter, with a chorus or refrain of the same meter. 

1. How sweet the words that fill my ears,
The everlasting message,
Unchanged throughout the passing years,
Replete with every blessing.

2. Still new the scenes they now unfold
With every revelation;
Such love that man may now behold
God’s power unto salvation.

3. The tide of life forever flows
Within the holy pages;
Abiding still, their message grows
More precious through the ages.

Chorus (after each stanza):
They tell of God’s unceasing grace
To every Christian duty;
By faith we look upon His face
Within their sacred beauty.

The song may be found in Hymns for Worship (Dane K. Shepard and R. J. Stevens, editors, Kemp, TX: Shepard-Stevens Music, Inc., 1987). I am not aware that it is printed elsewhere. Both author and composer are part of the Alexander Campbell Restoration Movement, which differs widely from Baptists on certain doctrinal issues. Nevertheless, the hymn extols the word of God as the everlasting, unchanging, powerful, living revelation of God. It does not appear to me to be inconsistent with conservative Baptist views on the inspired word of God. “How sweet are thy words unto my taste! yea, sweeter than honey to my mouth! (Psalm 119:103).”

[Note: Since my originally posting this, Harry Presley died July 14, 2019.]

Bonnie banks o’ Loch Lomond

O ye’ll take the high road, and I’ll take the low road,
And I’ll be in Scotland a’fore ye,
But me and my true love will never meet again,
On the bonnie, bonnie banks o’ Loch Lomond.

We used to sing this song when I was in school (in Junior High, I think). I don’t recall anyone ever explaining what it meant. The teacher probably did, and I just wasn’t listening. A Scottish preacher gave the following explanation in a sermon I heard. He made a point about the death of a Christian. I now understand there are various versions of the “true meaning” of the song, but this explanation is by a Scotsman and a preacher, so I’m taking this story and sticking to it!

The song is about two Scottish prisoners held in an English jail and the song is penned the night before one is to be hanged and the other is to be released, and the one who is to be hanged will reach Scotland by the low road of death before the one who is to be released will reach Scotland by means of the high road journey. The one who is about to be released feels bad for the one who is about to be hanged. The one who is about to be hanged says, “Don’t feel bad for me,” because “you’ll take the high road and I’ll take the low road and I’ll be in Scotland before you!”

Loch Lomond by Peter Hollens
Loch Lomond by Peter Hollens and David Archuleta

Always Rejoicing, in Endless Song

How Can I Keep from Singing?

These words to a Christian hymn about singing were published in The New York Observer (Friday, August 7, 1868) with the title “Always Rejoicing” and attributed to “Pauline T.” This author is otherwise unknown. It is a possibility that “Pauline T.” is the person who submitted the hymn to the Observer, rather than its author.[i] Some reference Anna B. Warner (1820-1915, author of “Jesus Loves Me”) as having written this hymn, but without supporting evidence.[ii]

The Lesser Hymnal: A Collection of Hymns, Selected Chiefly from the Standard Hymn-Book of the Methodist Episcopal Church (Henry White Warren, New York, NY: Nelson & Phillips, 1875)[iii] credits this hymn to F. J. Hartley, as does Winnowed Hymns (C. C. McCabe, D. T. MacFarlan, New York, NY: Biglow & Main, 1873), Songs Of Joy And Gladness (W. McDonald, Joshua Gill, J. R. Sweney, W. J. Kirkpatrick, Boston, MA: McDonald & Gill, 1885), and Beulah Songs (W. McDonald, L. Hartsough, Philadelphia, PA: National Publishing Association for Promotion of Holiness, 1879). McDonald and Hartsough list it as copyrighted 1869 by Biglow & Main, with F. J. Hartley as the author of the words. It appears in Lowry’s 1869 Bright Jewels for the Sunday School (published by Biglow & Main) but the words are not credited to anyone. The references to Hartley apparently (though not beyond question) intend Fountain John Hartley (1817-1890), one-time secretary of the London Sunday School Union.[iv]

The tune (Endless Song or Sicilia) was composed by Robert Wadsworth Lowry (1826-1899) and published in Bright Jewels for the Sunday School. It is the tune to which the hymn seems most commonly sung – but it is also set to Wrocław by Ira David Sankey,[v] and sometimes with Materna by Samuel A. Ward.

