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Praise, My Soul, the King of Heaven
Author: Henry F. Lyte Meter: 8.7.8.7.8.7 Appears in 546 hymnals Topics: Responses To Assurance of Pardon Lyrics: 1 Praise, my soul, the King of heaven;
to his feet your tribute bring.
Ransomed, healed, restored, forgiven,
evermore his praises sing.
Alleluia, alleluia!
Praise the everlasting King!
2 Praise him for his grace and favor
to his people in distress.
Praise him, still the same as ever,
slow to chide, and swift to bless.
Alleluia, alleluia!
Glorious in his faithfulness!
3 Fatherlike he tends and spares us;
well our feeble frame he knows.
In his hand he gently bears us,
rescues us from all our foes.
Alleluia, alleluia!
Widely yet his mercy flows!
4 Frail as summer's flower we flourish,
blows the wind and it is gone;
but while mortals rise and perish
God endures unchanging on.
Alleluia, alleluia!
Praise the High, Eternal One.
5 Angels, help us to adore him;
you behold him face to face.
Sun and moon, bow down before him,
dwellers all in time and space.
Alleluia, alleluia!
Praise with us the God of grace! Scripture: Psalm 103 Used With Tune: LAUDA ANIMA
Praise, My Soul, the King of Heaven
Blessed Assurance, Jesus Is Mine (En Jesucristo, puerto de paz)
Author: Fanny J. Crosby, 1820-1915; E. A. Monfort Díaz Appears in 1,107 hymnals Topics: Assurance of Pardon First Line: Blessed assurance, Jesus is mine! (En Jesucristo, puerto de paz) Refrain First Line: This is my story, this is my song (Gloria cantemos al Redentor) Lyrics: 1 Blessed assurance, Jesus is mine!
Oh, what a foretaste of glory divine!
Heir of salvation, purchase of God,
Born of the Spirit, washed in his blood.
Refrain:
This is my story, this is my song,
Praising my Savior all the day long;
This is my story, this is my song,
Praising my Savior all the day long.
2 Perfect submission, perfect delight,
Visions of rapture now burst on my sight;
Angels descending bring from above
Echoes of mercy, whispers of love. [Refrain]
3 Perfect submission, all is at rest,
I in my Savior am happy and blest;
Watching and waiting, looking above,
Filled with his goodness, lost in his love. [Refrain]
---
1 En Jesucristo, puerto de paz,
en horas duras de tempestad,
hallan las almas dulce solaz,
grato consuelo, felicidad.
Estribillo:
Gloria cantemos al Redentor
que por nosotros vino a morir;
y que la gracia del Salvador
siempre dirija nuestro vivir.
2 En nuestras luchas, en el dolor,
en tristes horas de tentación,
Cristo nos llena de su vigor,
y da aliento al corazón. [Estribillo]
3 Cuando en la lucha falta la fe
y el alma quiere desfallecer,
Cristo nos dice: "yo te daré
gracia divina, santo poder". [Estribillo]
Scripture: Genesis 28:12 Used With Tune: ASSURANCE
Blessed Assurance, Jesus Is Mine (En Jesucristo, puerto de paz)
Savior, Like a Shepherd Lead Us (Pastorános, Jesús amante)
Author: Dorothy A. Thrupp, 1779-1847; Tomás M. Westrup, 1837-1909; Salomón R. Mussiett, 1932-2012 Meter: 8.7.8.7 D Appears in 1,170 hymnals Topics: Assurance of Pardon First Line: Savior, like a shepherd lead us (Pastoréanos, Jesús amante) Lyrics: 1 Savior, like a shepherd lead us,
Much we need thy tender care;
In thy pleasant pastures feed us,
For our use thy folds prepare:
Blessed Jesus, blessed Jesus,
Thou hast bought us, thine we are;
Blessed Jesus, blessed Jesus,
Thou hast bought us, thine we are.
2 We are thine; do thou befriend us;
Be the guardian of our way;
Keep thy flock, from sin defend us,
Seek us when we go astray:
Blessed Jesus, blessed Jesus,
Hear your children when they pray;
Blessed Jesus, blessed Jesus,
Hear your children when we pray.
