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Curiosities of the Hymnal - Carl F Price · Blood on My Jets

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  Speaker 1: Dedication and preface of Curiosities of the Hymnal. This is
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  Speaker 1: a LibriVox recording. All LibriVox recordings are in the public domain.
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  Speaker 1: For more information or to volunteer, please visit LibriVox dot org.
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  Speaker 1: Read by Laurie Wilson. Curiosities of the Hymnal by Karl F. Price.
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  Speaker 1: Dedication to Paul Ambrose, composer, organist and Christian gentleman. This
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  Speaker 1: book is gratefully inscribed by one of his pupils. Preface,
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  Speaker 1: a critic of current literature recently made reference with mordant
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  Speaker 1: humor to that age when men wrote books upon the
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  Speaker 1: curiosities of almost every conceivable subject. Isaac Disraeli, if he
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  Speaker 1: did not actually initiate the custom, at least made it
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  Speaker 1: fashionable with his famous Curiosities of Literature, for there followed
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  Speaker 1: in his train a long procession of books in curious vain.
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  Speaker 1: Hymnology was one of the few themes which somehow escape
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  Speaker 1: this treatment. While this little sheaf of essays is not
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  Speaker 1: designed to atone adequately for this omission of a preceding century,
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  Speaker 1: it is hoped by the author that it will at
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  Speaker 1: least encourage among its readers a greater interest in the
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  Speaker 1: hymnal is wide range of adaptability to human life, and
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  Speaker 1: some of its suggestive phases, which are often unsuspected by
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  Speaker 1: the average user of hymns. One of the most successful
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  Speaker 1: of the series of books referred to was Curiosities of
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  Speaker 1: the Bible by Erastus b treat, a volume now out
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  Speaker 1: of print, though it attained a circulation of over one
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  Speaker 1: hundred thousand. The author therein relates the story of the
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  Speaker 1: Prince of Grenada, heir to the Spanish throne, who, during
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  Speaker 1: his thirty three years imprisonment in the prison of Skulls,
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  Speaker 1: kept his mind active by digging out all manner of
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  Speaker 1: curious facts about the Bible. One of them was the
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  Speaker 1: discovery that Psalm one hundred eighteen eight is the middle
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  Speaker 1: verse of the Bible. It is better to try just
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  Speaker 1: in the Lord than to put confidence in man and
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  Speaker 1: appropriate central verse about which to revolve the great truths
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  Speaker 1: of the sacred scriptures. No incarceration was necessary for the
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  Speaker 1: discovery of a pivot in the Methodist tymnal, for it
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  Speaker 1: is quite apparent that the middle of the seven hundred
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  Speaker 1: twenty seven hymns is number three hundred sixty four and
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  Speaker 1: it takes but a moment to calculate that in the
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  Speaker 1: middle hymn the middle word is soul. Nor is this
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  Speaker 1: wholly inappropriate as a central word. The hymnal is an
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  Speaker 1: expression in sacred song of the soul of man, pouring
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  Speaker 1: out its aspirations, its praise, and its supplications to the
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  Speaker 1: eternal soul, whose love can animate the strain and bid
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  Speaker 1: it reach the skies. Thus the hymnal, the composite product
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  Speaker 1: of earnest human souls, is repeat with human interest. It
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  Speaker 1: is frequently tangent to human life. From this standpoint, it
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  Speaker 1: deserves much closer study than is possible when its use
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  Speaker 1: is can fine to the church pews, to the singing
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  Speaker 1: of a few hymns in Sabbath worship. Every One should
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  Speaker 1: possess a hymnal in the home, and by frequent perusal,
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  Speaker 1: acquire a familiarity with the great hymnotic treasures of the Church.
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  Speaker 1: It is for the purpose of stimulating this personal use
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  Speaker 1: of the hymnal that these essays have been prepared. This
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  Speaker 1: wide human interest, of course, inheres in most of the
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  Speaker 1: standard Church hymnals. As a practical method, however, we have
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  Speaker 1: based these studies upon the Methodist Hymnal of nineteen o five.
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  Speaker 1: The numbers in parentheses therefore following the quotation of hymn
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  Speaker 1: lines throughout the book referred to hymn numbers in the
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  Speaker 1: Methodist Hymnal from which these quotations are taken. We are
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  Speaker 1: especially grateful to the editors of the Christian Advocate Zions
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  Speaker 1: Herald and the Epworth Herald for permission to reproduce here
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  Speaker 1: some of the material which first appeared in the columns
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  Speaker 1: of those respective periodicals. Carl F. Price, New York City,
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  Speaker 1: April fifth, nineteen twenty six, end of preface.
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  Speaker 2: Chapter one of Curiosities of the Hymnal. This is a
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  Speaker 2: LibriVox recording. All LibriVox recordings are in the public domain.
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  Speaker 2: For more information or to volunteer, please visit LibriVox dot org.
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  Speaker 2: Read by Shrimpfish. Curiosities of the Hymnal by Carl F.
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  Speaker 3: Price.
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  Speaker 2: The hymnotic day that man is blessed, who in the
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  Speaker 2: morning can awaken from a night's slumber with a consciousness
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  Speaker 2: in his mind and heart of the presence of Jesus Christ.
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  Speaker 2: Harriet beecher Stowe must have known frequently the blessedness of
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  Speaker 2: that experience. Else how could she have penned her tender
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  Speaker 2: hymn describing this very adventure of the soul, a vision
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  Speaker 2: of Christ at the sacred threshold of the day. How
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  Speaker 2: many times, in the early morning hours, with the dawn
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  Speaker 2: of consciousness has this feeling of Christ's presence been intensified
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  Speaker 2: for us by meditation on these lines.
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  Speaker 3: Still still with THEE.
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  Speaker 2: When purple morning breaketh, when the bird waketh and the
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  Speaker 2: shadows flee, fairer than morning, lovelier than daylight dawns. The
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  Speaker 2: sweet consciousness I am with THEE each day is given
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  Speaker 2: a new meaning as we mentally sing that wonderful fourth verse,
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  Speaker 2: Still still with Thee. As to each new born morning,
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  Speaker 2: fresh and solemn splendor still is given. So does this
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  Speaker 2: blessed consciousness awaking breathe each day nearness unto THEE in heaven.
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  Speaker 2: Other mourning hymns yield a matin meditation or a devout
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  Speaker 2: prayer with which to begin the thought life of a
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  Speaker 2: new day. And the soul mounts godward upon such lines
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  Speaker 2: as we find in the German hymn. When morning gilds
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  Speaker 2: the skies, my heart awakening cries, may Jesus Christ be praised,
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  Speaker 2: or John Keeble's Mourning Him Knew Every morning is the Love.
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  Speaker 2: One of the most helpful devotional books of my boyhood
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  Speaker 2: days was that quaint story of the early work of
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  Speaker 2: the Wesleys, The Diary of Miss Kitty trevi Leon. It
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  Speaker 2: is not too old fashioned, even in this day to
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  Speaker 2: be a stimulus to the devotional life of one who
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  Speaker 2: is wise.
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  Speaker 3: Enough to secure and read it.
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  Speaker 2: When a young girl, Kitty was fortunate in having felt
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  Speaker 2: the powerful appeal of John Wesley's burning message true to
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  Speaker 2: her new vision, she deepened her devotional life with the
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  Speaker 2: precepts in Bishop Taylor's Golden Grove, until nearly every important
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  Speaker 2: act of her day was accompanied by a prayer suitable
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  Speaker 2: to the act. When she first awoke, it was with
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  Speaker 2: the prayer on her lips that God would sanctify the
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  Speaker 2: day just begun. When she arose and opened her window,
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  Speaker 2: she exclaimed, Jesus, my son, I opened my heart to THEE.