The hymn has been credited to various authors, including:

• F. J. Hartley – credited with the hymn at least as early as 1873.
• Robert Lowry – though sometimes the words are credited to Lowry (e.g. Celebrating Grace Hymnal, 2010; Glory to God: the Presbyterian Hymnal, 2013; Hymns of Promise, 2015; Lift Up Your Hearts: Psalms, Hymns, and Spiritual Songs, 2013), it is clear that he never claimed them.[vi]
• Doris Plenn – author of the added stanza[vii]
• Ira Sankey – sometimes the hymn is incorrectly attributed to Sankey, but he merely supplied a tune for the words.
• Pauline T. – the earliest known attribution at this time belongs to the elusive “Pauline T.” in The New York Observer in 1868.[viii]
• Anna Warner – credited with the hymn at least as early as 1875.

The hymn/song has been published under various titles, some of which are:

• Always Rejoicing (The New York Observer, 1868; The Cottage Visitor, 1869)
• Endless Song (Joy to the World: or, Sacred Songs for Gospel Meetings, 1879; Poems and Hymns of Dawn, 1890)
• How Can I Keep from Singing (Beulah Songs, 1879; Bright Jewels for the Sunday School, 1869; Christ in Song, 1908; The Song Evangel, 1875; Winnowed Hymns, 1873)
• My Life Flows On (Glory to God, 2013; Psalms and Hymns and Spiritual Songs, 1875; The Evangelical Hymnal, 1921)
• My Life Flows On in Endless Song (Songs of Joy and Gladness, 1886; With One Voice, 1995)

The words:

1. My life flows on in endless song,

Above earth’s lamentation:—

I hear the sweet though far-off hymn

That hails a new creation.

Through all the tumult and the strife

I hear the music ringing;

It finds an echo in my soul—

How can I keep from singing?

2. What though my joys and comforts die?

The Lord, my Saviour, liveth;

What though the darkness gather round?

Songs in the night he giveth.

No storm can shake my inmost calm

While to that refuge clinging;

Since Christ is Lord of heaven and earth,

How can I keep from singing?

3. I lift my eyes—the cloud grows thin—

I see the blue above it;

And day by day this pathway smooths,

Since first I learned to love it,

The peace of Christ makes fresh my heart,

A fountain ever springing;

All things are mine since I am his—

How can I keep from singing?

Doris Plenn (1909-1994) wrote an extra stanza circa 1950, which was popularized by Pete Seeger and is sometimes added:

When tyrants tremble, sick with fear,

And hear their death-knell ringing,

When friends rejoice both far and near,

How can I keep from singing?

In prison cell and dungeon vile,

Our thoughts to them go winging;

When friends by shame are undefiled,

How can I keep from singing?

For the present time, the author of these words must remain unknown. God knows. Perhaps through some future discovery he will reveal the answer. The hymn bears a wonderful message, grounded in the idea that Jesus Christ is Lord of heaven and earth, and despite the lamentation, tumult, and strife of this world, the life stayed on him has reason to be “always rejoicing” (cf. Philippians 4:4).

Some examples of the song found on YouTube:

• HERE (Academy Choir)
• HERE (Celtic Woman)
• HERE (Enya)
• HERE (James Loynes)
• HERE (Pete Seeger)

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[i] It is not uncommon to see a poem or hymn printed in a newspaper with the name of the person who sent it to the paper.

[ii] These are imprecise references to Anna Warner writing the hymn in 1864, while giving no foundation for the statement. I found, though, that Edward Payson Hammond credits these words to “Miss Anna Warner, 1864” in The Song Evangel (New York, NY: Biglow & Main, 1875). For it he recommends the tune on page 51 of The Song Evangel (1873, with hymns and tunes). It can also be seen attributed to Warner in The Highway Hymnal (Isaiah Reid, George L. Brown, Nevada, IA: Highway Office, 1886).

[iii] This book recommends the tune on page 271 in The Tribute of Praise – which is Lowrys tune.

[iv] This hymn was published in a British periodical, The Christian Pioneer, in 1869, but with no author indicated.  This British connection might yield minor support for Hartley’s authorship. On the other hand, Hartley is sometimes credited with the words to “Waiting and Watching for Me,” which P. P. Bliss set to music in 1876. The words are actually by Marianne Hearn, and a letter by Bliss mentioning it seems to only mean that F. J. Hartley gave him a copy of the hymn (Memoirs of Philip P. Bliss, Daniel W. Whittle, New York, NY: A. S. Barnes & Co., 1877). That might also be an explanation of how Hartley’s name became attached to the “How can I keep from singing” hymn.