3 Thou hast promised to receive us,
Poor and sinful though we be;
Thou hast mercy to relieve us,
Grace to cleanse, and pow'r to free:
Blessed Jesus, blessed Jesus,
Early let us turn to thee;
Blessed Jesus, blessed Jesus,
Early let us turn to thee.
4 Early let us seek thy favor;
Early let us do thy will;
Blessed Lord and only Savior,
With thy love our spirits fill:
Blessed Jesus, blessed Jesus,
Thou hast loved us, love us still;
Blessed Jesus, blessed Jesus,
Thou hast loved us, love us still.
---
1 Pastoréanos, Jesús amante,
cuida, oh Señor, tu grey;
tu sustento placentero dale
al redil, y justa ley.
Alta ciencia, providencia,
tuyas para nuestro bien;
bendecido, Rey ungido,
a santificarnos ven.
2 Tu misión divina es a tus hijos
dar salud y santidad;
a pesar de ser tan pecadores,
no nos has de desechar.
Comunicas dotes ricas
al que implora tu perdón;
salvadora Luz, que mora
en el nuevo corazón.
3 Tú prometes recibirnos,
y guiarnos en amor;
con tu gracia salvadora
nos ofreces tu perdón.
Nos levantas nos restauras,
y nos libras del pesar;
y contigo fiel amigo
tú nos abres para entrar.
4 Como ovejas acudimos
a rendirte adoración;
oye nuestras peticiones
y concédenos perdón.
Te alabamos y adoramos
como el Rey de la creación;
Dios glorioso, bondadoso,
vive en nestro corazón.
Scripture: Psalm 23:1-3 Used With Tune: BRADBURY
Savior, Like a Shepherd Lead Us (Pastorános, Jesús amante)
LAUDA ANIMA
Meter: 8.7.8.7.8.7 Appears in 280 hymnals Composer and/or Arranger: John Goss Topics: Responses To Assurance of Pardon Tune Key: D Major Incipit: 55551 76543 65342 Used With Text: Praise, My Soul, the King of Heaven
LAUDA ANIMA
DONA NOBIS PACEM
Appears in 52 hymnals Topics: Responses To Assurance of Pardon Tune Sources: Traditional Tune Key: F Major Incipit: 15325 43211 76543 Used With Text: Dona Nobis Pacem
DONA NOBIS PACEM
REDHEAD 76
Appears in 483 hymnals Composer and/or Arranger: Richard Redhead Topics: Elements of Worship Assurance of Pardon Tune Key: E Flat Major Incipit: 11234 43112 32211 Used With Text: Gracious God, My Heart Renew
REDHEAD 76
Blessed Assurance, Jesus Is Mine (En Jesucristo, puerto de paz)
Author: Fanny J. Crosby, 1820-1915; E. A. Monfort Díaz Hymnal: Santo, Santo, Santo #320 (2019) Topics: Assurance of Pardon First Line: Blessed assurance, Jesus is mine! (En Jesucristo, puerto de paz) Refrain First Line: This is my story, this is my song (Gloria cantemos al Redentor) Lyrics: 1 Blessed assurance, Jesus is mine!
Oh, what a foretaste of glory divine!
Heir of salvation, purchase of God,
Born of the Spirit, washed in his blood.
Refrain:
This is my story, this is my song,
Praising my Savior all the day long;
This is my story, this is my song,
Praising my Savior all the day long.
2 Perfect submission, perfect delight,
Visions of rapture now burst on my sight;
Angels descending bring from above
Echoes of mercy, whispers of love. [Refrain]
3 Perfect submission, all is at rest,
I in my Savior am happy and blest;
Watching and waiting, looking above,
Filled with his goodness, lost in his love. [Refrain]
---
1 En Jesucristo, puerto de paz,
en horas duras de tempestad,
hallan las almas dulce solaz,
grato consuelo, felicidad.
Estribillo:
Gloria cantemos al Redentor
que por nosotros vino a morir;
y que la gracia del Salvador
siempre dirija nuestro vivir.
