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If thou suffer God to guide thee
Author: George Neumark; Catherine Winkworth Appears in 179 hymnals Topics: Fifteenth Sunday after Trinity Lyrics: 1 If thou but suffer God to guide thee,
And hope in Him thro' all thy ways,
He'll give thee strength, whate'er betide thee,
And bear thee thro' the evil days;
Who trusts in God's unchanging love,
Builds on the rock that none can move.
2 What can these anxious cares avail thee,
These never-ceasing moans and sighs?
What can it help, if thou bewail thee
O'er each dark moment as it flies?
Our cross and trials do but press
The heavier for our bitterness.
3 Only be still and wait His leisure
In cheerful hope, with heart content
To take whate'er Thy Father's pleasure
And all-deserving love hath sent;
Nor doubt our inmost wants are known
To Him who chose us for His own.
4 He knows the time for joy, and truly
Will send it when He sees it meet,
When He has tried and purged thee duly,
And finds thee free from all deceit,
He comes to thee all unaware,
And makes thee own His loving care.
5 Nor think, amid the heat of trial,
That God hath cast thee off unheard;
That he whose hopes meet no denial
Must surely be of God preferred;
Time passes and much change doth bring
And sets a bound to everything.
6 All are alike before the Highest;
'Tis easy to our God, we know,
To raise thee up, though low thou liest,
To make the rich man poor and low:
True wonders still by Him are wrought
Who setteth up and brings to nought.
7 Sing, pray, and keep His ways unswerving,
So do thine own part faithfully,
And trust His Word, though undeserving,
Thou yet shalt find it true for thee;
God never yet forsook at need
The soul that trusted Him indeed. Used With Tune: NEUMARK (Wer nur den lieben Gott)
If thou suffer God to guide thee
The Lord my Shepherd is
Author: Watts Meter: 6.6.8.6 Appears in 580 hymnals Topics: Fifteenth Sunday after Trinity Lyrics: 1 The Lord my Shepherd is,
I shall be well supplied:
Since He is mine and I am His,
What can I want beside?
2 He leads me to the place
Where heavenly pasture grows,
Where living waters gently pass,
And full salvation flows.
3 If e'er I go astray,
He doth my Soul reclaim;
And guides me in His own right way,
For His most holy Name.
4 While He affords His aid,
I cannot yield to fear;
Though I should walk through death's dark shade,
My Shepherd's with me there.
5 The bounties of Thy love
Shall crown my following days;
Nor from Thy house will I remove,
Nor cease to speak Thy praise. Scripture: Psalm 23 Used With Tune: BETHLEHEM
The Lord my Shepherd is
Lord, it belongs not to my care
Author: Richard Baxter Meter: 8.6.8.6 Appears in 258 hymnals Topics: Fifteenth Sunday after Trinity Lyrics: 1 Lord, it belongs not to my care
Whether I die or live;
To love and serve Thee is my share,
And this Thy grace must give.
If life be long, I will be glad
That I may long obey;
If short, yet why should I be sad
To soar to endless day?
2 Christ leads me through no darker rooms
Than He went through before:
He that into God's kingdom comes
Must enter by this door.
Come, Lord, when grace has made me meet
Thy blessed face to see;
For if Thy work on earth be sweet,
What will Thy glory be?
3 Then I shall end my sad complaints,
And weary sinful days,
And join with the triumphant saints,
That sing Jehovah's praise.
My knowledge of that Life is small,
The eye of faith is dim;
But 'tis enough that Christ knows all,
And I shall be with Him. Used With Tune: OLD 137TH PSALM
Lord, it belongs not to my care
OLD 137TH PSALM
Meter: 8.6.8.6 Appears in 38 hymnals Topics: Fifteenth Sunday after Trinity Tune Key: G Major Incipit: 17651 32112 34233 Used With Text: Lord, it belongs not to my care
OLD 137TH PSALM
O min Sjæl, du gaar og Vanker
Author: Ambr. Stub Hymnal: Salmebog for Lutherske Kristne i Amerika #240 (1919) Topics: Fifteenth Sunday after Trinity Sunday; Fifteenth Sunday after Trinity Sunday; Fifteenth Sunday after Trinity Sunday Lyrics: 1 O min Sjæl, du gaar og vanker
Blandt de mange Verdens Ting,
Samle dine vilde Tanker,
Se dig oventil omkring!
Ak, hvad nytter
Kedars Hytter,
Pilegrim, hvor er dit Hjem?
Lad dit Øie
Agte nøie
Paa det ny Jerusalem!