[v] It can be found in Gospel Hymns Consolidated: Embracing Volumes No. 1, 2, 3, Without Duplicates (New York, NY: Biglow & Main, 1883).

[vi] Henry Sweetser Burrage listed “How can I keep from singing” as “besides his own hymns” one for which Lowry had added the music to the “productions of other writers” (Baptist Hymn Writers and Their Hymns, Portland, ME: Brown, Thurston & Company, 1888, p. 433).

[vii] Sometimes this morphs into Plenn and Pete Seeger being solely credited with the song/hymn.

[viii] The Observer (but not Pauline T.) is credited as the source when this is reprinted in The Cottage Visitor (Hendersonville, NC) Friday, October 29, 1869, p. 4.

Pearly White City

The words and music of The Pearly White City were written in 1902 by Arthur Forrest Ingler (1873-1935).[i] The hymn paints a wonderful picture of heaven from the book of Revelation – a “holy and beautiful” place for which the God’s people long. Biblical references or allusions include Revelation 1:9; 5:8-10; 14:13; 21:2; 21:4; 21:18; 22:3-5; and 22:15. According to some sources, this song was first introduced at the Metropolitan Church Association in Chicago, Illinois. The Metropolitan Church Association was a Holiness reaction within the Methodist Church against the move toward the Social Gospel.  The hymn looks to heaven, the holy city that John saw—the city of God, rather than the cities of the earth.  The rich and satisfied may find their delights in the cities of this earth, but the poor and afflicted saints of God find their joy in “watching, waiting, and longing, for the white city that’s soon coming down.”

1. There’s a holy and beautiful city

Whose builder and ruler is God;

John saw it descending from heaven,

When Patmos, in exile, he trod;

Its high, massive wall is of jasper,

The city itself is pure gold;

And when my frail tent here is folded,

Mine eyes shall its glory behold.

Chorus:

In that bright city, pearly white city,

I have a mansion, an harp, and a crown;

Now I am watching, waiting, and longing,

For the white city that’s soon coming down.

2. No sin is allowed in that city

And nothing defiling nor mean;

No pain and no sickness can enter,

No crepe on the doorknob is seen;

Earth’s sorrows and cares are forgotten,

No tempter is there to annoy;

No parting words ever are spoken,

There’s nothing to hurt or destroy.

3. No heartaches are known in that city,

No tears ever moisten the eye;

There’s no disappointment in heaven,

No envy and strife in the sky;

The saints are all sanctified wholly,

They live in sweet harmony there;

My heart is now set on that city,

And some day its blessings I’ll share.

4. My loved ones are gathering yonder,

My friends too are passing away,

And soon I shall join their bright number,

And dwell in eternity’s day;

They’re safe now in glory with Jesus,

Their trials and battles are past.

They overcame sin and the devil,[ii]

They’ve reached that fair city at last.

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[i] The Pearly White City appeared as No. 14 in Burning Bush Songs, No. 1 (Chicago, IL: Metropolitan Church Association, 1902), under the title The City That’s Coming Down. “Rev. 21:2” was referenced under the title. Ingler was the musical editor of this book, and had other songs in it. The Joy-Bells of Canaan: or, Burning Bush Songs, No. 2 (Waukesha, WI: Metropolitan Church Association, 1905) contains at least nine songs written or arranged by Ingler.

[ii] Usually “tempter” in most modern printings.

What’s wrong with contemporary?

There is a continuing debate in the churches about “traditional” versus “contemporary” music. The term is typically used to refer to pop, rock, or “praise & worship” styles. The Dictionary of Christianese[i] defines contemporary Christian music (CCM) as “A genre of music with a pop or rock sound and lyrics that are related to the Christian faith.”[ii] The adjective “contemporary” on the other hand means “of the present time; existing, occurring, or living at the same time; belonging to the same time.”

I notice that sometimes the word “contemporary” gets “played with” in the discussions of worship wars.[iii] Those who like contemporary music with a pop or rock sound in church often “switch horses” in the middle of a discussion and begin speaking of contemporary in the sense “of the present time” – that is, newly written music. This is diversion by design. For example, Mike Bergman writes,

“…even the most traditional song was contemporary at the moment someone first wrote it. And this rejection of the contemporary based on its newness is itself a rejection of Scripture which commands us to “Sing to the Lord a new song, his praise in the assembly of the faithful” (Psalm 149:1).