2 En nuestras luchas, en el dolor,
en tristes horas de tentación,
Cristo nos llena de su vigor,
y da aliento al corazón. [Estribillo]
3 Cuando en la lucha falta la fe
y el alma quiere desfallecer,
Cristo nos dice: "yo te daré
gracia divina, santo poder". [Estribillo]
Scripture: Genesis 28:12 Languages: English; Spanish Tune Title: ASSURANCE
Blessed Assurance, Jesus Is Mine (En Jesucristo, puerto de paz)
Psalm 130 (A Responsorial Setting)
Hymnal: Psalms for All Seasons #130B (2012) Topics: Elements of Worship Assurance of Pardon; Elements of Worship Assurance of Pardon First Line: Out of the depths I cry to you, O Lord Scripture: Psalm 130:1 Tune Title: [Out of the depths I cry to you, O Lord]
Psalm 130 (A Responsorial Setting)
Out of the Depths I Cry to You On High
Hymnal: Psalms for All Seasons #130C (2012) Meter: 10.4.10.4.10.10 Topics: Elements of Worship Assurance of Pardon; Elements of Worship Assurance of Pardon Lyrics: 1 Out of the depths I cry to you on high;
Lord, hear my call.
Bend down your ear and listen to my sigh,
forgiving all.
If you should mark our sins, who then could stand?
But grace and mercy dwell at your right hand.
2 I wait for God, I trust his holy word;
he hears my sighs.
My soul still waits and looks unto the Lord;
my prayers arise.
I look for him to drive away my night–
yes, more than those who watch for morning light.
3 Hope in the Lord: unfailing is his love;
in him confide.
Mercy and full redemption from above
he does provide.
From sin and evil, mighty though they seem,
his arm almighty will his saints redeem. Languages: English Tune Title: SANDON
Out of the Depths I Cry to You On High
Phoebe Palmer Knapp
1839 - 1908 Person Name: Phoebe P. Knapp, 1830-1908 Topics: Assurance of Pardon Composer of "ASSURANCE" in Santo, Santo, Santo As a young girl Phoebe Palmer Knapp (b. New York, NY, 1839; d. Poland Springs, ME, 1908) displayed great musical talent; she composed and sang children’s song at an early age. The daughter of the Methodist evangelist Walter C. Palmer, she was married to John Fairfield Knapp at the age of sixteen. Her husband was a founder of the Metropolitan Life Insurance Company, and after his death, she shared her considerable inherited wealth with various charitable organizations. She composed over five hundred gospel songs, of which the tunes for “Blessed Assurance” and “Open the Gates of the Temple” are still popular today.
Bert Polman
Phoebe Palmer Knapp
John Newton
1725 - 1807 Person Name: John Newton, 1725-1807 Topics: Assurance of Pardon Author (sts. 1-4) of "Amazing Grace (Sublime gracia)" in Santo, Santo, Santo John Newton (b. London, England, 1725; d. London, 1807) was born into a Christian home, but his godly mother died when he was seven, and he joined his father at sea when he was eleven. His licentious and tumultuous sailing life included a flogging for attempted desertion from the Royal Navy and captivity by a slave trader in West Africa. After his escape he himself became the captain of a slave ship. Several factors contributed to Newton's conversion: a near-drowning in 1748, the piety of his friend Mary Catlett, (whom he married in 1750), and his reading of Thomas à Kempis' Imitation of Christ. In 1754 he gave up the slave trade and, in association with William Wilberforce, eventually became an ardent abolitionist. After becoming a tide-surveyor in Liverpool, England, Newton came under the influence of George Whitefield and John and Charles Wesley and began to study for the ministry. He was ordained in the Church of England and served in Olney (1764-1780) and St. Mary Woolnoth, London (1780-1807). His legacy to the Christian church includes his hymns as well as his collaboration with William Cowper (PHH 434) in publishing Olney Hymns (1779), to which Newton contributed 280 hymns, including “Amazing Grace.”
