Person Results

Switch back to the old search page.Advanced Search

Showing 1 - 10 of 19Results Per Page: 10 20 50

Charles Wesley

1707 - 1788 Person Name: C. Wesley Author of "Come on, my partners in distress" in African Methodist Episcopal hymn and tune book Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

John Chandler

1806 - 1876 Person Name: Rev. John Chandler (1806-1876) Composer of "GANGES" in Hymns of the Ages John Chandler, one of the most successful translators of hymns, was born at Witley in Surrey, June 16, 1806. He was educated at Corpus Christi College, Oxford, B.A. 1827, M.A. 1830. Ordained deacon in 1831 and priest in 1832, he succeeded his father as the patron and vicar of Whitley, in 1837. His first volume, entitled The Hymns of the Primitive Church, now first Collected, Translated and Arranged, 1837, contained 100 hymns, for the most part ancient, with a few additions from the Paris Breviary of 1736. Four years later, he republished this volume under the title of hymns of the Church, mostly primitive, collected, translated and arranged for public use, 1841. Other publications include a Life of William of Wykeham, 1842, and Horae sacrae: prayers and meditations from the writings of the divines of the Anglican Church, 1854, as well as numerous sermons and tracts. Chandler died at Putney on July 1, 1876. --The Hymnal 1940 Companion =============== Chandler, John, M.A.,one of the earliest and most successful of modern translators of Latin hymns, son of the Rev. John F. Chandler, was born at Witley, Godalming, Surrey, June 16, 1806, and educated at Corpus Christi College, Oxford, where he graduated in 1827. He took Holy Orders in 1831, and became Vicar of Witley in 1837. He died at Putney, July 1, 1876. Besides numerous Sermons and Tracts, his prose works include Life of William of Wykeham, 1842; and Horae Sacrae; Prayers and Meditations from the writings of the Divines of the Anglican Church, with an Introduction, 1844. His translations, he says, arose out of his desire to see the ancient prayers of the Anglican Liturgy accompanied by hymns of a corresponding date of composition, and his inability to find these hymns until he says, "My attention was a short time ago directed to some translations [by Isaac Williams] which appeared from time to time in the British Magazine, very beautifully executed, of some hymns extracted from the Parisian Breviary,with originals annexed. Some, indeed, of the Sapphic and Alcaic and other Horatian metres, seem to be of little value; but the rest, of the peculiar hymn-metre, Dimeter Iambics, appear ancient, simple, striking, and devotional—in a word in every way likely to answer our purpose. So I got a copy of the Parisian Breviary [1736], and one or two other old books of Latin Hymns, especially one compiled by Georgius Cassander, printed at Cologne, in the year 1556, and regularly applied myself to the work of selection and translation. The result is the collection I now lay before the public." Preface, Hymns of the Primitive Church, viii., ix. This collection is:— (1) The Hymns of the Primitive Church, now first Collected, Translated, and Arranged, by the Rev. J. Chandler. London, John W. Parker, 1837. These translations were accompanied by the Latin texts. The trsanslations rearranged, with additional translations, original hymns by Chandler and a few taken from other sources, were republished as (2) The Hymns of the Church, mostly Primitive, Collected, Translated, and Arranged/or Public Use, by the Rev. J. Chandler, M.A. London, John W. Parker, 1841. From these works from 30 to 40 translations have come gradually into common use, some of which hold a foremost place in modern hymnals, "Alleluia, best and sweetest;" "Christ is our Corner Stone;" "On Jordan's bank the Baptist's cry;" "Jesus, our Hope, our hearts' Desire;" "Now, my soul, thy voice upraising;" "Once more the solemn season calls;" and, "O Jesu, Lord of heavenly grace;" being those which are most widely used. Although Chandler's translations are somewhat free, and, in a few instances, doctrinal difficulties are either evaded or softened down, yet their popularity is unquestionably greater than the translations of several others whose renderings are more massive in style and more literal in execution. --John Julian, Dictionary of Hymnology (1907)