Responding in a comment Dave Miller says, “I always wonder what standard we use when we start saying that new is less worthy than old. How old is old enough?” Most Christians agree that there is nothing inherently wrong with a song simply because it is new, recently written. A song can be “recently written” in any style. I write hymn tunes. I have written one as recently as the first of February, and am working on another now. It is contemporary (new/just written). It is Christian (tune combined with biblical text, to be sung by Christians). It is music (at least I think so!). But it is not Contemporary Christian Music/CCM.

The origin of CCM is older than the song on which I’m now working. By nearly 50 years! It is not a matter of age. According to the CCM Hall of Fame, Larry Norman “is widely accepted as the ‘father of Jesus rock.’ In 1969, nearly a decade before CCM was founded, Norman was signed to Capitol Records (home to The Beatles and The Beach Boys), where he created ‘Upon This Rock,’ a groundbreaking work believed to be the first ‘contemporary Christian music’ album ever made.” Gospel Music Hall of Fame says, “Norman’ s music—an unlikely mix of love songs, the Gospel message, and wry commentary on American culture—exemplified the goals, ideals and standards of everything the original architects of contemporary Christian music intended for it to be.” CCM is a style or genre within the overarching label of “Christian music.” The debate is not about the age of the songs. It is about style and sometimes preference. There is nothing inherently wrong with “contemporary,” though all contemporary songs do not fit the theology of the Word or the “style” of God’s people.[iv] “Prove all things; hold fast that which is good” (1 Thessalonians 5:21).

Away with thee, confusing cavil and diversionary discussion of the age of songs. “Sing unto the Lord a new song, and his praise in the congregation of saints.” (Psalm 149:1).

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[i] “The casual slang of the Christian Church...authoritatively defined. The Dictionary of Christianese is a new dictionary currently being written that explains the slang words and expressions used by Christians. The Dictionary is a serious work of scholarly research, and it is written for use by all kinds of people, including new Christians, long-time Christians, non-Christians, linguists, journalists, historians, and word nerds and curiosity-seekers of every kind.”

[ii] Tim Stewart, the chief researcher for The Dictionary of Christianese, is a proponent of this music, writing “I myself enjoy CCM quite a bit, and I also love the fact that we coined our own word for our brand of popular faith-related music.” This is not a definition concocted by the opposition as a strawman.

[iii] “Worship wars” refer to the debates over the style and content of the music in churches.

[iv] “The fact that so many Christians gauge their personal estimate of the worth of a worship service on the basis of personal enjoyment indicates that they do not really comprehend what is involved in corporate Christian worship.” (Robert G. Rayburn, in O Come, Let Us Worship: Corporate Worship in the Evangelical Church, Eugene, OR: Wipf and Stock, p. 129)

Child of the King

Cindy Walker of Mart, Texas (1917-2006), perhaps best known as a country-and-western songwriter, wrote both words and music to Child of the King.[i] Jim Reeves “recorded many of Walker’s compositions; she often wrote specifically for him and offered him the right of first refusal of her tracks.”[ii] Though successful in secular music, Walker was a Christian who remained true to her roots and was active in her church. She compiled a book of her gospel songs called Of Thee We Sing.[iii] Gospel music teacher and composer Franklin Lycurgus “F.L.” Eiland was Walker’s maternal grandfather. Child of the King has been recorded numerous times, including by The Speer Family, Skeeter Davis and The Cathedrals.

Once I was clothed in the rags of my sin,

Wretched and poor, lost and lonely within;

But with wondrous compassion the King of all Kings

In pity and love took me under his wing.

Chorus: Oh yes, oh yes, I’m a child of the King,

His royal blood now flows in my veins;

And I who was wretched and poor now can sing,

Praise God, Praise God, I’m a child of the King.

Now I’m a child with a heavenly home,

My holy father has made me his own;

Now I’m cleansed by his blood and I’m clothed in his love

And someday I’ll sing with the angels above.

Oh yes, oh yes, I’m a child of the King,

His royal blood now flows in my veins;

And I who was wretched and poor now can sing,

Praise God, Praise God, I’m a child of the King.