Bert Polman
==================
Newton, John, who was born in London, July 24, 1725, and died there Dec. 21, 1807, occupied an unique position among the founders of the Evangelical School, due as much to the romance of his young life and the striking history of his conversion, as to his force of character. His mother, a pious Dissenter, stored his childish mind with Scripture, but died when he was seven years old. At the age of eleven, after two years' schooling, during which he learned the rudiments of Latin, he went to sea with his father. His life at sea teems with wonderful escapes, vivid dreams, and sailor recklessness. He grew into an abandoned and godless sailor. The religious fits of his boyhood changed into settled infidelity, through the study of Shaftesbury and the instruction of one of his comrades. Disappointing repeatedly the plans of his father, he was flogged as a deserter from the navy, and for fifteen months lived, half-starved and ill-treated, in abject degradation under a slave-dealer in Africa. The one restraining influence of his life was his faithful love for his future wife, Mary Catlett, formed when he was seventeen, and she only in her fourteenth year. A chance reading of Thomas à Kempis sowed the seed of his conversion; which quickened under the awful contemplations of a night spent in steering a water-logged vessel in the face of apparent death (1748). He was then twenty-three. The six following years, during which he commanded a slave ship, matured his Christian belief. Nine years more, spent chiefly at Liverpool, in intercourse with Whitefield, Wesley, and Nonconformists, in the study of Hebrew and Greek, in exercises of devotion and occasional preaching among the Dissenters, elapsed before his ordination to the curacy of Olney, Bucks (1764).
The Olney period was the most fruitful of his life. His zeal in pastoral visiting, preaching and prayer-meetings was unwearied. He formed his lifelong friendship with Cowper, and became the spiritual father of Scott the commentator. At Olney his best works—-Omicron's Letters (1774); Olney Hymns (1779); Cardiphonia, written from Olney, though published 1781—were composed. As rector of St. Mary Woolnoth, London, in the centre of the Evangelical movement (1780-1807) his zeal was as ardent as before. In 1805, when no longer able to read his text, his reply when pressed to discontinue preaching, was, "What, shall the old African blasphemer stop while he can speak!" The story of his sins and his conversion, published by himself, and the subject of lifelong allusion, was the base of his influence; but it would have been little but for the vigour of his mind (shown even in Africa by his reading Euclid drawing its figures on the sand), his warm heart, candour, tolerance, and piety. These qualities gained him the friendship of Hannah More, Cecil, Wilberforce, and others; and his renown as a guide in experimental religion made him the centre of a host of inquirers, with whom he maintained patient, loving, and generally judicious correspondence, of which a monument remains in the often beautiful letters of Cardiphonia. As a hymnwriter, Montgomery says that he was distanced by Cowper. But Lord Selborne's contrast of the "manliness" of Newton and the "tenderness" of Cowper is far juster. A comparison of the hymns of both in The Book of Praise will show no great inequality between them. Amid much that is bald, tame, and matter-of-fact, his rich acquaintance with Scripture, knowledge of the heart, directness and force, and a certain sailor imagination, tell strongly. The one splendid hymn of praise, "Glorious things of thee are spoken," in the Olney collection, is his. "One there is above all others" has a depth of realizing love, sustained excellence of expression, and ease of development. "How sweet the name of Jesus sounds" is in Scriptural richness superior, and in structure, cadence, and almost tenderness, equal to Cowper's "Oh! for a closer walk with God." The most characteristic hymns are those which depict in the language of intense humiliation his mourning for the abiding sins of his regenerate life, and the sense of the withdrawal of God's face, coincident with the never-failing conviction of acceptance in The Beloved. The feeling may be seen in the speeches, writings, and diaries of his whole life. [Rev. H. Leigh Bennett, M.A.]
A large number of Newton's hymns have some personal history connected with them, or were associated with circumstances of importance. These are annotated under their respective first lines. Of the rest, the known history of which is confined to the fact that they appeared in the Olney Hymns, 1779, the following are in common use:—