Samuel Medley

1738 - 1799 Author of "O could I speak the matchless worth" in African Methodist Episcopal hymn and tune book Medley, Samuel, born June 23, 1738, at Cheshunt, Herts, where his father kept a school. He received a good education; but not liking the business to which he was apprenticed, he entered the Royal Navy. Having been severely wounded in a battle with the French fleet off Port Lagos, in 1759, he was obliged to retire from active service. A sermon by Dr. Watts, read to him about this time, led to his conversion. He joined the Baptist Church in Eagle Street, London, then under the care of Dr. Gifford, and shortly afterwards opened a school, which for several years he conducted with great success. Having begun to preach, he received, in 1767, a call to become pastor of the Baptist church at Watford. Thence, in 1772, he removed to Byrom Street, Liverpool, where he gathered a large congregation, and for 27 years was remarkably popular and useful. After a long and painful illness he died July 17, 1799. Most of Medley's hymns were first printed on leaflets or in magazines (the Gospel Magazine being one). They appeared in book form as:— (1) Hymns, &c. Bradford, 1785. This contains 42 hymns. (2) Hymns on Select Portions of Scripture by the Rev. Mr. Medley. 2nd ed. Bristol. W. Pine. 1785. This contains 34 hymns, and differs much from the Bradford edition both in the text and in the order of the hymns. (3) An enlargement of the same in 1787. (4) A small collection of new Hymns, London, 1794. This contains 23 hymns. (5) Hymns. The Public Worship and Private Devotion of True Christians Assisted in some thoughts in Verse; principally drawn from Select Passages of the Word of God. By Samuel Medley. London. Printed for J. Johnson. 1800. A few of his hymns are also found in a Collection for the use of All Denominations, published in London in 1782. Medley's hymns have been very popular in his own denomination, particularly among the more Calvinistic churches. In Denham's Selections there are 48, and in J. Stevens's Selections, 30. Their charm consists less in their poetry than in the warmth and occasional pathos with which they give expression to Christian experience. In most of them also there is a refrain in the last line of each verse which is often effective. Those in common use include:— 1. Come, join ye saints, with heart and voice. (1800). Complete in Christ. 2. Death is no more among our foes. Easter. 3. Eternal Sovereign Lord of all. (1789). Praise for Providential Care. 4. Far, far beyond these lower skies. (1789). Jesus, the Forerunner. 5. Father of mercies, God of love, whose kind, &c. (1789.) New Year. 6. Great God, today Thy grace impart. Sermon. 7. Hear, gracious God! a sinner's cry. (1789). Lent. 8. In heaven the rapturous song began. Christmas. 9. Jesus, engrave it on my heart. (1789). Jesus, Needful to all. 10. Mortals, awake, with angels join. (1782). Christmas. 11. My soul, arise in joyful lays. (1789). Joy in God. 12. Now, in a song of grateful praise. Praise to Jesus. In the Gospel Magazine, June, 1776. 13. O could I speak the matchless worth. (1789.) Praise of Jesus. 14. O for a bright celestial ray. Lent. 15. O God, Thy mercy, vast and free. (1800). Dedication of Self to God. 16. O let us tell the matchless love. Praise to Jesus. 17. O what amazing words of grace. (1789). Foutain of Living Waters. 18. Saints die, and we should gently weep. (1800). Death and Burial. From his "Dearest of Names, Our Lord and King." 19. See a poor sinner, dearest Lord. Lent. 20. Sing the dear Saviour's glorious fame. (1789). Jesus the Breaker of bonds. In 1800 a Memoir of Medley was published by his son, which is regarded by members of the family now living as authoritative. But in 1833 appeared another Memoir by Medley's daughter Sarah, to which are appended 52 hymns for use on Sacramental occasions. These she gives as her father's. But 8 of them are undoubtedly by Thos. Kelly, published by him in 1815, and reprinted in subsequent editions of his Hymns. The remainder are by Medley. Nearly all of these 52 hymns (both Medley's and Kelly's) have been altered in order to adapt them to Sacramental use. In Sarah Medley's volume, Kelly's hymns all follow one another, and three of them are in a metre which Medley apparently never used. What could have been Sarah Medley's motive in all this it is hard to divine. She is said to have been a clever, though unamiable woman, and was herself the author of a small volume of Poems published in 1807. In the Memoir she does not conceal her hatred of her brother. [Rev. W. R. Stevenson, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Catherine Winkworth

1827 - 1878 Person Name: Miss Winkworth Translator of "Fear not, O little flock, the foe" in New Manual of Praise Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

Charles Walker Ray

1832 - 1917 Person Name: C. W. R. Arranger of "[Awaked by Sinai's awful sound]" in The Revival Helper Rv Charles Walker Ray DD USA 1832-1917. Born at Otselic, NY, he became a Baptist minister. He was educated at Hamlton College, Clinton, NY. He earned his doctorate from Monongahela College, Jefferson, PA. That school closed in 1894. He pastored at North Stonington, CT, for a number of years. He also served at Plymouth, NY. He married Julia Tracy Sheffield, and they had a son, Arthur. He wrote a number of books and song books: “Grace Vernon Bussell, the heroine of western Australia” (1878); “Spicy breezes” (1883); “The day school crown” (1892); “The revival helper: a collection of songs for Christian work and worship” (1893); “Bright blossoms of song” (1895); “Zion’s delight” (1901); “The song of songs of the King and his bride-an interpretation” (1913); “The fallacies and vagaries of misinterpretation” (1914). He died at Philadelphia, PA. John Perry