2 Hele Verden gaar til Grunde
Af den lille Jordens Bold,
Af den store Himlens Runde
Bliver intet i Behold.
Agt i Tide,
Du kan vide,
Naar du selv af Verden gaar,
At du hisset
Er forvisset
Om den Stad, som evig staar!
3 Sig mig dog, hvad er vel dette
tabernakels jordisk' Hus?
Sig mig dog, tør nogen sætte
Lid paa smuldret Ler og Grus?
Dette ældes,
Dette fældes,
O, saa maa man dog herud!
Men en Bolig
Evig rolig
Er beredt for Lammets Brud.
4 Kast med Længsel Troens Øie
Op til hin den fagre Stad,
Agt paa Evighedens Høie!
Trods al Satans Harm og Had,
Er den fundet
Fast og grundet,
Murens Grundvold er saa rar,
Thi af rene
Ædelstene
Er den glimrende og klar.
5 Stadens Porte og dens Gade
er af Perler og af Guld,
Hør der ere alle glade,
Hør den Sang af Sødhed fuld!
Hør dem kvæde
I den Glæde,
Som er fri for Nag og Nød,
Fri for Plage,
Suk og Klage,
Fri for Graad og fri for Død!
6 Der er ingen Sol og Maane
Paa hin evig' Himmel sat,
Der er ingen Sky og Blaane,
Ingen Aften, mindre Nat.
Der maa være Glans og Ære,
Se, den hellig'
Gud er Sol!
Al Ting frydes,
Se, der skydes
Straaler ud fra Lammets Stol!
7 O min Sjæl, du gaar og vanker
Blandt de arme Verdens Ting.
Samle dine vilde Tanker,
Se dig oventil omkring!
Herre, led mig,
Og bered mig
Til din Himmel, til mit Hjem!
Gjør mig værdig,
Gjør mig færdig
Til det ny Jerusalem!
Languages: Norwegian
O min Sjæl, du gaar og Vanker
O min Sjæl, du gaar og vanker
Author: Ambr. Stub Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #240 (1897) Topics: Fifteenth Sunday after Trinity Sunday For Evening; Fifteenth Sunday after Trinity Sunday For Evening Lyrics: 1 O min Sjæl, du gaar og vanker
Blandt de mange Verdens Ting,
Samle dine vilde Tanker,
Se dig oventil omkring!
Ak, hvad nytter
Kedars Hytter,
Pillegrim, hvor er dit Hjem?
Lad dit Øie
Agte nøie
Paa det ny Jerusalem!
2 Hele Verden gaar til Grunde
Af den lille Jordens Bold,
Af den store Himlens Runde
Bliver intet i Behold.
Agt i Tide,
Du kan vide,
Naar du selv af Verden gaar,
At du hisset
Er forvisset
Om den Stad, som evig staar!
3 Siig mig dog, hvad er vel dette
Tabernakels jordisk' Hus?
Siig mig dog, tør nogen sette
Lid paa smuldret Leer og Grus?
Dette ældes,
Dette feldes,
O, saa maa man dog herud!
Men en Bolig
Evig rolig
Er beredt for Lammets Brud.
4 Kast med Længsel Troens Øie
Op til hiin den fagre Stad,
Agt paa Evighedens Høie!
Traads al Satans Harm og Had,
Er den fundet
Fast og grundet,
Murens Grundvold er saa rar,
Thi af rene
Ædelstene
Er den glimrende og klar.
5 Stadens Porte og dens Gade
er af Perler og af Guld,
Hør, der ere alle glade,
Hør den Sang af Sødhed fuld!
Hør dem kvæde
I den Glæde,
Som er fri for Nag og Nød,
Fri for Plage,
Suk og Klage,
Fri for Graad og fri for Død!
6 Der er ingen Sol og Maane
Paa hin evig' Himmel sat,
Der er ingen Sky og Blaane,
Ingen Aften, mindre Nat.
Der maa være Glans og Ære,
Se, den hellig'
Gud er Sol!
Al Ting frydes,
Se, der skydes
Straaler ud fra Lammets Stol!
7 O min Sjæl, du gaar og vanker
Blandt de arme Verdens Ting.
Samle dine vilde Tanker,
Se dig oventil omkring!
Herre, led mig,
Og bered mig
Til din Himmel, til mit Hjem!