1. Be still, my heart, these anxious cares. Conflict.
2. Begone, unbelief, my Saviour is near. Trust.
3. By the poor widow's oil and meal. Providence.
4. Chief Shepherd of Thy chosen sheep. On behalf of Ministers.
5. Darkness overspreads us here. Hope.
6. Does the Gospel-word proclaim. Rest in Christ.
7. Fix my heart and eyes on Thine. True Happiness.
8. From Egypt lately freed. The Pilgrim's Song.
9. He Who on earth as man was Known. Christ the Rock.
10. How blest are they to whom the Lord. Gospel Privileges.
11. How blest the righteous are. Death of the Righteous.
12. How lost was my [our] condition. Christ the Physician.
13. How tedious and tasteless the hours. Fellowship with Christ.
14. How welcome to the saints [soul] when pressed. Sunday.
15. Hungry, and faint, and poor. Before Sermon.
16. In mercy, not in wrath, rebuke. Pleading for Mercy.
17. In themselves, as weak as worms. Power of Prayer.
18. Incarnate God, the soul that knows. The Believer's Safety.
19. Jesus, Who bought us with His blood. The God of Israel. "Teach us, 0 Lord, aright to plead," is from this hymn.
20. Joy is a [the] fruit that will not grow. Joy.
21. Let hearts and tongues unite. Close of the Year. From this "Now, through another year," is taken.
22. Let us adore the grace that seeks. New Year.
23. Mary to her [the] Saviour's tomb. Easter.
24. Mercy, 0 Thou Son of David. Blind Bartimeus.
25. My harp untun'd and laid aside. Hoping for a Revival. From this "While I to grief my soul gave way" is taken.
26. Nay, I cannot let thee go. Prayer. Sometimes, "Lord, I cannot let Thee go."
27. Now may He Who from the dead. After Sermon.
28. 0 happy they who know the Lord, With whom He deigns to dwell. Gospel Privilege.
29. O Lord, how vile am I. Lent.
30. On man in His own Image made. Adam.
31. 0 speak that gracious word again. Peace through Pardon.
32. Our Lord, Who knows full well. The Importunate Widow. Sometimes altered to "Jesus, Who knows full well," and again, "The Lord, Who truly knows."
33. Physician of my sin-sick soul. Lent.
34. Pleasing spring again is here. Spring.
35. Poor, weak, and worthless, though I am. Jesus the Friend.
36. Prepare a thankful song. Praise to Jesus.
37. Refreshed by the bread and wine. Holy Communion. Sometimes given as "Refreshed by sacred bread and wine."
38. Rejoice, believer, in the Lord. Sometimes “Let us rejoice in Christ the Lord." Perseverance.
39. Salvation, what a glorious plan. Salvation.
40. Saviour, shine and cheer my soul. Trust in Jesus. The cento "Once I thought my mountain strong," is from this hymn.
41. Saviour, visit Thy plantation. Prayer for the Church.
42. See another year [week] is gone. Uncertainty of Life.
43. See the corn again in ear. Harvest.
44. Sinner, art thou still secure? Preparation for the Future.
45. Sinners, hear the [thy] Saviour's call. Invitation.
46. Sovereign grace has power alone. The two Malefactors.
47. Stop, poor sinner, stop and think. Caution and Alarm.
48. Sweeter sounds than music knows. Christmas.
49. Sweet was the time when first I felt. Joy in Believing.
50. Ten thousand talents once I owed. Forgiveness and Peace.
51. The grass and flowers, which clothe the field. Hay-time.
52. The peace which God alone reveals. Close of Service.
53. Thy promise, Lord, and Thy command. Before Sermon.
54. Time, by moments, steals away. The New Year.
55. To Thee our wants are known. Close of Divine Service.
56. We seek a rest beyond the skies. Heaven anticipated.
57. When any turn from Zion's way. Jesus only.
58. When Israel, by divine command. God, the Guide and Sustainer of Life.
59. With Israel's God who can compare? After Sermon.
60. Yes, since God Himself has said it. Confidence.
61. Zion, the city of our God. Journeying Zionward.
-- John Julian, Dictionary of Hymnology (1907)
=================
Newton, J., p. 803, i. Another hymn in common use from the Olney Hymns, 1779, is "Let me dwell on Golgotha" (Holy Communion).
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
-----
John Newton was born in London, July 24, 1725. His mother died when he was seven years old. In his eleventh year he accompanied his father, a sea captain, on a voyage. For several years his life was one of dissipation and crime. He was disgraced while in the navy. Afterwards he engaged in the slave trade. Returning to England in 1748, the vessel was nearly wrecked in a storm. This peril forced solemn reflection upon him, and from that time he was a changed man. It was six years, however, before he relinquished the slave trade, which was not then regarded as an unlawful occupation. But in 1754, he gave up sea-faring life, and holding some favourable civil position, began also religious work. In 1764, in his thirty-ninth year, he entered upon a regular ministry as the Curate of Olney. In this position he had intimate intercourse with Cowper, and with him produced the "Olney Hymns." In 1779, Newton became Rector of S. Mary Woolnoth, in London, in which position he became more widely known. It was here he died, Dec. 21, 1807, His published works are quite numerous, consisting of sermons, letters, devotional aids, and hymns. He calls his hymns "The fruit and expression of his own experience."