Thomas T. Lynch

1818 - 1871 Person Name: T. T. Lynch, 1818-1871 Author of "Now have we met that we may ask" in The Sunday School Hymnary Lynch, Thomas Toke, was born at Dunmow, Essex, July 5, 1818, and educated at a school at Islington, in which he was afterwards an usher. For a few months he was a student at the Highbury Independent College; but withdrew, partly on account of failing health, and partly because his spirit was too free to submit to the routine of College life. From 1847 to 1849 he was Minister of a small charge at Highgate, and from 1849 to 1852 of a congregation in Mortimer Street, which subsequently migrated to Grafton Street, Fitzroy Square. From 1856 to 1859 he was laid aside by illness. In 1860 he resumed his ministry with his old congregation, in a room in Gower Street, where he remained until the opening of his new place of worship, in 1862, (Mornington Church), in Hampstead Road, London. He ministered there till his death, on the 9th of May, 1871. The influence of Lynch's ministry was great, and reached far beyond his own congregation (which was never large), since it included many students from the Theological Colleges of London, and thoughtful men from other churches, who were attracted to him by the freshness and spirituality of his preaching. His prose works were numerous, beginning with Thoughts on a Day, 1844, and concluding with The Mornington Lecture, 1870. Several of his works were published after his death. His Memoir, by W. White, was published in 1874. Lynch's hymns were published in:— The Rivulet: a Contribution to Sacred Song, London., Longman, 1855, 2nd ed., 1856. This was enlarged by an addition of 67 hymns in 1868. From the first edition of The Rivulet, 1855, the following hymns have come into common use:— 1. All faded is the glowing light. Second Advent. 2. Be Thy word with power fraught. Before Sermon. 3. Christ in His word draws near. Holy Scripture. 4. Dismiss me not Thy service, Lord. Work for Christ. 5. Gracious Spirit, dwell with me. Holy Spirit's presence desired. 6. How calmly the evening once more is descending. Evening. Sometimes "How calmly once more the night is descending." 7. I give myself to prayer. Prayer in Trouble. 8. Lord, on Thy returning day. Public Worship. 9. Lord, when in silent hours I muse. Resignation. 10. Love me, O Lord, forgivingly. Resignation. 11. Mountains by the darkness hidden. Resignation. 12. Now have we met that we may ask. Public Worship. 13. O, break my heart; but break it as a field. Penitence desired. 14. O Lord, Thou art not fickle. Sympathy. 15. O where is He that trod the sea. Christ Walking on the Sea. 16. Oft when of God we ask. Trust in Trial. 17. Rise, He calleth thee, arise. Blind Bartimaeus. 18. Say not, my soul, from whence. Resignation. 19. Where is thy God, my soul? Resignation and Hope. There are also from the 1856 and 1868 eds. the following:— 20. A thousand years have come and gone. Christmas. 21. Lift up your heads, rejoice; (1856.) Advent. 22. Praying by the river side. Holy Baptism. 23. The Lord is rich and merciful. Have Faith in God. 24. There is purpose in this waste. Easter. Lynch's hymns are marked by intense individuality, gracefulness and felicity of diction, picturesqueness, spiritual freshness, and the sadness of a powerful soul struggling with a weak and emaciated body. Although The Rivulet was published for use by his own congregation as a supplement to Watts, more than one half of the hymns were designed for private use only, but were not so distinguished in the work. Its publication caused one of the most bitter hymnological controversies known in the annals of modern Congregationalism. Time, however, and a criticism, broader and more just, have declared emphatically in favour of his hymns as valuable contributions to cultured sacred song. [Rev. W. Garrett Horder] --John Julian, Dictionary of Hymnology (1907) ================== Lynch, T. T., p. 705, ii. Other hymns by him in recent books are:— 1. My faith it is an oaken staff. Faith in Christ. In the Rivulet, 1855, p. 78. 2. Together for our country now we pray. National, In the Rivulet, 1868, p. 170. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

William John Downes

1892 - 1987 Person Name: W. J. Downes Translator of "The festal morn" in Adoru kantante An English Congregationalist minister, Downes was a professor of Hebrew and Old Testament at Western College in the University of Bristol (UK), a member of the board of KELI, and a member of the Esperanto Academy, as well as a member of the editorial committee that produced Adoru Kantante. 44 of his works appeared in AK, and 36 in Adoru. Particularly noteworthy for the quantity and quality of his original hymn texts in Esperanto.