Gjør mig værdig,
Gjør mig færdig
Til det ny Jerusalem! Languages: Norwegian
O min Sjæl, du gaar og vanker
Hvor deilig skal Guds Kirke staa
Author: Kingo Hymnal: Salmebog for Lutherske Kristne i Amerika #484 (1919) Topics: Fifteenth Sunday after Trinity Sunday Lyrics: 1 Hvor deilig skal Guds Kirke staa,
Og i hans Aasyn Ynde faa,
Naar alle Hjerter knytted' er
Udi eet Sind og een Begjær:
At elske ham og blive ved
At vandre frem i Kjærlighed!
2 Hvad er vort Væsen, om vi ei
Gaa Kjærligheds den rene Vei,
Og broderlig hinanden vil
Al velment Troskab byde til
Med sligt et Hjerte og Attraa,
Som Gud stod hos og saa derpaa?
3 Bort Vrede, Skjeldsord, daarlig Harm!
I bør ei huses i dem Barm,
Hvor Gud til Fred og salig Ro
Vil, sin Velsignelse skal bo:
Bort derfor alt, hvad skade kan
Og hindre Enigheds Forstand!
4 Gid Tunge, Læber, Sind og Mund
De kunde ret af Hjertens Grund
Forsage Trædskhed, List og Svig,
Og gjøre sig et Himmerig
Udaf den søde Venskabs Fred
Med hver Mand i Guds Kjærlighed!
5 Guds Øie ser dog al vor Daad,
Vor Tanke, Paafund, Hjertens Raad;
De Onde gaa ham ei forbi
Paa deres Ondskabs skjulte Sti,
Han ogsaa paa de Fromme ser,
Al Hjælp og Naade han dem ter.
6 Min Sjæl, agt derfor lidet om
Den Trusel, Had og Vrede, som
Dig Verdens Børn kan lægge paa,
Den skal saa snar en Vending faa,
Gaa du kun frem paa Fredens Vei,
Og agt al Verdens Tummel ei!
7 O søde Gud, o gid jeg maa
Mit Hjerte ved dig dannet faa,
At du kan heliges i mig,
Til jeg dig ser i Himmerig,
Hvor hellig, hellig, hellig da
Jeg synger med Halleluja!
Languages: Norwegian
Hvor deilig skal Guds Kirke staa
Lowell Mason
1792 - 1872 Person Name: L. Mason Topics: The Church Year Fifteenth Sunday after Trinity Composer of "[My faith looks up to Thee]" in The Lutheran Hymnary Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
Horatius Bonar
1808 - 1889 Topics: Fifteenth Sunday after Trinity Author of "Go, labor on; spend and be spent" in Evangelical Lutheran hymnal Horatius Bonar was born at Edinburgh, in 1808. His education was obtained at the High School, and the University of his native city. He was ordained to the ministry, in 1837, and since then has been pastor at Kelso. In 1843, he joined the Free Church of Scotland. His reputation as a religious writer was first gained on the publication of the "Kelso Tracts," of which he was the author. He has also written many other prose works, some of which have had a very large circulation. Nor is he less favorably known as a religious poet and hymn-writer. The three series of "Hymns of Faith and Hope," have passed through several editions.
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872
================================
Bonar, Horatius, D.D. Dr. Bonar's family has had representatives among the clergy of the Church of Scotland during two centuries and more. His father, James Bonar, second Solicitor of Excise in Edinburgh, was a man of intellectual power, varied learning, and deop piety.
Horatius Bonar was born in Edinburgh, Dec. 19th, 1808; and educated at the High School and the University of Edinburgh. After completing his studies, he was "licensed" to preach, and became assistant to the Rev. John Lewis, minister of St. James's, Leith. He was ordained minister of the North Parish, Kelso, on the 30th November, 1837, but left the Established Church at the "Disruption," in May, 1848, remaining in Kelso as a minister of the Free Church of Scotland. The University of Aberdeen conferred on him the doctorate of divinity in 1853. In 1866 he was translated to the Chalmers Memorial Church, the Grange, Edinburgh; and in 1883 he was chosen Moderator of the General Assembly of of the Free Church of Scotland.
Dr. Bonar's hymns and poems were, he tells us, composed amid a great variety of circumstances; in many cases he cannot himself recall these circumstances; they also appeared in several publications, but nearly all have boen published or republished in the following:— (i) Songs for the Wilderness, 1843-4. (2) The Bible Hymn Book, 1845. (3) Hymns, Original and Selected, 1846. (4) Hymns of Faith and Hope, First Series, 1857; Second Series, 1861; Third Series, 1866. (5) The Song of the New Creation, 1872. (6) My Old Letters, a long poem, 1877. (7) Hymns of the Nativity, 1879. (8) Communion Hymns, 1881. In addition to numerous prose works, he has also edited The New Jerusalem; a Hymn of the Olden Time, 1852, &c.