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  Speaker 2: When she washed, she prayed God to wash all sin
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  Speaker 2: from her heart and life. When she dressed, she prayed
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  Speaker 2: God to clothe her with righteousness. When she ate her breakfast,
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  Speaker 2: it was none till the divine Father had been asked
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  Speaker 2: to feed her with the bread of life. Thus each
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  Speaker 2: part of the day was hollowed in answer to her prayers.
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  Speaker 2: Had Kitty trevi Leon known the Methodist hymnal of to day,
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  Speaker 2: she might have found, as indeed we later Wesleyans may
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  Speaker 2: find hymn lines in which to express a prayer for
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  Speaker 2: nearly every situation of the day. For the stricter definition
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  Speaker 2: of a hymn demands that it be a prayer addressed
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  Speaker 2: to deity. We have mentioned hymns to be repeated upon awaking.
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  Speaker 2: When arising, it is helpful to repeat, Bishop Thomas kens him,
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  Speaker 2: awake my soul and with the sun thy daily stage
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  Speaker 2: of duty, run, shake off dull sloth, and joyful rise
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  Speaker 2: to pay thy morning sacrifice. Instead of the early rise
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  Speaker 2: written by Ken, this stay of bed age sings joyful rise.
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  Speaker 2: The prayer element of the hymn reaches a climax in
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  Speaker 2: the fourth verse, Lord I my vows to thee renew,
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  Speaker 2: disperse my sins as morning, do guard my first springs
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  Speaker 2: of thought and will, and with thyself my spirit. Fill
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  Speaker 2: to the last verse should be added our long meat
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  Speaker 2: or doxology praise God from whom all blessings flow, which
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  Speaker 2: is really a part of this hymn of Ken's. Charles
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  Speaker 2: Wesley's hymn number three hundred fifty seven is an appropriate
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  Speaker 2: hymn to accompany the act of washing, beginning with the
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  Speaker 2: second verse. The third verse is especially appropriate, wash me
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  Speaker 2: and make me thus thine own wash me and mine
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  Speaker 2: Thou art wash me, but not my feet alone, my.
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  Speaker 3: Hands, my head, my heart.
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  Speaker 2: Upon dressing, we may repeat prayerfully, O Great Absolver, grant
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  Speaker 2: my soul may wear the lowliest garb of patience and prayer,
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  Speaker 2: that in the Father's courts my glorious dress may be
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  Speaker 2: the garment of thy righteousness. There are many hymns that
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  Speaker 2: might be used with profit and meal times, such as
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  Speaker 2: break Thou the bread of life. There is one home
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  Speaker 2: accustomed to grace at meals orre on Thanksgiving days of
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  Speaker 2: recent years. The writer has heard the whole company about
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  Speaker 2: the board before eating dinner, sing Wesley's metrical grace be
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  Speaker 2: present at our table. Lord be here as everywhere adored
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  Speaker 2: these creatures. Bless and grant that we may feast in
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  Speaker 2: paradise with thee when the work of the day begins.
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  Speaker 2: Situations will arise to suggest hymn lines to the hymn lovers.
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  Speaker 2: The chant of labor work for the night is coming
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  Speaker 2: is the next hortation, rather than a prayer, and therefore
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  Speaker 2: in the strictest sense, not a hymn but a work song.
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  Speaker 2: It divides the day into three parts, morning, noon, and
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  Speaker 2: late afternoon, giving to each averse representing, respectively, the three stages.
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  Speaker 3: Of man's life.
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  Speaker 2: Work. Sometimes the day's work becomes irksome, monotonous, and we
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  Speaker 2: forget the real meaning of it all until we lift
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  Speaker 2: the prayer of George Herbert's him.
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  Speaker 3: If done to.
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  Speaker 2: Obey Thy laws, E in servile labors, shine hallow does toil.
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  Speaker 2: If this the cause the meanest work, divine THEE. Then,
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  Speaker 2: my God and King, in all things, may I see,
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  Speaker 2: And what I do in anything, may it be done
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  Speaker 2: for THEE. Some hymn lovers are so familiar with the
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  Speaker 2: hymns that, if they are not actually in the habit
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  Speaker 2: of thinking in terms of the hymns, at least they
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  Speaker 2: recall very often hymn lines that will appropriately fit an
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  Speaker 2: unexpected situation, such as frequently arises in the course of
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  Speaker 2: a day.
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  Speaker 3: Once, during a conference.
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  Speaker 2: Section at Syracuse New York. The vast audience so overcrowded
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  Speaker 2: the church that the underpinning of the floor began to crack.
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  Speaker 2: When the danger was reported to Chancellor James ar Day,
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  Speaker 2: who had been leading in prayer upon the platform, he announced,
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  Speaker 2: the congregation will thou rise and sing how firm a foundation,
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  Speaker 2: and during the singing we shall pass out quietly, and
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  Speaker 2: this afternoon meet again in Kruse College Hall, where they
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  Speaker 2: exercise will be continued. All of which was accomplished without accident.
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  Speaker 2: In eighteen ninety seven, when Bishop Hertzell was lecturing at Hackettstown,
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  Speaker 2: New Jersey, on Darkest Africa, the electric lights suddenly went
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  Speaker 2: out with grim appropriateness. Someone started the hymn send the Light,
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  Speaker 2: the Blessed Gospel Light. And while they were yet singing
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  Speaker 2: our Duet Stanley, now a member of the Central New
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  Speaker 2: York Conference, appeared with a lighted lamp in each hand.
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  Speaker 2: Bishop Hartzell exclaimed, here comes Stanley, lighting up darkest Africa.
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  Speaker 2: One recent winter. Missus Anna B. Cooney, a hymn writer,
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  Speaker 2: while on a visit to Cuba, was writing horseback one
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  Speaker 2: day when suddenly her mount became frightened and ran away
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  Speaker 2: with her for two terrible miles they dashed along the road,
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  Speaker 2: and she was so dazed by the terror of his
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  Speaker 2: situation that, as she relates, she thought of nothing else
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  Speaker 2: but the hymn verse, which he kept repeating over and
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  Speaker 2: over again. Oh God, our help in ages past, our
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  Speaker 2: hope for years to come. Be thou our guide, while
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  Speaker 2: life shall last, and our eternal home. As they approached
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  Speaker 2: an impassable barrier in the road, she fainted and fell
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  Speaker 2: limp and unconscious by the side of the thoroughfare.
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  Speaker 3: This alone saved her life.