Thomas Hastings

1784 - 1872 Author of "Gently lead us" in The African Methodist Episcopal Hymn and Tune Book Hastings, Thomas, MUS. DOC., son of Dr. Seth Hastings, was born at Washington, Lichfield County, Connecticut, October 15, 1784. In 1786, his father moved to Clinton, Oneida Co., N. Y. There, amid rough frontier life, his opportunities for education were small; but at an early age he developed a taste for music, and began teaching it in 1806. Seeking a wider field, he went, in 1817, to Troy, then to Albany, and in 1823 to Utica, where he conducted a religious journal, in which he advocated his special views on church music. In 1832 he was called to New York to assume the charge of several Church Choirs, and there his last forty years were spent in great and increasing usefulness and repute. He died at New York, May 15, 1872. His aim was the greater glory of God through better musical worship; and to this end he was always training choirs, compiling works, and composing music. His hymn-work was a corollary to the proposition of his music-work; he wrote hymns for certain tunes; the one activity seemed to imply and necessitate the other. Although not a great poet, he yet attained considerable success. If we take the aggregate of American hymnals published duriug the last fifty years or for any portion of that time, more hymns by him are found in common use than by any other native writer. Not one of his hymns is of the highest merit, but many of them have become popular and useful. In addition to editing many books of tunes, Hastings also published the following hymnbooks:— (1) Spiritual Songs for Social Worship: Adapted to the Use of Families and Private Circles in Seasons of Revival, to Missionary Meetings, &c, Utica, 1831-2, in which he was assisted by Lowell Mason; (2) The Mother's Hymn-book, 1834; (3) The Christian Psalmist; or, Watts's Psalms and Hymns, with copious Selections from other Sources, &c, N. Y., 1836, in connection with "William Patton; (4) Church Melodies, N. Y., 1858, assisted by his son, the Rev. T. S. Hastings; (5) Devotional Hymns and Poems, N. Y., 1850. The last contained many, but not all, of his original hymns. (6) Mother's Hymn-book, enlarged 1850. The authorship of several of Hastings's hymns has been somewhat difficult to determine. All the hymns given in the Spiritual Songs were without signatures. In the Christian Psalmist some of his contributions were signed "Anon." others "M. S.," whilst others bore the names of the tune books in which they had previously appeared; and in the Church Melodies some were signed with his name, and others were left blank. His MSS [manuscript] and Devotional Hymns, &c, enable us to fix the authorship of over 50 which are still in common use. These, following the chronological order of his leading work, are:— i. From the Spiritual Songs, 1831:— 1. Before Thy footstool kneeling. In Sickness. No. 358, in 3 stanzas of 8 lines. 2. Bleeding hearts defiled by sin. Fulness of Christ. No. 261, in 5 stanzas of 4 lines. 3. Child of sin and sorrow, Filled with dismay. Lent. No. 315, in 2 stanzas of 8 lines. It is sometimes given as "Child of sin and sorrow, Where wilt thou flee?" It is in extensive use. 4. Delay not, delay not, 0 sinner draw near. Exhortation to Repentance. No. 145, in 5 stanzas of 4 lines. Given in several important collections. 5. Forgive us, Lord, to Thee we cry. Forgiveness desired. No. 165, in 4 stanzas of 4 lines. 6. Gently, Lord, 0 gently lead us. Pilgrimage of Life. No. 29, in 2 stanzas of 8 lines. It is given in several collections. The first two lines are taken from a hymn which appeared in the Christian Lyre, 1830. 7. Go forth on wings of fervent prayer. For a blessing on the distribution of Books and Tracts. No. 250, in 4 stanzas of 5 lines. It is sometimes given as “Go forth on wings of faith and prayer," as in the Baptist Praise Book, N. Y., 1871, No. 1252; but the alterations are so great as almost to constitute it a new hymn. 8. Hail to the brightness of Zion's glad morning. Missionary Success. No. 239, in 4 stanzas of 4 lines. In several hymnbooks in Great Britain and America. 9. How calm and beautiful the morn. Easter. No. 291, in 5 stanzas of 6 lines. Very popular. 10. In this calm, impressive hour. Early Morning. No. 235, pt. i. in 3 stanzas of 6 lines. In several collections. 