Dr. Bonar's poems—-including many beautiful lyrics, several psalm versions, and translations from the Greek and Latin, a large number of hymns, and a long meditative poem—-are very numerous, too numerous, perhaps, for their permanent fame as a whole.
Dr. Bonar's scholarship is thorough and extensive; and his poems display the grace of style and wealth of allusion which are the fruit of ripe culture. Affected very slightly by current literary moods, still less by the influence of other religious poetry, they reveal extreme susceptibility to the emotional power which the phases of natural and of spiritual life exercise; the phases of natural life being recognised chiefly as conveying and fashioning spiritual life, used chiefly for depicting spiritual life, and handled for this purpose with greater delicacy of touch than in the Olney Hymns, and with less conscious purpose than in the Christian Year. As a result of this susceptibility, and from habitual contemplation of the Second Advent as the era of this world's true bliss, his hymns and poems are distinguished by a tone of pensive reflection, which some might call pessimism. But they are more than the record of emotion; another element is supplied by his intellectual and personal grasp of Divine truth, these truths particularly:—The gift of a Substitute, our Blessed Saviour; Divine grace, righteous, yet free and universal in offer; the duty of immediate reliance upon the privilege of immediate assurance through that grace; communion with God, especially in the Lord's Supper, respecting which he insists on the privilege of cherishing the highest conceptions which Scripture warrants; and finally, the Second Advent of our Lord: by his vigorous celebration of these and other truths as the source and strength of spiritual life, his hymns are protected from the blight of unhealthy, sentimental introspection.
To sum up: Dr. Bonar's hymns satisfy the fastidious by their instinctive good taste; they mirror the life of Christ in the soul, partially, perhaps, but with vivid accuracy; they win the heart by their tone of tender sympathy; they sing the truth of God in ringing notes; and although, when taken as a whole, they are not perfect ; although, in reading them, we meet with feeble stanzas, halting rhythm, defective rhyme, meaningless Iteration; yet a singularly large number have been stamped with approval, both in literary circles and by the Church.
In Great Britain and America nearly 100 of Dr. Bonar's hymns are in common use. They are found in almost all modern hymnals from four in Hymns Ancient & Modern to more than twenty in the American Songs for the Sanctuary, N. Y., 1865-72. The most widely known are, "A few more years shall roll;" "Come, Lord, and tarry not;" "Here, O my Lord, I see Thee face to face;" "I heard the Voice of Jesus say;" "The Church has waited long;" and "Thy way, not mine, O Lord."
In addition to these and others which are annotated under their respective first lines, the following are also in common use:—
From Songs for the Wilderness, No. 1, 1843.
1. For Thee we long and pray. Sunday Morning.
2. Holy Father, hear my cry. A Child's Prayer.
3. I thought upon my sins and I was sad. Christ our Peace.
4. Peace to the world, our Lord is come. A Millennial Song.
5. Spirit of everlasting grace. The Vision of Dry Bones.
ii. From Songs for the Wilderness, No. 2,1844.
6. Ho, ye thirsty, parched and fainting. Invitation.
7. 0 'tis not what we fancied it. The world renounced.
8. Sing them, my children, sing them still. Children exhorted to Praise.
9. Time's sun is fast setting. Advent.
10. Weep, pilgrim, weep, yet 'tis not for the sorrow. Faith.
11. Yes, for me, for me He careth. Christ the Elder Brother .
iii. From The Bible Hymn Book, 1845.
12. Jesus, my sorrow lies too deep. Jesus, the Great High Priest.
13. There is a Morning Star, my soul. The Morning Star.
14. This is not my place of resting. Pressing towards heaven.
iv. From Hymns, Original and Selected, 1845.
15. Let there be light, Jehovah said. Creation.
v. From Hymns of Faith and Hope, 1st series, 1857.