Another popular “Child of the King”-themed song was written by Harriet Eugenia Buell (1834-1910) in 1877:[iv]

My Father is rich in houses and lands,
He holdeth the wealth of the world in His hands!
Of rubies and diamonds, of silver and gold,
His coffers are full, He has riches untold.

Refrain:
I’m a child of the King,
A child of the King:
With Jesus my Savior,
I’m a child of the King.

In fact, “Child of the King” is the blessed theme that repeats in many Christian songs.

• A Child of the King, by W. A. Ogden (words and music)
• A Child of the King, words by Ralph E. Hudson
• A child of the King, be joyful and sing, words by Julia H. Johnston
• I am a Child of a King, by John Henry Kurzenknabe
• I am a Child of the King, by Daniel S. Warner and B. E. Warren
• Learning to Live Like a Child of the King, by Bill Gaither, Gloria Gaither and Gary S. Paxton

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[i] An anonymous Baptist Board member using the handle “Jerome” pointed me to some authoritative sources for this attribution, and I afterward found some others.

[ii] Cindy Walker, The Dean of Texas Songwriting; Texas legend Willie Nelson paid tribute to Texas legend Cindy Walker with his album You Don’t Know Me: Songs of Cindy Walker

[iii] Turn Your Radio On: The Stories Behind Gospel Music’s All-Time Greatest Songs

[iv] Buell contributed a number of poems to the Northern Christian Advocate (a Methodist journal). This one was first printed in February 1, 1877. John B. Sumner found the poem and set it to music.

The Unclouded Day

1. O they tell me of a home far beyond the skies, O they tell me of a home far away;
O they tell me of a home where no storm clouds rise, O they tell me of an unclouded day.

"The Unclouded Day" was a favorite song of my uncle Obie Chapman. It is one that I have enjoyed as well. J. K. Alwood, composer of "The Unclouded Day," wrote the following letter to the Morenci (MI) Observer.
June 5, 1879 Editor, observer:

As I entered our village from the south, at 12:50 last night, (returning from the discussion at Spring Hill), I saw a rainbow which was caused by the rays of the moon streaming against a shower of rain falling from a dark, dense cloud a short distance beyond the northwestern limits of our sleeping Morenci. The moon was low in the cloudless southeastern sky. It was a new sight to me; and you can scarcely image the feeling of solemn joy which came over me as I gazed upon the lovely segment of the bow of promise smiling on our quiet town.

Several years later (1896) he wrote the story of how his song came from that incident (he apparently forgot what month it happened):

It was a balmy night in August 1879, when returning from a debate in Spring Hill, Ohio, to my home in Morenci, Michigan, about 1:00 a.m. I saw a beautiful rainbow north by northwest against a dense black nimbus cloud. The sky was all perfectly clear except this dark cloud which covered about forty degrees of the horizon and extended about halfway to the zenith. The phenomenon was entirely new to me and my nerves refreshed by the balmy air and the lovely sight. Old Morpheus was playing his sweetest lullaby. Another mile of travel, a few moments of time, a fellow of my size was ensconced in sweet home and wrapped in sweet sleep. A first class know-nothing till rosy-sweet morning was wide over the fields.

To awake and look abroad and remember the night was to be filled with sweet melody. A while at the organ brought forth a piece of music now known as "The Unclouded Day." A Day and a half was bestowed on the four stanzas.

The above, a story by Alwood's son, and some posthumous tributes can be found at the Alwood Family Tree site.

Josiah Kelly Alwood (1828-1909) was a minister and presiding elder in the Church of the United Brethren in Christ (There may be various modern factions of this church that did not exist in Alwood's day. William J. Reynolds says Alwood was "Always a staunch supporter of the original constitution of his denomination...")

Refrain:
O the land of cloudless day, O the land of an unclouded day,
O they tell me of a home where no storm clouds rise, O they tell me of an unclouded day.

2. O they tell me of a home where my friends have gone, O they tell me of that land far away,
Where the tree of life in eternal bloom Sheds its fragrance through the unclouded day.
Refrain

3. O they tell me of a king in His beauty there, And they tell me that mine eyes shall behold
Where He sits on the throne that is whiter than snow, In the city that is made of gold.
Refrain

4. O they tell me that He smiles on His children there, And His smile drives their sorrows all away;
And they tell me that no tears ever come again In that lovely land of unclouded day.
Refrain