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872
See also in:
Hymn Writers of the Church
=======================
John Newton
Frederick William Faber
1814 - 1863 Person Name: Frederick W. Faber, 1814-1863 Topics: Assurance of Pardon Author of "There's a Wideness in God's Mercy (Hay anchura en su clemencia)" in Santo, Santo, Santo Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. He was educated at Balliol College, Oxford, and ordained in the Church of England in 1839. Influenced by the teaching of John Henry Newman, Faber followed Newman into the Roman Catholic Church in 1845 and served under Newman's supervision in the Oratory of St. Philip Neri. Because he believed that Roman Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowpe, Faber wrote 150 hymns himself. One of his best known, "Faith of Our Fathers," originally had these words in its third stanza: "Faith of Our Fathers! Mary's prayers/Shall win our country back to thee." He published his hymns in various volumes and finally collected all of them in Hymns (1862).
Bert Polman
=================
Faber, Frederick William, D.D., son of Mr. T. H. Faber, was born at Calverley Vicarage, Yorkshire, June 28, 1814, and educated at Balliol College, Oxford, graduating B.A. in 1836. He was for some time a Fellow of University College, in the same University. Taking Holy Orders in 1837, he became Rector of Elton, Huntingdonshire, in 1843, but in 1846 he seceded to the Church of Rome. After residing for some time at St. Wilfrid's, Staffordshire, he went to London in 1849, and established the London "Oratorians," or, "Priests of the Congregation of St. Philip Neri," in King William Street, Strand. In 1854 the Oratory was removed to Brompton. Dr. Faber died Sept. 26, 1863. Before his secession he published several prose works, some of which were in defence of the Church of England; and afterwards several followed as Spiritual Conferences, All for Jesus, &c. Although he published his Cherwell Waterlily and Other Poems, 1840; The Styrian Lake, and Other Poems, 1842; Sir Lancelot, 1844; and The Rosary and Other Poems, 1845; and his Lives of the Saints, in verse, before he joined the Church of Rome, all his hymns were published after he joined that communion. They were included in his:—
(1) A small book of eleven Hymns1849, for the School at St. Wilfrid's, Staffordshire. (2) Jesus and Mary: or, Catholic Hymns for Singing and Reading, London 1849. In 1852 the 2nd edition was published with an addition of 20 new hymns. (3) Oratory Hymns, 1854; and (4) Hymns, 1862, being a collected edition of what he had written and published from time to time.
Dr. Faber's account of the origin of his hymn-writing is given in his Preface to Jesus & Mary. After dwelling on the influence, respectively, of St. Theresa, of St. Ignatius, and of St. Philip Neri, on Catholicism; and of the last that "sanctity in the world, perfection at home, high attainments in common earthly callings…was the principal end of his apostolate," he says:—
“It was natural then that an English son of St. Philip should feel the want of a collection of English Catholic hymns fitted for singing. The few in the Garden of the Soul were all that were at hand, and of course they were not numerous enough to furnish the requisite variety. As to translations they do not express Saxon thought and feelings, and consequently the poor do not seem to take to them. The domestic wants of the Oratory, too, keep alive the feeling that something of the sort was needed: though at the same time the author's ignorance of music appeared in some measure to disqualify him for the work of supplying the defect. Eleven, however, of the hymns were written, most of them, for particular tunes and on particular occasions, and became very popular with a country congregation. They were afterwards printed for the Schools at St. Wilfrid's, and the very numerous applications to the printer for them seemed to show that, in spite of very glaring literary defects, such as careless grammar and slipshod metre, people were anxious to have Catholic hymns of any sort. The manuscript of the present volume was submitted to a musical friend, who replied that certain verses of all or nearly all of the hymns would do for singing; and this encouragement has led to the publication of the volume."