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  Speaker 2: The day brings a different message to every soul, but
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  Speaker 2: there's one thing the physical day brings to everyone in
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  Speaker 2: the community alike, and that is the weather. If the
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  Speaker 2: day be stormy, we shall sing as we go forth
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  Speaker 2: to brave the weather. When gathering clouds around I view,
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  Speaker 2: and days are dark or at sea, blessed be the
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  Speaker 2: tempest kind the storm. If the day be full of sunshine,
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  Speaker 2: our song shall be fair as the sunshine, or the
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  Speaker 2: golden sunshine vernal air. If winter's cold be biding us,
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  Speaker 2: there shall come John Newton's reminder that when I am
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  Speaker 2: happy in him, descembers as pleasant as may. If the
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  Speaker 2: snow be falling through the air, we shall sing He
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  Speaker 2: sends the snow in winter, and shall be reminded through
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  Speaker 2: this hymn of the relation of these same snows to
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  Speaker 2: the bountiful harvest of summer. Thus, whatever our observations upon
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  Speaker 2: the weather of the hymnotic day, so be it that
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  Speaker 2: they be made in terms of the hymns. We shall
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  Speaker 2: ever be mindful of the relation between the goodness of
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  Speaker 2: God and the weather, and its consequent material benefits to us. Now,
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  Speaker 2: when the kiddy trevi lion of our century comes to
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  Speaker 2: the end of her hymnotic day and pillows her head
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  Speaker 2: for the night's slumber, there is a wealth of evening
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  Speaker 2: hymns with which she may enrich her vesper devotions. Bishop
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  Speaker 2: ken whose mourning him she repeated on rising, gives her
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  Speaker 2: an evening him as quaint as the other, and much
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  Speaker 2: more tender in its prayer, Glory to THEE my God,
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  Speaker 2: this night abide with me, written by Henry f Light
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  Speaker 2: as his death was approaching, will be an effective prayer
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  Speaker 2: to bring her soul in communion with that presence for
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  Speaker 2: whom she longs, or just at the very last of
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  Speaker 2: the day's consciousness, may repeat the hymn. Now the day
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  Speaker 2: is over, and find a holy comfort in answer to
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  Speaker 2: the prayer through the long night watches, May thine angels
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  Speaker 2: spread the white wings above me watching round my bed.
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  Speaker 2: End of chapter one, Chapter two of Curiosities of the Hymnal.
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  Speaker 2: This is a LibriVox recording. All LibriVox recordings are in
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  Speaker 2: the public domain. For more information or to volunteer, please
• 14:32
  Speaker 2: visit LibriVox dot org. Read by Shrimpfish. Curiosities of the Hymnal.
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  Speaker 3: By Carl F. Price.
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  Speaker 2: The hymnal a book of life. The hymnal is a
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  Speaker 2: book of life. It is derived from life, It is
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  Speaker 2: expressive of life, and it touches a wide range of
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  Speaker 2: the most vital points in human life. Back of every
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  Speaker 2: hymn there is a story in the life of its author,
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  Speaker 2: or perhaps it is the resultant of many complex experiences
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  Speaker 2: of its writer. There is partially recorded in our hymnology
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  Speaker 2: the story of a few of our hymns. But perhaps
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  Speaker 2: in heaven there will be an infinite hymnology dictated by
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  Speaker 2: omniscience that will show us how deep and far spreading
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  Speaker 2: in life have been the roots of many of these hymns.
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  Speaker 3: Most true hymns, like.
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  Speaker 2: True literature, reflect certain definite phases of human life. Each
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  Speaker 2: hymn touches life at some one point. Indeed, it is
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  Speaker 2: a profitable exercise for the hymn lover to examine individual
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  Speaker 2: hymns in order to discover what common points of human
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  Speaker 2: life each hymn touches, What emotion is dominant, what manner
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  Speaker 2: of action or conduct its message would reach, Take, for instance,
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  Speaker 2: the emotions of human life. It is astonishing what a
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  Speaker 2: wide range of emotions our hymns express. Fear and despair
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  Speaker 2: are to be found in the miracle hymn, Save Lord,
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  Speaker 2: we perish was their cry, Oh save us.
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  Speaker 3: In our own now.
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  Speaker 2: Wherever human emotion is touched by the hymns, it is
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  Speaker 2: ennobled or resolved toward a calmer emotion. So it comes
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  Speaker 2: to pass that the disciples fear and despair pictured in
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  Speaker 2: the first part of each verse, in both music and
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  Speaker 2: words of this hymn, are resolved into peace and calm
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  Speaker 2: as the tempest distilled by the Master. The emotion of
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  Speaker 2: pride is to be seen in the lines The mighty
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  Speaker 2: glory in their might, the rich and flattering riches trust,
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  Speaker 2: but pride in worldly things meets a fall, and there
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  Speaker 2: remains as this hymns shows only glory in the blood
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  Speaker 2: of Jesus Christ. Love is the theme of hundreds of hymns.
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  Speaker 2: Love toward God, toward fellow men, toward those who are
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  Speaker 2: nearest and dearest in human relationship. And whenever love is
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  Speaker 2: uttered in the hymns, it is always spiritualized. Jealousy appears
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  Speaker 2: only in a higher sense.
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  Speaker 3: Ar me with jealous care.
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  Speaker 2: The hymn show pity, Lord, let a repenting rebel live
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  Speaker 2: utters thet ar it's deepest penitence, which divine forgiveness stands
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  Speaker 2: ready to accept. Sorrow is assuaged in the comforting lines
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  Speaker 2: of the great Irish singer Come more, Come ye di consolate.
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  Speaker 3: Where are ye languish?
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  Speaker 2: Pity is awakened to teach an ethical lesson in the
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  Speaker 2: lines Mourn for the Thousands Slain. Joy reaches its highest
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  Speaker 2: plain in spiritual rejoicing Happy the man that finds the grace.
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  Speaker 2: Sympathy is interpreted in New Testament terms and are hymn
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  Speaker 2: on the good Samaritan who is thy neighbor. The emotion
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  Speaker 2: of remorse finds its cure in spiritual peace. Ye by
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  Speaker 2: Fiercer anguish, torn in remorse for guilt. Who mourn unworthy
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  Speaker 2: shame is scorned in the hymn ashamed of Jesus. Hope
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  Speaker 2: finds its surest foundation in Jesus Christ.
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  Speaker 3: My hope is.
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  Speaker 2: Built on nothing less than Jesus's blood and righteousness. And
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  Speaker 2: besides these, many other emotions find expression in our hymns.
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  Speaker 2: The intellectual interest within the hymnal is unquestioned. The mental
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  Speaker 2: contemplation of the wonders of nature, the stars, the sunsets,
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  Speaker 2: the garments of the earth, vegetation, and verdour all suggest
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  Speaker 2: the omnipotent nature of God. Great thoughts impel us toward God,
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  Speaker 2: and science walks with humble feet to seek the God
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  Speaker 2: that faith hath found. In these terms, the hymnal declares
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  Speaker 2: that the consecration of the mind to the Master's service
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  Speaker 2: is essential to holiness. Take my intellect and use every
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  Speaker 2: power as thou shalt choose. Human life is guided.
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  Speaker 3: By the will.
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  Speaker 2: However much the emotions and the intellect may influence the will,
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  Speaker 2: it is the operation of the human will that produces
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  Speaker 2: the activities of human life itself. Our forefathers fought over
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  Speaker 2: the doctrine of the freedom of the will in relation
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  Speaker 2: to divine foreordination, and many of the hymns of the
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  Speaker 2: eighteenth century were distinctly polemical. It is amazing to what
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  Speaker 2: extent the Calvinistic author of Rock of Ages and the
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  Speaker 2: Armenian author of Jesus Lover of My Soul vilified each
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  Speaker 2: other because of their mutual theological antipathies. Once Charles Wesley
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  Speaker 2: wrote in the hymn beginning, equip me for the war increase,
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  Speaker 2: if that can be the perfect hate I feel to
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  Speaker 2: Satan's horrible decree, that genuine child of Hell, which feigns
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  Speaker 2: thee to pass by the most of Adam's race. But
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  Speaker 2: despite the calvinism of some of the early Wesleyan leaders
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  Speaker 2: such as George Whitefield, the Armenian theology has permeated Methodism,
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  Speaker 2: as indeed other evangelical churches, and accordingly, the freedom of
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  Speaker 2: the human will in relation to the choice between salvation
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  Speaker 2: and perdition is clearly and consistently taught throughout the hymnal
• 19:54
  Speaker 2: Tennyson caught up the spirit of this doctrine in the
• 19:56
  Speaker 2: lines of our Hymn, taken from his Inmemorium. Our wills
• 20:01
  Speaker 2: are ours, we know not how our wills are ours
• 20:03
  Speaker 2: to make them thine. The hymn Sinner's Turn, why will
• 20:07
  Speaker 2: ye Die, expresses more than futurity. It is an appeal
• 20:11
  Speaker 2: to the free will of man to escape from the
• 20:14
  Speaker 2: wrath to come. Even such references to God's will are
• 20:17
  Speaker 2: made in Luther's hymn, We will not fear, for God
• 20:20
  Speaker 2: hath willed his truth to triumph through us. And breathe
• 20:24
  Speaker 2: on me breath of God, until my heart is pure,
• 20:27
  Speaker 2: until with thee I will. One will need not disturb
• 20:31
  Speaker 2: one's confidence. In the orthodoxy of our hymnal. There are
• 20:35
  Speaker 2: hymns of decision. I am resolved to try, and of indecision,
• 20:39
  Speaker 2: God calling, Yet shall I not hear?