16. Be brave, my brother. The Fight of Faith.
17. Blessed be God, our God. Good Friday.
18. Everlasting praises. Doxology.
19. Go up, go up, my heart. Heavenly aspirations desired.
20. I close my heavy eye. Evening. Sometimes given as "We close our heavy eyes."
21. I see the crowd in Pilate's hall. Good Friday.
22. Jesus, while this rongh desert soil. Strength by the Way.
23. Jesus, Whom angel-hosts adore. The Word made Flesh. From "The Son of God, in mighty love."
24. Make haste, 0 man, to live. Exhortation to lay hold of Life.
25. No seas again shall sever. Heaven.
26. Oppressed with noonday's scorching heat. Shadow of the Cross.
27. Rest for the toiling hand. Burial. From "Lie down, frail body, here."
28. Shall this life of mine be wasted? Exhortation to Duty.
29. These are the crowns that we shall wear. Heaven.
30. Thy works, not mine, O Christ [Lord]. The Sin-bearer.
31. Where the faded flower shall freshen. Heaven.
vi. From Hymns of Faith and Hope. 2nd series, 1861.
32. Be still, my soul, Jehovah loveth Thee. Rest in the Love of God.
33. Christ has done the mighty work. Good Friday.
34. Come, mighty Spirit, penetrate. Whitsuntide.
35. Deep down beneath the unresting surge. Burial at Sea.
36. Fear not the foe, thou flock of God [thou little flock]. Battle-Song of the Church.
37. For lack of love I languish. Lent.
38. From this bleak hill of storms. Eternal Rest desired.
39. He liveth long who liveth well. The True Life.
40. Here shall death's triumph end: the rock-barred door. Easter. From "The tomb is empty: wouldst thou have it full."
41. Jesus, Sun and Shield art Thou. Jesus the First and Last.
42. Jesus, the Christ of God. Praise to Christ.
43. Light of the world, for ever, ever shining. Christ the Light of the World. From "Why walk in darkness? Has the dear light vanished?"
44. Make use of me, my God. Duty desired.
45. Not what I am, 0 Lord, but what Thou art. The Love of God.
46. 0 Light of Light, shine in. Cry of the Weary.
47. 0 love of God, how strong and true. Love of God.
48. 0 love that casts out fear. Love of God.
49. 0 strong to save and bless. Lent.
50. 0 this soul, how dark and blind. Lent.
51. Safe across the waters. Thanksgiving at end of a journey.
52. Silent, like men in solemn haste. Pressing onwards.
53. Speak, lips of mine. Exhortation to Praise.
54. The Bridegroom comes. Advent.
vii. From Hymns of Faith and Hope. 3rd series, 1866.
55. Bear Thou my burden, Thou Who bar'st my sin. Lent or Passiontide.
56. Done is the work that saves. Easter.
57. Father, our children keep. Prayer on behalf of Children.
58. Fill Thou my life, 0 Lord my God. Life's Praise.
59. Finish Thy work, the time is short. Earnest labour to the end.
60. From the Cross the blood is falling. Good Friday.
61. He called them, and they left. Obedience.
62. Help me, my [0] God to speak. Truth desired.
63. Holy Father, Mighty God. Holy Trinity.
64. How are my troubles multiplied. Ps. iii.
65. How sweetly doth He show His face Flower Service.
66. Light hath arisen, we walk in its brightness. Sustaining power of Faith.
67. Lo, God, our God has come. Christmas.
68. Lord, give me light to do Thy work. Divine guidance desired.
69. No, not despairingly. Lent.
70. Not to ourselves again. Life in Christ, or, Living unto God.
71. Now in parting, Father, bless us. Post Communion.
72. Sounds the trumpet from afar. Battle-Song of the Church.
73. Thee in the loving bloom of morn. God in all.
74. Through good report and evil, Lord. Faithfulness.
75. To Jehovah, God of might. Praise to the Father.
76. To the name of God on high. Doxology.
77. Upward, where the stars are burning. Heavenward Aspirations.
78. We take the peace which He hath won. The Gift of Peace.
79. When the weary, seeking rest. Intercession for all Conditions of Men.
viii. From The Song of the New Creation,1872.
80. For the Bread and for the Wine. Holy Communion.
81. Light of life so softly shining. Light of Life.
82. Yet there is room. The Lamb's bright hall of song. Home Missions.
ix. From Hymns of the Nativity, 1879.