In the same Preface he clearly points to the Olney Hymns and those of the Wesleys as being the models which for simplicity and intense fervour he would endeavour to emulate. From the small book of eleven hymns printed for the schools at St. Wilfrid's, his hymn-writing resulted in a total of 150 pieces, all of which are in his Hymns, 1862, and many of them in various Roman Catholic collections for missions and schools. Few hymns are more popular than his "My God, how wonderful Thou art," "O come and mourn with me awhile," and "Sweet Saviour, bless us ere we go." They excel in directness, simplicity, and pathos. "Hark, hark, my soul, angelic songs are swelling," and "O Paradise, O Paradise," are also widely known. These possess, however, an element of unreality which is against their permanent popularity. Many of Faber's hymns are annotated under their respective first lines; the rest in common use include:—
i. From his Jesus and Mary, 1849 and 1852.
1. Fountain of love, Thyself true God. The Holy Ghost.
2. How shalt thou bear the Cross, that now. The Eternal Years.
3. I come to Thee, once more, O God. Returning to God.
4. Joy, joy, the Mother comes. The Purification.
5. My soul, what hast thou done for God? Self-Examination
6. O how the thought of God attract. Holiness Desired.
7. O soul of Jesus, sick to death. Passiontide. Sometimes this is divided into two parts, Pt. ii. beginning, “My God, my God, and can it be."
ii. From his Oratory Hymns, 1854.
8. Christians, to the war! Gather from afar. The Christian Warfare.
9. O come to the merciful Saviour that calls you. Divine Invitation. In many collections.
10. O God, Thy power is wonderful. Power and Eternity of God.
11. O it is sweet to think, Of those that are departed. Memory of the Dead.
12. O what are the wages of sin? The Wages of Sin.
13. O what is this splendour that beams on me now? Heaven.
14. Saint of the Sacred Heart. St. John the Evangelist.
iii. From his Hymns, 1862.
15. Father, the sweetest, dearest Name. The Eternal Father.
16. Full of glory, full of wonders, Majesty Divine. Holy Trinity.
17. Hark ! the sound of the fight. Processions.
18. How pleasant are thy paths, 0 death. Death Contemplated.
19. O God, Whose thoughts are brightest light. Thinking no Evil.
20. O why art thou sorrowful, servant of God? Trust in God.
21. Souls of men, why will ye scatter? The Divine Call.
22. The land beyond the sea. Heaven Contemplated.
23. The thought of God, the thought of thee. Thoughts of God.
24. We come to Thee, sweet Saviour. Jesus, our Rest.
In addition to these there are also several hymns in common use in Roman Catholic hymn-books which are confined to those collections. In the Hymns for the Year, by Dr. Rawes, Nos. 77, 110, 112, 117, 120, 121, 122, 125, 127, 128, 131, 140, 152, 154,169, 170, 174, 179, 180, 192, 222, 226, 230, 271, 272, are also by Faber, and relate principally to the Blessed Virgin Mary. Several of these are repeated in other Roman Catholic collections.
--John Julian, Dictionary of Hymnology (1907
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Faber, Frederick William, p. 361, i. To this article the following additions have to be made:—
1. Blood is the price of heaven. Good Friday. (1862.)
2. Exceeding sorrowful to death. Gethsemane. This in the Scottish Ibrox Hymnal, 1871, is a cento from "O soul of Jesus, sick to death," p. 362, i., 7.
3. From pain to pain, from woe to woe. Good Friday. (1854.)
4. I wish to have no wishes left. Wishes about death. (1862.)
5. Why is thy face so lit with smiles? Ascension. (1849.)
The dates here given are those of Faber's works in which the hymns appeared. In addition to these hymns there are also the following in common use:—
6. Dear God of orphans, hear our prayer. On behalf of Orphans. This appeared in a miscellaneous collection entitled A May Garland, John Philip, n.d. [1863], No. 1, in 7 stanzas of 4 lines. In the Roman Catholic Parochial Hymn Book, 1880, it begins, "O God of orphans, hear our prayer."
7. Sleep, sleep my beautiful babe. Christmas Carol. This carol we have failed to trace.
8. By the Archangel's word of love. Pt. i. Life of our Lord. This, and Pt. ii., “By the blood that flowed from Thee"; Pt. iii., "By the first bright Easter day"; also, "By the word to Mary given"; "By the name which Thou didst take"; in The Crown Hymn Book and other Roman Catholic collections, we have seen ascribed to Dr. Faber, but in the Rev. H. Formby's Catholic Hymns, 1853, they are all signed "C. M. C," i.e. Cecilia M. Caddell (p. 200, i.).