11. Jesus, save my dying soul. Lent. No. 398, in 4 stanzas of 4 lines. A deeply penitential hymn. 12. Now be the gospel banner. Missions. No. 178, in 2 stanzas of 8 lines. In several collections (see below). 13. Now from labour, and from care. Evening. No. 235. Pt. ii. in 3 stanzas of 6 lines. This hymn, with No. 10 above, "In this calm," &c, constitute one hymn of 6 st. in the Spiritual Songs, but divided into two parts, one for Morning and the other for Evening. Both parts are popular as separate hymns. 14. 0 God of Abraham, hear. Prayer on behalf of Children. No. 288, in 5 stanzas of 4 lines. In use in Great Britain. 15. 0 tell me, Thou Life and delight of my soul. Following the Good Shepherd. No. 151, in 5 stanzas of 4 lines, on Cant. i. 7, 8. 16. Return, O wanderer, to thy home. The Prodigal recalled. No. 183, in 3 stanzas of 4 lines, with the refrain, " Return, return " (see below). 17. Soft and holy is the place. Public Worship. No. 351, in 4 stanzas of 4 lines. In Dr. Hatfield's Church Hymn Book, N. Y., 1872, and some other collections, the opening line is altered to "Sweet and holy is the place." 18. That warning voice, 0 sinner, hear. Exhortation to Repentance. No. 231, in 4 stanzas of 6 lines. 19. To-day the Saviour calls. Lent. No. 176, in 4 stanzas of 4 lines. Dr. Hastings says, in a communication to Dr. Stevenson (Hymns for Church and Home, 1873), this hymn “was offered me in a hasty sketch which I retouched." The sketch was by the Rev. S. F. Smith. 20. Why that look of sadness. Consolation. No. 268, in 3 stanzas of 8 lines. 21. Zion, dreary and in anguish. The Church Comforted. No. 160, in 4 stanzas of 4 lines. Concerning the two hymns, No. 12, "Now be the gospel banner"; and No. 16, "Beturn, O wanderer, to thy home," Dr. Stevenson has the following note in his Hymns for Church and Home, London, 1873:— "In a letter to the Editor, Dr. Hastings wrote, not more than a fortnight before his death, 'These two hymns of mine were earlier compositions, the former ["Now be," &c.] for a Utica Sunday School celebration, the latter ["Return, 0 wanderer," &c.] after hearing a stirring revival sermon on the Prodigal Son, by the Rev. Mr. Kint, at a large union meeting in the Presbyterian Church, where two hundred converts were present. The preacher at the close eloquently exclaimed with tender emphasis, "Sinner, come home! come home! come home!" It was easy afterwards to write, "Return, 0 wanderer."'" Several additional hymns in the Spiritual Songs, 1831, have been ascribed to Dr. Hastings, but without confirmation. The sum of what can be said on his behalf is that the hymns are in his style, and that they have not been claimed by others. They are:— 22. Drooping souls, no longer mourn. Pardon promised. No. 40, in 3 stanzas of 8 1., of which st. i., ii. are altered from J. J. Harrod's Public, Parlour, and Cottage Hymns, Baltimore, 1823, that is, 8 years before the Spiritual Songs were published. 23. Dying souls, fast bound in sin. Pardon offered. No. 41, in 5 stanzas of 8 lines. It is usually given in an abridged form. ii. From his Mother's Hymn Book, 1834:—- 24. Forbid them not, the Saviour cried. Holy Baptism. No. 44. 25. God of mercy, hear our prayer. On behalf of Cliildrcn, No. 48, in 5 stanzas of 4 lines. It was included in J. Campbell's Comprehensive Hymn Book, Lond., 1837, and subsequently in several collections. 26. God of the nations, bow Thine ear. Missions. No. 115, in 4 stanzas of 6 lines. In several collections. 27. How tender is Thy hand. Affliction. No. 99, in 5 stanzas of 41. 28. Jesus, while our hearts are bleeding. Death. Resignation. No. 95, in 5 stanzas of 4 lines. This is in extensive use and is one of his best and most popular hymns. 29. Lord, I would come to Thee. Self-dedication of a Child. No. 72, in 4 stanzas of 4 lines. 30. 0 Lord, behold us at Thy feet. Lent. No. 59, in 4 stanzas of 4 lines. It is doubtful if this is by Hastings. It is sometimes signed "Mrs. T." 31. The rosy light is dawning. Morning. No. 11, in 3 stanzas of 8 lines. 32. The Saviour bids us [thee] watch and pray. Watch and Pray. No. 119, in 4 stanzas of 4 lines. 33. Thou God of sovereign grace. On behalf of Children. No. 66, in 6 stanzas of 4 lines. 34. Wherever two or three may meet. Divine Service. No. 56. 