• 20:42
  Speaker 3: I wait?
• 20:42
  Speaker 2: But he does not forsake? What is it keeps me back?
• 20:46
  Speaker 2: And while perhaps there's little to be found in the
• 20:49
  Speaker 2: hymnal on the force of habit save the general references
• 20:52
  Speaker 2: to temptation, the effects of habits good and evil are
• 20:56
  Speaker 2: noted in song, such as the happiness to be derived
• 20:59
  Speaker 2: from the habit of obedience, Oh how happy are they
• 21:02
  Speaker 2: who their Savior obey? And the degradation that comes from
• 21:06
  Speaker 2: slavery to the drink habit eternal life and light lost
• 21:10
  Speaker 2: by the fiery, maddening bull, and turned to hopeless night.
• 21:14
  Speaker 2: Even the more important events of human life are signalized
• 21:17
  Speaker 2: by references in the Hymnal birth is celebrated in Hymnudi.
• 21:21
  Speaker 2: For nearly all of our Christmas hymns are cradle songs
• 21:24
  Speaker 2: or birth songs of the divine child. Childhood is dignified
• 21:28
  Speaker 2: by the appearance of the boy Christ in the temple
• 21:30
  Speaker 2: at the age of twelve, O Thou, whose infant feet
• 21:33
  Speaker 2: were found within thy father's shrine, by the little children
• 21:37
  Speaker 2: whom Christ bless, I wish that his hands had been
• 21:40
  Speaker 2: placed on my head, And by the palm bearing children
• 21:43
  Speaker 2: who sang their hosannas as Christ made his triumphal entry
• 21:47
  Speaker 2: into Jerusalem. Hosanna be the children's song. The coming of
• 21:52
  Speaker 2: human love into the hearts of a man and woman
• 21:54
  Speaker 2: inspires the prayer that theirs may be the love which
• 21:57
  Speaker 2: knows no ending. One of our may hymns refers to
• 22:01
  Speaker 2: the wedding at Cana, since Jesus freely did appear to
• 22:04
  Speaker 2: grace a marriage feast. On April eighth, seventeen twenty nine,
• 22:09
  Speaker 2: Charles Wesley was married to Missus Sarah Gwynn hymnotically. He
• 22:13
  Speaker 2: celebrated the event by writing seventeen hymns, one of which
• 22:17
  Speaker 2: is said to have been sung at their early morning nuptials.
• 22:20
  Speaker 2: It is not the fashion here, however, as in England,
• 22:23
  Speaker 2: to sing hymns at a wedding ceremony, and sometimes to
• 22:26
  Speaker 2: listen to a sermon. Besides, there are hymns on home
• 22:29
  Speaker 2: life in the family, one of them being by Oliver
• 22:32
  Speaker 2: Wendell Holmes. The Gracious God, whose mercy lends the light
• 22:36
  Speaker 2: of home the smile of Friends. Bereavement is an event
• 22:40
  Speaker 2: that comes to nearly all of us in life, and
• 22:42
  Speaker 2: the sadness of this experience is reflected in the hymn
• 22:45
  Speaker 2: Friend after Friend departs. There are many hymns that suggest
• 22:49
  Speaker 2: the various vocations that go to make up the business
• 22:52
  Speaker 2: of life, as we shall illustrate in subsequent pages.
• 22:56
  Speaker 3: Old age is.
• 22:56
  Speaker 2: An experience to which comparatively few in life. At Charles
• 23:01
  Speaker 2: Wesley has sung of its utter dependence upon God in
• 23:04
  Speaker 2: the hymn written upon his deathbed an age and feebleness extreme.
• 23:08
  Speaker 2: Who shall a helpless warm redeem? But death is certain
• 23:12
  Speaker 2: to us all, and many of our hymns utter in
• 23:15
  Speaker 2: tenderest terms the meditations of our sacred poets on the
• 23:18
  Speaker 2: great transition, why should we start? And fear to die? Thus,
• 23:22
  Speaker 2: from birth to death, our common biographies are squared by
• 23:25
  Speaker 2: the hymnal, each important event being touched by one or
• 23:28
  Speaker 2: more hymns, and some hymns touching various events or conditions
• 23:32
  Speaker 2: or departments of life. Each element of life is by
• 23:35
  Speaker 2: the hymns related to the spiritual life, the real life
• 23:39
  Speaker 2: of human existence, which cannot end with death. The soul's
• 23:42
  Speaker 2: progress through sin, conviction, repentance, faith, conversion towards the higher
• 23:47
  Speaker 2: holiness and the heavenly Home is pictured at every important
• 23:51
  Speaker 2: step in various hymns. Life eternal is the ultimate theme
• 23:54
  Speaker 2: of our sacred song, and the transcendent joys of the
• 23:57
  Speaker 2: homeland have inspired many of the loftiest and most beautiful
• 24:01
  Speaker 2: Christian hymns ever written. Take my life and let it
• 24:04
  Speaker 2: be consecrated Lord to thee till in the ocean of
• 24:07
  Speaker 2: Thy love we lose ourselves in heaven above end of
• 24:12
  Speaker 2: Chapter two, Chapter three of Curiosities of the Hymnal. This
• 24:22
  Speaker 2: is LibriVox recording. All LibriVox recordings are in the public
• 24:26
  Speaker 2: domain for more information or to volunteer, please visit LibriVox
• 24:30
  Speaker 2: dot org. Read by shrimp Fish Curiosities of the Hymnal
• 24:36
  Speaker 2: by Carl F.
• 24:38
  Speaker 3: Price.
• 24:39
  Speaker 2: The Vocational Hymnal, that the Methodist hymnal is adaptable to
• 24:44
  Speaker 2: the spiritual means of all walks of life, may be conceited,
• 24:48
  Speaker 2: for it is employed for worship song in city and country,
• 24:52
  Speaker 2: by rich and poor, in every state of the Union,
• 24:56
  Speaker 2: east and west. But whoever dreamed that the hipn juno
• 25:00
  Speaker 2: forms a tangent with the circles of certain occupations? And
• 25:04
  Speaker 2: yet it is possible to trace such points of contact
• 25:08
  Speaker 2: in hymns or passages from hymns written four or relating
• 25:12
  Speaker 2: to particular professions, trades, and lines of business. For instance,
• 25:18
  Speaker 2: Charles Wesley once visited Portland in England, and preached to
• 25:22
  Speaker 2: the quarrymen of that place. While there he wrote for
• 25:25
  Speaker 2: them a hymn and borrowed from their occupation this figure
• 25:28
  Speaker 2: of speech. Strike with the hammer of thy word, and
• 25:32
  Speaker 2: break these hearts of stone. Likewise, on preaching to the
• 25:37
  Speaker 2: colliers at Newcastle, he wrote, see how great a flame aspires,
• 25:42
  Speaker 2: borrowing his figure from the fires of the collieries, and
• 25:45
  Speaker 2: the glow they cast upon the nightly sky. Nor did
• 25:50
  Speaker 2: Charles Wesley forget to celebrate in his Hymnadi his own profession,
• 25:54
  Speaker 2: the Christian ministry, as is attested by four hymns from
• 25:58
  Speaker 2: his pen. Among the ten hymns in the Hymnal under
• 26:01
  Speaker 2: the heading the Ministry, two of the other six were
• 26:05
  Speaker 2: translations from the German made by his brother John Wesley.