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
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Faber, F. W., pp. 361, i.; 1562, ii. We are informed by members of Dr. Faber's family that his father was Mr. Thomas Henry Faber, sometime Lay Secretary of the Bishop of Durham. In addition to his hymns already noted in this Dictionary, the following are found in various Roman Catholic collections, viz.:—
i. From St. Wilfrid's Hymns, 1849:—
1. Dear Father Philip, holy Sire. S. Philip Neri.
2. Hail, holy Joseph, hail. S. Joseph.
3. Mother of Mercy, day by day. Blessed Virgin Mary.
ii. Jesus and Mary, 1849:—
4. Ah ! dearest Lord! I cannot pray. Prayer.
5. Dear Husband of Mary. S. Joseph.
6. Dear Little One, how sweet Thou art. Christmas.
7. Father and God! my endless doom. Predestination.
8. Hail, holy Wilfrid, hail. S. Wilfrid.
9. O Jesus, if in days gone by. Love of the World.
10. O turn to Jesus, Mother, turn. B. V. M.
11. Sing, sing, ye angel bands. Assum. B. V. M.
iii. Jesus and Mary, 1852:—
12. All ye who love the ways of sin. S. Philip Neri.
13. Day set on Rome! its golden morn. S. Philip Neri.
14. Hail, bright Archangel! Prince of heaven. S. Michael.
15. Hail, Gabriel, hail. S. Gabriel.
16. O Flower of Grace, divinest Flower. B. V. M.
17. Saint Philip! 1 have never known. S. Philip Neri.
18. Sweet Saint Philip, thou hast won us. S. Philip Neri. Previously in the Rambler, May, 1850, p. 425.
iv. Oratory Hymns, 1854:—
19. Day breaks on temple roofs and towers. Expect. of B. V. M.
20. How gently flow the silent years. S. Martin and S. Philip.
21. How the light of Heaven is stealing. Grace.
22. Like the dawning of the morning. Expect. of B. V. M.
23. Mother Mary ! at thine altar. For Orphans.
24. My God! Who art nothing but mercy and kindness. Repentance.
25. O blessed Father! sent by God. S. Vincent of Paul.
26. O do you hear that voice from heaven? Forgiveness.
27. The chains that have bound me. Absolution.
28. The day, the happy day, is dawning. B. V. M.
29. The moon is in the heavens above. B. V. M.
30. Why art thou sorrowful, servant of God? Mercy.
v. Hymns, 1862:—
31. At last Thou art come, little Saviour. Christmas.
32. By the spring of God's compassions. S. Raphael.
33. Fair are the portals of the day. B. V. M.
34. Father of many children. S. Benedict.
35. From the highest heights of glory. S. Mary Magdalene.
36. Like the voiceless starlight falling. B. V. M.
37. Mary! dearest mother. B. V. M.
38. Mother of God, we hail thy heart. B. V. M.
39. O Anne! thou hadst lived through those long dreary years. S. Anne. Previously in Holy Family Hymns, 1860.
40. O balmy and bright as moonlit night. B. V. M.
41. O Blessed Trinity! Thy children. Holy Trinity.
42. O dear Saint Martha, busy saint. S. Martha
43. O Mother, will it always be. B. V. M.
44. O vision bright. B. V. M.
45. Summer suns for ever shining. B. V. M.
46. There are many saints above. S. Joseph. Previously in Holy Family Hymns, 1860.
vi. Centos and altered forms:—
47. Confraternity men to the fight. From "Hark the sound of the fight," p. 362, i.
48. Hail, sainted Mungo, hail. From No. 8.
49. I bow to Thee, sweet will of God. From "I worship Thee," p. 559, ii.
50. They whom we loved on earth. From "0 it is sweet to think," p. 362, i.
51. Vincent! like Mother Mary, thou. From No. 25.
When Dr. Faber's hymns which are in common use are enumerated, the total falls little short of one hundred. In this respect he outnumbers most of his contemporaries. [Rev. James Mearns]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
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See also in:
Hymn Writers of the Church
Frederick William Faber