83. Great Ruler of the land and sea. Sailors' Liturgy. From Communion Hymns, 1881.
84. Beloved, let us love. Brotherly Love.
In several instances these hymns are given in an abbreviated form, and sometimes alterations are also introduced. In this latter respect however Dr. Bonar has suffered less than most modern hymn-writers. [Rev. James Mearns, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
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Bonar, Horatius, p. 161, i. He died at Edinburgh, July 31, 1889. In 1890 his son published a posthumous volume of his poetical pieces as Until the Day Break and other Hymns and Poems left behind. The following additional hymns are in common use:—
1. Almighty Comforter and Friend. (1866.) Whitsuntide.
2. Father, make use of me. An altered form of No. 44, p. 162, ii.
3. I ask a perfect creed. (1861.) Creed not Opinions. From this is also taken "O True One, give me truth."
4. Long, long deferred, now come at last. Marriage of the Lamb. Part of "Ascend, Beloved, to the joy." (1861.)
5. Nay 'tis not what we fancied it. (1857.) Vanity of the World.
6. No blood, no altar now. (1861.) The Finished Sacrifice.
7. No shadows yonder. (1857.) Heaven Anticipated.
8. Not with the light and vain. (1857.) Godly Companionship.
9. O Love invisible, yet infinite. (1866.) Divine Love.
10. On the great love of God I lean. (1866.) Love of God our Resting-place.
11. On Thee, O Jesus, strongly leaning. (1866.) Fellowship with Christ.
12. Peace upon peace, like wave on wave. (1866.) Divine Peace.
13. Sower divine, sow the good seed in me. (1857.) Heavenly Sowing.
14. Speaketh the sinner's sin within my heart. (1866.) Ps. xxxvi.
15. Still one in life and one in death. (1857.) Communion of Saints. Part of "'Tis thus they press the hand and part."
16. Surely, yon heaven, where angels see God's face. (1857.) Heaven Anticipated.
17. That city with the jewelled crest. (1857.) Heaven. Part of "These are the crowns that we shall wear." Another cento from the same is "Yon city, with the jewelled crest."
18. That clime is not like this dull clime of ours. (1843.) Heaven.
19. The Free One makes you free: He breaks the rod. (1857.) Freedom in Christ. From "Of old they sang the song of liberty."
20. There is a Morning-star, my soul. (1357.) Christ the Morning Star.
21. This is the day of toil. (1866.) Pressing Onwards.
22. Thy thoughts are here, my God. (1866.) Holy Scripture.
23. Till the day dawn. (1857.) Life's Journey.
24. To Him Who spread the skies. (1866.) Creation's Song.
25. Trustingly, trustingly. (1866.) Trust.
26. Unto th' eternal hills. (1866.) Ps. cxxi.
The above dates are: 1843, Songs in the Wilderness; 1857, Hymns of Faith and Hope, 1st Series; 1861, same, 2nd Ser. (not 1864); 1866, same, 3rd Ser. (not 1867), The dates 1857, 1864,1867, were given by Dr. Bonar, but the British Museum copies are 1857, 1861, 1866 respectively.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
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Bonar, H., pp. 161, i.; 1554, i. The Rev. H. N. Bonar, Dr. Bonar's son, published in 1904, Hymns by Horatius Bonar, Selected and Arranged by his Son H. N. Bonar, With a brief History of some of the Hymns, &c. (London: H. Frowde). From this work we must correct the date of his Song of the New Creation to 1872. We have also enriched our pages by additional and expanded notes on several of Dr. Bonar's most widely used hymns. In his biographical notes, Mr. Bonar refers to Dr. Bonar's work as editor of the Quarterly Journal of Prophecy, begun in 1848, to which he contributed a hymn for each number. We find that the number of hymns contributed thereto is 101.
With Dr. Bonar's poetical productions great difficulty has been encountered by the historian and annotator because of his absolute indifference to dates and details. It was enough for him that he had written, and that the Church of Christ approved and gladly used what, out of the fulness of his heart, he had given her.
--Excerpt from John Julian, Dictionary of Hymnology, New Supplement (1907)
Horatius Bonar
Henri F. Hemy
1818 - 1888 Person Name: Henry Frederick Hemy Topics: Fifteenth Sunday after Trinity Composer of "ST. CATHERINE" in Evangelical Lutheran hymnal Henri F. Hemy, born in the United Kingdom. Hemy spent time at sea as a young man, emigrating to Australia in 1850 with his family. Unable to make a decent living in Melbourne, he returned to Newcastle England. He was organist at St. Andrews Roman Catholic Church in Newcastle, later teaching professor of music at Tynemouth and at St. Cuthbert's College in Durham. He was pianist to Lord Ravensworth, Music Director of Ushaw College, and his orchestra played at fashionable venues in the region. He sang baritone as well. He composed waltzes, polkas, quadrilles, and galops. 3 music works: Easy Hymn Tunes for Catholic Schools; Royal Modern Tutor for Pianoforte; Crown of Jesus. He was active in local politics and published a manifesto in the daily newspaper. He lost a ward election. He also painted artwork. He set most of Longfellow's works to music.
John Perry
Henri F. Hemy