• 26:10
  Speaker 2: I have sometimes wondered why hymn writers have not reflected
• 26:13
  Speaker 2: more of their own occupations in their hymns. Of course, clergymen,
• 26:17
  Speaker 2: who as a class have written three quarters of our hymns,
• 26:20
  Speaker 2: have made frequent reference in their hymns to the work
• 26:23
  Speaker 2: of their own profession. But why did not Thomas Oliver's
• 26:28
  Speaker 2: The Wesley and Cobbler, instead of James Montgomery the Editor,
• 26:32
  Speaker 2: write the line his feet are with the Gospel shod?
• 26:36
  Speaker 2: And why did not that tenth century king Robert the
• 26:40
  Speaker 2: Second of France write his kingdom is glorious in rules
• 26:44
  Speaker 2: over all instead of the clergyman. Charles Wesley. The astronomer
• 26:50
  Speaker 2: finds many hymns that interpret his life's passion in divine terms.
• 26:55
  Speaker 2: As he beholds the starry firmament on high truly a
• 27:00
  Speaker 2: robe of light divine his heart exclaims in terms of
• 27:04
  Speaker 2: the Hymnal, thou who hast sown the sky with stars,
• 27:09
  Speaker 2: setting thy thoughts in gold. Thou art the Lord of all,
• 27:13
  Speaker 2: being throned afar those mighty orbs proclaim Thy power, for
• 27:21
  Speaker 2: the hand that made them is divine. It is significant
• 27:25
  Speaker 2: to the devout astronomer that nearly all of the hymns
• 27:28
  Speaker 2: classified under the subject God Being and attributes reflect in
• 27:33
  Speaker 2: some verse the spiritual lesson of the stars. Shepherds in
• 27:38
  Speaker 2: the Bible, and therefore also in the Hymnal, are often
• 27:41
  Speaker 2: associated with song. The greatest shepherd is the greatest singer, David,
• 27:47
  Speaker 2: who charmed Saul's madness with his music and first sang
• 27:51
  Speaker 2: many of the psalms that the world still sings. The
• 27:54
  Speaker 2: Shepherd's Psalm the twenty third forms the theme of four
• 27:58
  Speaker 2: of our hymns, and the second verse of another. While
• 28:02
  Speaker 2: the shepherds who listened in the fields with their flocks
• 28:05
  Speaker 2: passed before us joyfully in the pageantry of many of
• 28:08
  Speaker 2: our Christmas hymns. Besides these, the shepherd hymns of the
• 28:12
  Speaker 2: Hymnal present two other ideas distinctly derived from the occupation
• 28:16
  Speaker 2: of the shepherd, namely a the quest of the divine
• 28:20
  Speaker 2: Shepherd for the lost sheep, and b the care of
• 28:24
  Speaker 2: the little children as lambs of the Great Shepherd. The
• 28:28
  Speaker 2: eighteenth century poet Matthias Claudius, known affectionately throughout Germany as
• 28:34
  Speaker 2: the WANs Becker Bolt from the almanac he edited, once
• 28:39
  Speaker 2: wrote a rustic play entitled Paul Erdmann's fest and into
• 28:44
  Speaker 2: the mouths of a group of serenading farmers he puts
• 28:47
  Speaker 2: the words we are flugen un dryer struen, which comes
• 28:53
  Speaker 2: from our hymn we plow the fields and scatter the
• 28:57
  Speaker 2: best of several hymns suitable for the occupation of farmer.
• 29:01
  Speaker 2: Mariners too have their hymns, such as the prayer hymn
• 29:05
  Speaker 2: Jesus Savior pilot me or the picture of Christ stilling
• 29:09
  Speaker 2: the tempest, the prayer for sailors tossing on the deep
• 29:14
  Speaker 2: blue sea, and the hope of Heaven after the stormy
• 29:17
  Speaker 2: voyage of life. Musicians find in the hymns many references
• 29:22
  Speaker 2: to their profession. But what more harmonious prayer can they
• 29:25
  Speaker 2: offer than this? Oh, may my heart in tune be
• 29:29
  Speaker 2: found Like David's harp of solemn sound. Thus, many of
• 29:33
  Speaker 2: our hymns, by spiritualizing the significance of an occupation, become
• 29:37
  Speaker 2: the vocational hymn of that craft. The lawyer sings, All
• 29:42
  Speaker 2: life is larger for thy law, all service sweeter for
• 29:46
  Speaker 2: thy love, thy life, our code. The night watchmen sings,
• 29:51
  Speaker 2: watchmen tell us of the night. The scientists and science
• 29:55
  Speaker 2: walks with humble feet to seek the God that faith
• 29:58
  Speaker 2: hath found. The bill.
• 30:00
  Speaker 3: We who these foundations lay, may.
• 30:02
  Speaker 2: Raise the topstone in its day. The choir master, by
• 30:07
  Speaker 2: faith the upper choir, we meet and challenge them to sing.
• 30:11
  Speaker 2: The soldier soldiers of Christ, arise and put your armor on,
• 30:17
  Speaker 2: or any other the five hymns following this in the hymnal.
• 30:20
  Speaker 2: The physician may derive his inspiration from the Great Healer.
• 30:24
  Speaker 2: At even ere the sun was set, the sick o
• 30:27
  Speaker 2: Lord a round vi lay. It is fortunate for the
• 30:31
  Speaker 2: medical profession that not all of the verses of Robert
• 30:34
  Speaker 2: Herrick's quaint old hymn Sweet Spirit Comfort Me are used
• 30:38
  Speaker 2: to day. That hymn was undoubtedly written in a spirit
• 30:42
  Speaker 2: of great tenderness, and is found in some present day hymnals,
• 30:46
  Speaker 2: though not in the Methodist ones. These verses in the
• 30:49
  Speaker 2: midst of a description of approaching death are usually omitted
• 30:52
  Speaker 2: for obvious reasons. When the artless doctor sees no one
• 30:57
  Speaker 2: hope but of his fees, and his skill runs on
• 31:00
  Speaker 2: the LEAs, Sweet Spirit comfort me, when his posin and
• 31:05
  Speaker 2: his pill is of none or little skill meet her
• 31:08
  Speaker 2: nothing but to kill, Sweet Spirit comfort me. Our hymns,
• 31:12
  Speaker 2: Holy Father, cheer our way. And when gathering clouds around
• 31:17
  Speaker 2: I view contain verses expressive of the soul's dependence upon
• 31:21
  Speaker 2: God as death approaches. One Sunday evening during the Christmas holidays,
• 31:26
  Speaker 2: in an Epworth League meeting of which the topic was
• 31:29
  Speaker 2: glad Tidings, a certain New York publisher arose and stated,
• 31:34
  Speaker 2: among other things, on the subject that, when he published
• 31:37
  Speaker 2: some of D. L. Moody's sermons in a book entitled
• 31:41
  Speaker 2: glad Tidings, another concern wrote him, objecting to this title
• 31:45
  Speaker 2: on the ground that they too were publishing a book
• 31:48
  Speaker 2: called glad Tidings of which he had never heard. He
• 31:52
  Speaker 2: replied that he had been under the impression that this
• 31:55
  Speaker 2: title was as old as the story of the Angel
• 31:58
  Speaker 2: Song over the Hills of Bethlehem, and therefore all were
• 32:02
  Speaker 2: free to use it. When he had finished speaking, someone
• 32:05
  Speaker 2: gave out the hymn O Zion haste, and by the
• 32:09
  Speaker 2: time the chorus was reached, all were singing published Glad
• 32:12
  Speaker 2: Tidings with an amusing appropriateness that was not altogether lost.