35. Within these quiet walls, 0 Lord. Mothers' Meetings. No. 58, in 5 stanzas of 4 lines. In Spurgeon's Our Own Hymn Book, 1866, No. 1010, it begins, "Within these peaceful walls." This reading is from J. Campbell's Comprehensive Hymn Book, London, 1837. It is very doubtful if this is by Hastings. iii. From the Christian Psalmist, 1836:— 36. Children, hear the melting story. On the life of Christ. No. 430, in 3 stanzas of 6 lines. It is given as from the Union Minstrel, and the statement that it is by Hastings is very doubtful, no evidence to that effect being in the possession of his family. Dr. Hatfield, in his Church Hymn Book, dates it 1830, and gives it as "Anon." 37. Go, tune thy voice to sacred song. Praise No. 190, in 5 stanzas of 5 lines, and given as from "ms." 38. He that goeth forth with weeping. Missions No. 212, in 2 stanzas of 8 lines, and given as from "ms." It is in several collections. 39. I love the Lord, Whose gracious ear. Ps. cxvi. Page 186, in 4 stanzas of 6 lines, as from "ms." 40. Lord of the harvest, bend Thine ear. For the Increase of the Ministry. No. 407, in 6 stanzas of 4 lines, as from "ms." This hymn Dr. Hastings altered for his Devotional Hymns & Poems, 1850, but it has failed to replace the original in the hymnbooks. iv. From the Reformed Dutch Additional Hymns, 1846:— 41. Child of sorrow, child of care [woe]. Trust. No. 168, in 2 stanzas of 8 lines, appeared in W. Hunter's Minstrel of Zion, 1845. 42. Heirs of an immortal crown. Christian Warfare. No. 136, in 2 stanzas of 8 lines. 43. O Saviour, lend a listening ear. Lent. No. 175. Stanzas vi., i., iv., v., altered. 44. The Lord Jehovah lives. Ps. xviii. No. 26, in 4 stanzas of 6 lines. These three hymns, together with many others, are given in the Dutch Reformed Hymns of the Church, N. Y., 1869. In the 1847 Psalms & Hymns there were, including these, 38 hymns by Hastings, and 2 which are doubtful. v. From Dr. Hastings's Devotional Hymns and Religious Poems, 1850:— 45. In time of fear, when trouble's near. Encouragement in Trial. Page 95, in 3 stanzas of 4 lines. In use in Great Britain. vi. From Church Melodies, 1858:—- 46. For those in bonds as bound with them. Missions. No. 416, in 5 stanzas of 4 lines, on Heb. xiii. 3. 47. Forget thyself, Christ bids thee come. Holy Communion. No. 683, in 3 stanzas of 6 lines. 48. Jesus, Merciful and Mild. Leaning on Christ. No. 585, in 4 stanzas of 8 1. In several collections. 49. Pilgrims in this vale of sorrow. Self-denial. No. 397, in 4 stanzas of 4 lines. 50. Saviour, I look to Thee. Lent. In time of Trouble. No. 129, in 4 stanzas of 7 lines. 51. Saviour of our ruined race. Holy Communion. No. 379, in 3 stanzas of 6 lines. 52. Why that soul's commotion? Lent. No. 211, in 3 stanzas of 8 lines. It is doubtful if this is by Hastings. vii. In Robinson's Songs of the Church, 1862: 53. Be tranquil, 0 my soul. Patience in Affliction. No. 519, in 4 stanzas of 4 lines. Altered in Robinson's Songs for the Sanctuary, 1865. 54. Peace, peace, I leave with you. Peace, the benediction of Christ. No. 386, in 3 stanzas of 7 lines. 55. Saviour, Thy gentle voice. Christ All in All. No. 492, in 3 stanzas of 7 lines. viii. In Bobinson's Songs for the Sanctuary, 1865:— 56. God of the morning ray. Morning. No. 53, in 2 stanzas of 7 lines. Of Hastings's hymns about 40 are in the Reformed Dutch Psalms & Hymns, 1847; 39 in Robinson's Songs for the Sanctuary, 1865; 15 in Hatfield's Church Hymn Book, 1872; and 13 in the Lyra Sacra Americana, 1868. They are also largely represented in other collections. Many other of his compositions are found in collections now or recently in common use, but these are not of the highest merit. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907) ======================== Hastings, T., p. 494, i. Additional hymns are:— 1. Children hear the wondrous story; and "Sinners, hear the melting story," are altered forms of No. 36, on p. 495, i. 2. Father, we for our children plead. On behalf of Children. 3. Forgive my folly, O Lord most holy. Lent. 4. Hosanna to the King, That for, &c. Praise to Jesus. 5. I look to Thee, O Lord, alone. Pardon desired. 6. Jesus, full of every grace. Pardon desired. 7. O why should gloomy thoughts arise? The Mourner Encouraged. 8. Peace to thee, O favoured one. Peace in Jesus. 9. Saviour, hear us through Thy merit. Forgiveness. Of these hymns, No. 3 is in Hasting’s Spiritual Songs, 1831; No. 9 in his Mother's Hymn Book, 1834, and his Devotional Hymns, 1850; and Nos. 4, 5 & 8 in his Devotional Hymns, 1850. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Asahel Nettleton