• 32:18
  Speaker 2: Probably that hymn could be sung with equal propriety by
• 32:22
  Speaker 2: the Tidings Publishing Company of Washington, New Jersey, or by
• 32:27
  Speaker 2: Lilan de Waters, who recently published another book, Glad Tidings.
• 32:33
  Speaker 2: And perhaps we might consider this not inappropriately as the
• 32:36
  Speaker 2: trade hymn of all good publishers. Many years ago, the
• 32:41
  Speaker 2: writer frequently wrote over the Pocono Mountains, Pennsylvania and through
• 32:46
  Speaker 2: the Delaware Water Gap in the cab of a Colm
• 32:50
  Speaker 2: Burner engine with a Methodist engineer, Andrew weissen flew. One day,
• 32:56
  Speaker 2: above the roar of the Steel Giant. We heard him
• 32:58
  Speaker 2: singing Nearer my God to thee At the next stop.
• 33:02
  Speaker 2: We ask him if he was given much to singing
• 33:04
  Speaker 2: hymns while he was driving his engine, and he replied, oh, yes.
• 33:09
  Speaker 2: Some days the engine gallops along at top speed and
• 33:12
  Speaker 2: pulles in ahead of time at every station. But there
• 33:15
  Speaker 2: are other days when I cannot seem to drive her.
• 33:18
  Speaker 2: We keep losing more and more time, And when things
• 33:21
  Speaker 2: get desperate, I sing a hymn, and soon we begin
• 33:23
  Speaker 2: to make up lost time. And I just keep on singing,
• 33:26
  Speaker 2: and usually we win back all the lost minutes. I
• 33:29
  Speaker 2: suppose the trouble all the while has been with me,
• 33:32
  Speaker 2: and the hymn always removes that trouble. Oftentimes the Christian workman,
• 33:38
  Speaker 2: be his work manual or intellectual, or both, finds in
• 33:42
  Speaker 2: the singing of a hymn a certain added strength in
• 33:45
  Speaker 2: the midst of the perplexities or the monotonies of his task.
• 33:49
  Speaker 2: And blessed is the man who works in the spirit
• 33:52
  Speaker 2: of the prayer hymn. Thine is the loom, the forge,
• 33:55
  Speaker 2: the mart the wealth of land and sea, the worlds
• 33:59
  Speaker 2: of science and of art, revealed and ruled by the
• 34:04
  Speaker 2: end of chapter three, Chapter four of Curiosities of the Hymnal.
• 34:15
  Speaker 2: This is a LibriVox recording. All LibriVox recordings are in
• 34:19
  Speaker 2: the public domain. For more information or to volunteer, please
• 34:23
  Speaker 2: visit LibriVox dot org. Read by Shrimpfish. Curiosities of the
• 34:30
  Speaker 2: Hymnal by Carl F. Price Night. Scenes in the Hymnal
• 34:37
  Speaker 2: fifty years ago there appeared doctor Daniel Marsh's book Night
• 34:41
  Speaker 2: Scenes in the Bible, a volume for which many ministerial
• 34:46
  Speaker 2: students canvassed from town to town to help pay their
• 34:49
  Speaker 2: college expenses. The book describes twenty six night scenes of
• 34:55
  Speaker 2: the Scriptures and eloquently draws lessons from their spiritual significance.
• 35:01
  Speaker 2: There are a number of the night scenes poetically described
• 35:04
  Speaker 2: in the Methodist Hymnal, and if a book could not
• 35:07
  Speaker 2: be written about them, at least a series of interesting
• 35:11
  Speaker 2: sermons might be preached upon these scenes and their spiritual
• 35:14
  Speaker 2: lessons from the scriptures have come the most vivid of
• 35:18
  Speaker 2: the night scenes of the Hymnal, each.
• 35:20
  Speaker 3: One centering about some strong.
• 35:22
  Speaker 2: Personality Jacob Moses and his People, Samuel David Christ and
• 35:29
  Speaker 2: his Disciples. Charles Wesley's greatest lyric poem are hymn Come
• 35:35
  Speaker 2: O Thou, Traveler Unknown describes a night scene in Genesis
• 35:39
  Speaker 2: for wrestling. Jacob exclaims, at the outset of his combat
• 35:43
  Speaker 2: with a divine stranger with THEE all night, I mean
• 35:46
  Speaker 2: to stay and wrestle till the break of day. The
• 35:49
  Speaker 2: hymn is an Old Testament episode retold in New Testament
• 35:53
  Speaker 2: terms as the climactic verse shows tis love, Tis love
• 35:59
  Speaker 2: thou didest for me. In the last verse, I know
• 36:03
  Speaker 2: thee Savior who thou art. Isaac Watts generously declared that
• 36:08
  Speaker 2: single poem wrestling Jacob, was worth all the verses he
• 36:11
  Speaker 2: himself had written. In this hymn, a conversation is implied,
• 36:16
  Speaker 2: though we hear the words of but one of the
• 36:18
  Speaker 2: two disputants. Yet these words portray the intensity of the action.
• 36:23
  Speaker 2: In such phrases as these, look on thy hands in vain,
• 36:28
  Speaker 2: thou strugglest to get free, touch the hollow of my thigh,
• 36:33
  Speaker 2: I fall, and yet by faith I stand. The first
• 36:36
  Speaker 2: two of these phrases are from the seven verses of
• 36:39
  Speaker 2: the poem in our hymnal. The last two are from
• 36:42
  Speaker 2: the seven verses omitted from the hymnal, for originally they
• 36:45
  Speaker 2: were fourteen in all. John Newton's hymn Lord I Cannot
• 36:50
  Speaker 2: let thee Go is another version of Jacob's struggle with
• 36:54
  Speaker 2: the angel. Israel's journey out from Egypt to cross the
• 36:57
  Speaker 2: wilderness led by Moses yields another type of night scene
• 37:02
  Speaker 2: variously described by our hymn writers, each of them, however,
• 37:06
  Speaker 2: deriving a spiritual significance from the Exodus, Come Ye, faithful
• 37:12
  Speaker 2: Raise The strain tells the Easter story in terms of
• 37:15
  Speaker 2: the passage through the Red Sea. Dean Alford's marching song
• 37:20
  Speaker 2: Forward be our Watchword pictures the night when Israel marches
• 37:25
  Speaker 2: forward through the darkness, where there burns the fiery pillar
• 37:30
  Speaker 2: at our army's head. The hymn Ancient of Days also
• 37:35
  Speaker 2: refers to the firing cloud and the advance through seas
• 37:39
  Speaker 2: dry shod, through weary wastes, bewildering after the escape from Egypt.
• 37:46
  Speaker 2: Sir Walter Scott and his hymn when Israel of the
• 37:49
  Speaker 2: Lord Beloved draws, with swift sure strokes a picture in
• 37:53
  Speaker 2: ten words of that pillar of fire that comforted Israel
• 37:57
  Speaker 2: on her journey. By night, Arabia's crimsoned sands returned the
• 38:02
  Speaker 2: fiery column's glow. This whole hymn is consistently Hebraic in
• 38:07
  Speaker 2: its point of view. It is the song which the
• 38:10
  Speaker 2: imprisoned Rebecca in the novel Ivanhowe chanced during her evening devotions.
• 38:16
  Speaker 2: The story of the boy Samuel called by the voice
• 38:19
  Speaker 2: of God through the darkness of the Temple is retold
• 38:22
  Speaker 2: in one of our choicest hymns hushed was the evening hymn.
• 38:26
  Speaker 2: The temple courts were dark, the lamp was burning dim
• 38:30
  Speaker 2: before the sacred dark, when suddenly a voice divine ring
• 38:34
  Speaker 2: through the silence of the shrine. The hymn is crowned
• 38:38
  Speaker 2: with a beautiful prayer that the Lord grant us Samuel's
• 38:42
  Speaker 2: open ear, his lowly heart, and his mind of faith.
• 38:46
  Speaker 2: The Knight of David, the little shepherd boy on the
• 38:49
  Speaker 2: hills near Bethlehem, with the sleeping sheep and the little
• 38:52
  Speaker 2: stars far away, yet so near as to comfort his loneliness,
• 38:56
  Speaker 2: and to fill his poetic soul with thoughts of God
• 38:59
  Speaker 2: who created them. This has produced some of the greatest
• 39:03
  Speaker 2: hymns in the world's first great hymn book, the Book
• 39:06
  Speaker 2: of Psalms. Many of our hymns, especially those that came
• 39:11
  Speaker 2: from the Old Scotch psalters and the early American hymn books,
• 39:15
  Speaker 2: are translations from David. And whenever I hear that wonderful,
• 39:19
  Speaker 2: astronomical hymn written by Joseph Addison and the spectator the
• 39:24
  Speaker 2: spacious Firmament on high, I always think of that humble
• 39:28
  Speaker 2: shepherd boy into whose soul the stars burned divine memories,
• 39:32
  Speaker 2: inspiring the nineteenth psalm on which this and other hymns
• 39:37
  Speaker 2: are based. Another night seen on those same hills of
• 39:41
  Speaker 2: Bethlehem has inspired sacred poets of many ages to celebrate
• 39:45
  Speaker 2: that first Christmas hymn sung by angels from the realm
• 39:49
  Speaker 2: of Glory to the shepherds as in the field, with
• 39:53
  Speaker 2: their flocks abiding, they lay on the dewy ground. Bishop
• 39:58
  Speaker 2: Phillips Brooks, after a visit to the birthplace of Christ,
• 40:02
  Speaker 2: commemorated the event with his memorable lines, O, little town
• 40:06
  Speaker 2: of Bethlehem, how still we see thee lie above thy
• 40:10
  Speaker 2: deep and dreamless sleep.
• 40:11
  Speaker 3: The silent stars go by.
• 40:14
  Speaker 2: While J. G. Holland gave us this picture of that
• 40:17
  Speaker 2: holy night. There's a song in the air, there's a
• 40:20
  Speaker 2: star in the sky, there's a mother's deep prayer, in
• 40:23
  Speaker 2: a baby's low cry, and the star reigns its fire,
• 40:27
  Speaker 2: while the beautiful sing for the Manger of Bethlehem cradles
• 40:31
  Speaker 2: a king. The night scenes and our Saviour's life upon earth,
• 40:35
  Speaker 2: as portrayed in the hymnal are all attended by miracles,
• 40:39
  Speaker 2: save only the knight of anguish in the garden. Henry
• 40:42
  Speaker 2: Twells Evening hymn derives a prayerful vesper meditation from the
• 40:47
  Speaker 2: story of the healing of the sick at Eventide. At
• 40:50
  Speaker 2: even ere, the sun was set, the sick o lord
• 40:53
  Speaker 2: around thee lay, Oh, in what diver's pains they met, Oh,
• 40:57
  Speaker 2: with what joy they went away. It is strange that
• 41:01
  Speaker 2: the editors of the Methodist hymnal did not use the
• 41:04
  Speaker 2: amended first line at even when the sun was set, For,
• 41:09
  Speaker 2: as we are reminded by Doctor Julian in his Dictionary
• 41:13
  Speaker 2: of Hymnology, the controversy that raged about this hymn brought
• 41:17
  Speaker 2: out the fact that it was unlawful among the Jews
• 41:20
  Speaker 2: for sick persons thus to gather until the sun had
• 41:24
  Speaker 2: gone down and the Sabbath was ended. Saint Mark wrote,
• 41:28
  Speaker 2: at even when the sun did set, Saint Luke, now
• 41:33
  Speaker 2: when the sun was setting. Three of our hymns referred
• 41:36
  Speaker 2: to the storm on the Sea of Galilee, when the
• 41:39
  Speaker 2: even was come and Christ was aroused by the crew
• 41:43
  Speaker 2: of frightened disciples, and by divine command, the wind and
• 41:46
  Speaker 2: waves were hushed. One of these references is little more
• 41:51
  Speaker 2: than a spiritual analogy drawn from this miracle. In the
• 41:55
  Speaker 2: heart of Bishop Doane's stately hymn Ancient of Days Jesus Savior.
• 42:01
  Speaker 2: Pilot Me compares the stilling of the tempest to a
• 42:04
  Speaker 2: mother's stilling of her child. The third Fierce Rage the
• 42:09
  Speaker 2: Tempest pictures the miracle in detail and utters a prayer
• 42:12
  Speaker 2: to God for peace amid life's storms. Doctor Dyke's remarkable
• 42:18
  Speaker 2: tune Saint Aelred describes musically the storm and the calm
• 42:24
  Speaker 2: that follows. A spiritual lesson is found in the description
• 42:28
  Speaker 2: of Christ walking on the sea by night, Thou who
• 42:31
  Speaker 2: in darkness walking dists, appear upon the waves. In thy
• 42:36
  Speaker 2: disciples cheer, Come Lord in lonesome days, when storms a sail.
• 42:41
  Speaker 2: The words of Christ on that wonderful night are quoted
• 42:44
  Speaker 2: in another hymn, It is I be not afraid the
• 42:48
  Speaker 2: sorrow of the Saviour's passion in gethsemone. His human loneliness,
• 42:53
  Speaker 2: his grief and tears have found tender expression in our
• 42:56
  Speaker 2: hymn Tis Midnight and on Olive's Brow. John, having been
• 43:01
  Speaker 2: overborne by sleep in in that disciple whom he loved,
• 43:06
  Speaker 2: heeds not his Master's grief and tears. John appears in
• 43:10
  Speaker 2: two other hymns, once as reclining on the Saviour's breast,
• 43:14
  Speaker 2: and once at the transfiguration as one of the Chosen
• 43:18
  Speaker 2: Three on mountain height. While Jesus bowed in prayer, but
• 43:23
  Speaker 2: in guestsemone, the suffering Savior prays alone. And yet he
• 43:28
  Speaker 2: is not alone, for he is not forsaken by his God.
• 43:32
  Speaker 2: And from other plains is born the Song that angels know.
• 43:37
  Speaker 2: From the pen of Sidney Lanier has fallen a tender
• 43:40
  Speaker 2: mystical poem, though hardly him upon this theme, into the
• 43:45
  Speaker 2: woods my master went. While frequently our hymns refer to
• 43:49
  Speaker 2: the Cross on Calvary, there are twelve that bring the
• 43:52
  Speaker 2: devout hymn singer into the very presence of the dying Savior.