1783 - 1844 Person Name: Rev. Asabel Nettleton (1782-1844) Author of "Awaked by Sinai's awful sound" in Hymns of the Ages Nettleton, Asahel, D.D., a well-known Connecticut evangelist, was born at North Killingworth, Connecticut, April 21, 1783, and educated at Yale College, graduating in 1809. In 1811 he was licenced to preach, receiving ordination in 1817. He never settled as a pastor with any congregation, but preached in Western Massachusetts, Connecticut, and New York; in Virginia, 1827-28; and also in Great Britain in 1831. He died in 1843. His Memoirs, Sermons and Remains were published in 1844. Dr. Hatfield ascribes to him a hymn:— "Come, Holy Ghost, my soul inspire— This one great gift impart;" apparently on no other ground than that it appeared anonymously (as did many others) in his Village Hymns, in 1824, and has been traced no further. Nettleton's hymnological work centred in the compiling of his Village Hymns, from which more hymns of the older American writers have passed into English collections than from any other source. He knew and could appreciate a good hymn, but it is doubtful if he ever did or ever could have written one. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907)

Michael Altenburg

1584 - 1640 Person Name: Altenburg Author of "Fear not, O little flock, the foe" in New Manual of Praise Altenburg, Johann Michael, b. at Alach, near Erfurt, on Trinity Sunday, 1584. After completing his studies he was for some time teacher and precentor in Erfurt. In 1608 he was appointed pastor of Ilversgehofen and Marbach near Erfurt; in 1611, of Troch-telborn; and in 1621 of Gross-Sommern or Som-merda near Erfurt. In the troublous war times he was forced, in 1631, to flee to Erfurt, and there, on the news of the victory of Leipzig, Sept. 17, 1631, he composed his best known hymn. He remained in Erfurt without a charge till, in 1637, he was appointed diaconus of the Augustino Church, and, in 1638, pastor of St. Andrew's Church. He d. at Erfurt February 12, 1640 (Koch, iii. 115-117 ; Allg. Deutsche Biog., i. p. 363, and x. p. 766—the latter saying he did not go to Erfurt till 1637). He was a good musician, and seems to have been the composer of the melodies rather than of the words of some of the hymns ascribed to him. Two of his hymns have been tr. into English, viz. :—1. Aus Jakob's Staxnm ein Stern sehr klar. [Christmas.] Included as No. 3 of his Christ-liche liebliche und anddchtige newe Kirchen- und Hauss-Gestinge, pt. i., Erfurt, 1G20, in 3 st. of 5 1. According to Wetzel's A. H., vol. i., pt. v. p. 41, it was first pub. in J. Forster's Jlohen Festtags-Schreinlein, 1611. In the Unv. L. S., 1851, No. 24. It has been tr. as " From Jacob's root, a star so clear," by Miss Manington, 1864, p. 13.2. Verzage nicht du Hauflein klein. [In Trouble.] Concerning the authorship of this hymn there are three main theories—i. that it is by Gustavus Adolphus; ii. that the ideas are his and the diction that of his chaplain, Dr. Jacob Fabricius; and iii. that it is by Altenburg. In tracing out the hymn we find that:—The oldest accessible form is in two pamphlets published shortly after the death of Gustavus Adolphus, viz., the Epicedion, Leipzig, n.d. but probably in the end of 1632 [Royal Library, Berlin]: and Arnold Mengering's Blutige Siegs-Crone, Leipzig, 1633 [Town Library, Hamburg]. In the Epicedion the hymn is entitled, " Konig-licher Schwanengesang So ihre Majest. vor dem Ltltzen-schen Treffen inniglichen zu Gott gesungen "; and in the Siegs-Crone, p. 13, "Der S. Kon. Mayt. zu Schweden Lied, welches Sie vor der Schlacht gesungen." In both cases there are 3 sts. :—i. Verzage nicht, du Hiiuffiein klein. ii. Triistedich dess, dass deine Sach. iii. So wahr Gott Gott ist, und sein Wort.The next form is that in J. Clauder's Psalmodiae Novae Pars Tertia, Leipzig, 1636, No. 17, in 5 st. of 6 lines, st. i.-iii. as above, and—iv. Ach Gott gieb in des deine Gnad v. Hilff dass wir auch nach deinem Wort. No author's name is given. In the Bayreuth G. B., 1668, p. 266, st. iv., v., are marked as an addition by Dr. Samuel Zehner; and by J. C. Olearius in his Lieder-Schatz, 1705, p. 141, as written in 1638 (1633 ?), when the Croats had partially burnt Schleusiugen, where Zehner was then superintendent.The third form of importance is that given in Jcremias Weber's Leipzig G. B., 1638, p. 651, where it is entitled " A soul-rejoicing hymn of Consolation upon the watchword—God with us—used by the Evangelical army in the battle of Leipzig, 7th Sept., 1631, composed by M. Johann Altenburg, pastor at Gross Soinmern in Dtiringen," [i.e. Sommerda in Thuringia]. It is in 5 sts., of which sts. i.-iii. are the same as the 1633, and are marked as by Altenburg. St. iv., v., beginning— iv. Drilmb sey getrost du kleines Heer v. Amen, das hilff Ilerr Jesu Christ, are marked as " Additamentum Ignoti." This is the form in C. U. as in the Berlin G. L. S., ed. 1863, No. 1242.In favour of Altenburg there is the explicit declaration of the Leipzig G. B., 1638, followed by most subsequent writers. The idea that the hymn was by Gustavus Adolphus seems to have no other foundation than that in many of the old hymn-books it was called Gustavus Adolphus's Battle Hymn. The theory that the ideas were communicated by the King to his chaplain, Dr. Fabricius, after the battle of Leipzig, and by Fabricius versified, is maintained by Mohnike in his Hymnologische Forschungen, 1832, pt. ii. pp. 55-98, but rests on very slender evidence. In Koch, viii. 138-141, there is the following striking word-picture:—If, then, we must deny to the hymn Albert Knapp's characterisation of it as " a little feather from the eagle wing of Gustavus Adolphus," so much the more its original title as his "Swan Song" remains true. It was on the morning of the 6 Nov., 1632, that the Catholic army under Wallenstein and the Evangelical under Gustavus Adolphus stood over against each other at Lutzen ready to strike. As the morning dawned Gustavus Adolphus summoned his Court preacher Fabricius, and commanded him, as also the army chaplains of all the other regiments, to hold a service of prayer. During this service the whole host sung the pious king's battle hymn—" Verzage nicht, du Hauflein klein."He himself was on his knees and prayed fervently. Meantime a thick mist had descended, which hid the fatal field so that nothing could be distinguished. When the host had now been set in battle array he gave them as watchword for the fight the saying, "God with us," mounted his horse, drew his sword, and rode along the lines of the army to encourage the soldiers for the battle. First, however, he commanded the tunes Ein feste Burg and Es wollt tins Gott genadig sein to be played by the kettledrums and trumpets, and the soldiers joined as with one voice. The mist now began to disappear, and the sun shone through. Then, after a short prayer, he cried out: " Now will we set to, please God," and immediately after, very loud, " Jesu, Jesu, Jesu, help me today to fight for the honour of Thy Holy Name." Then he attacked the enemy at full speed, defended only by a leathern gorget. " God is my harness," he had said to the servant who wished to put on his armour. The conflict was hot and bloody. About 11 o'clock in the forenoon the fatal bullet struck him, and he sank, dying, from his horse, with the words, “My God, my God!" Till twilight came on the fight raged, and was doubtful. But at length the Evangelical host obtained the victory, as it had prophetically sung at dawn."This hymn has ever been a favourite in Germany, was sung in the house of P. J. Spener every Sunday afternoon, and of late years has been greatly used at meetings of the Gustavus Adolphus Union—an association for the help of Protestant Churches in Roman Catholic countries. In translations it has passed into many English and American collections. Translations in C. U.:— Fear not, 0 little flock, the foe. A good tr. from the text of 1638, omitting st. iv., by Miss Winkworth, in her Lyra Ger., 1855, p. 17. Included, in England in Kennedy, 1863, Snepp's S. of G. and G., 1871, Free Church H. Bk., 1882, and others; and in America in the Sabbath H. Book., 1858, Pennsylvania Luth. Ch. Bk., 1868, Hys. of the Church, 1869, Bapt. H. Bk., 1871, H. and Songs of Praise, 1874, and many others. Be not dismay'd, thou little flock. A good tr. of st. i.-iii. of the 1638 text in Mrs. Charles's V. of Christian Life in Song, 1858, p. 248. She tr. from the Swedish, which, in the Swensha Psalm Boken, Carlstadt, N.D. (1866), is given as No. 378, "Forfaras ej, du lilla hop !" and marked Gustaf II. Adolf. Her version is No. 204 in Wilson's Service of Praise, 1865. Thou little flock, be not afraid. A tr. of st. i.-iii. from the 1638 text, by M. Loy, in the Ohio Luth. Hymnal, 1880, No. 197. Other trs. are all from the text of 1638.(1.) " Be not dishearten'd, little flock," by Dr. II. Mills, 1856, p. 121. (2.) " Despond not, little band, although," by Dr. G. Walker, 1860, p. 41. (3.) "Be not dismay'd, thou little flock, Nor," by E. Massie, 1866, p. 143. (4.) " 0 little flock, be not afraid," in J. D. Burns's Memoir and Remains, 1869. p. 226. –John Julian, Dictionary of Hymnology (1907)