• 43:57
  Speaker 2: One of these behold the Savior of Mankind nailed to
• 44:01
  Speaker 2: the shameful Tree, written by Samuel Wesley, the father of
• 44:05
  Speaker 2: John and Charles, was miraculously saved from destruction during the
• 44:09
  Speaker 2: burning of the Epworth Rectory by a breeze that blew
• 44:13
  Speaker 2: out of the window to a place the safety. The
• 44:16
  Speaker 2: only copy of the hymn then in existence, another in
• 44:20
  Speaker 2: the Cross of christ I Glory, is significant in having
• 44:24
  Speaker 2: been written by a Unitarian. But the greatest hymn on
• 44:28
  Speaker 2: the Crucifixion, if not the greatest hymn in the language,
• 44:32
  Speaker 2: as some regard it, is Isaac Watts, when I survey
• 44:36
  Speaker 2: the wondrous Cross. The crucifixion occurred not at the hour
• 44:40
  Speaker 2: of night, but even as night was made day for
• 44:43
  Speaker 2: Joshua's army. So the day became as night when the
• 44:46
  Speaker 2: Savior died, and Watts wrote in another hymn on the Crucifixion,
• 44:51
  Speaker 2: well might the sun and darkness hide and shut his
• 44:54
  Speaker 2: glories in when Christ, the Mighty Maker died. One of
• 44:58
  Speaker 2: our most beloved hymn, Abide with Me was based on
• 45:02
  Speaker 2: the walk of Christ of the Disciples to Amaeus on
• 45:05
  Speaker 2: a Sabbath evening, when they bade him, Terry, abide with us,
• 45:09
  Speaker 2: for it is toward evening and the day is far spent.
• 45:13
  Speaker 2: The hymn was composed by the Reverend Henry f Light
• 45:18
  Speaker 2: during a Sabbath twilight when he was walking on the
• 45:21
  Speaker 2: seashore alone, yet feeling the presence of Christ walking by
• 45:25
  Speaker 2: his side, as did the disciples at Amaeis on the
• 45:28
  Speaker 2: Sabbath of old and out of his heart he cried,
• 45:31
  Speaker 2: knowing that the even tide of his life was at hand.
• 45:34
  Speaker 2: Abide with me, fast falls the eventide, Holy blessed Trinity.
• 45:40
  Speaker 2: Darkness is not dark to thee. Those thou keepest always
• 45:44
  Speaker 2: see light at evening time. End of chapter four, Chapter
• 45:57
  Speaker 2: five of Curiosities of the Hymnal. This is a LibriVox recording.
• 46:02
  Speaker 2: All LibriVox recordings are in the public domain. For more
• 46:05
  Speaker 2: information or to volunteer, please visit LibriVox dot org. Read
• 46:10
  Speaker 2: by shrimp Fish. Curiosities of the Hymnal by Carl F.
• 46:15
  Speaker 2: Price numbers, questions, epitaphs, and angels. A numbers. The first
• 46:25
  Speaker 2: line in the Methodist Hymnal contains a number, and a
• 46:28
  Speaker 2: large number. It is Oh for a thousand tongues to sing.
• 46:33
  Speaker 2: Some one has shown how dangerous it is to take
• 46:36
  Speaker 2: some hymn phrases literally, and this hymn is a good
• 46:39
  Speaker 2: illustration of the point. The multi lingual aspirations of Charles
• 46:44
  Speaker 2: Wesley are not to be taken literally any more than
• 46:47
  Speaker 2: such phrases as oh for a trumpet voice in the furnace,
• 46:51
  Speaker 2: God may prove thee the gates of brass before him burst,
• 46:57
  Speaker 2: clothe us in linen clean and white, or I bow
• 47:01
  Speaker 2: my forehead in the dust. Every one knows that this
• 47:06
  Speaker 2: hymn was written by Charles Wesley to commemorate the first
• 47:09
  Speaker 2: anniversary of his conversion, and that the idea of the
• 47:12
  Speaker 2: first line came from the famous remark made to him
• 47:15
  Speaker 2: by the Moravian brother Peter Boehler. Had I a thousand tongues,
• 47:21
  Speaker 2: I would praise him with them all. Some hymnologists have
• 47:25
  Speaker 2: quoted it ten thousand tongues, and I have sometimes wondered
• 47:29
  Speaker 2: why the first line in our hymnal is not oh
• 47:33
  Speaker 2: for ten thousand tongues. To sing ten thousand is a
• 47:37
  Speaker 2: much more frequent phrase in hymnaughty than a thousand True,
• 47:41
  Speaker 2: we sing of a thousand oracles Divine grieved him by
• 47:45
  Speaker 2: a thousand falls, known through the earth by thousand signs.
• 47:50
  Speaker 2: A thousand ages in thy sight are like an evening gone.
• 47:54
  Speaker 2: But more frequently we sing ten thousand, as for instance,
• 48:00
  Speaker 2: or ten thousand worlds. My manner hark ten thousand harps
• 48:05
  Speaker 2: and voices to find ten thousand worlds in thee ten
• 48:11
  Speaker 2: thousand to their endless home, et cetera. Maybe the use
• 48:15
  Speaker 2: of ten thousand is preferable because the Greek word for
• 48:18
  Speaker 2: this number miriados from which we get our word. Myriad
• 48:24
  Speaker 2: is more expressive of an indefinite large number. Ten thousands
• 48:28
  Speaker 2: of angels rejoice and myriads wait for his word. Verse
• 48:33
  Speaker 2: three of the hymn Welcome Sweet Day of Rest is
• 48:36
  Speaker 2: an example in simple proportion.
• 48:39
  Speaker 3: Ten thousand to one.
• 48:40
  Speaker 2: One is, of course the smallest number in the hymnal.
• 48:44
  Speaker 2: A two verse hymn mentions at seven times three occurs
• 48:48
  Speaker 2: many times, as does also the perfect number seven. In
• 48:52
  Speaker 2: the numbers forty in sixty or three score are also used.
• 48:58
  Speaker 2: The highest number in the hymnal is obtained by multiplication.
• 49:01
  Speaker 2: Thousand thousand and ten thousand thousand are exceeded only by
• 49:07
  Speaker 2: the number ten thousand times ten thousand or one hundred million,
• 49:13
  Speaker 2: the number replied by Dean Alford to the armies of
• 49:16
  Speaker 2: the Ransomed Saints. More poetic is a Bishop Wordsworth estimate
• 49:22
  Speaker 2: multitude which none can number. B questions. There are about
• 49:28
  Speaker 2: two hundred and fifty question marks in the Hymnal, and
• 49:31
  Speaker 2: the very presence of so many questions as evidence of
• 49:34
  Speaker 2: our poet's efforts to give forceful, dramatic emphasis to their
• 49:38
  Speaker 2: holy thoughts. Many of these offer the rhetorical question, simply
• 49:43
  Speaker 2: a startling utterance of a truth that obviously can invite
• 49:47
  Speaker 2: but one answer.
• 49:49
  Speaker 3: If mountains can be.
• 49:50
  Speaker 2: Moved by faith, is there less power in love? Some
• 49:54
  Speaker 2: hymns consist almost entirely of a series of questions, a
• 49:58
  Speaker 2: veritable catechism, so phrased as to bring out the truth
• 50:01
  Speaker 2: by raising the questions. If you will examine the hymns,
• 50:05
  Speaker 2: shall I for fear a feeble man? Am I a
• 50:09
  Speaker 2: soldier of the cross? And do I not love thee o,
• 50:13
  Speaker 2: my lord, you may yet a glimpse of the Socratic
• 50:16
  Speaker 2: method in Hymnity. Other hymns, however, propound puzzling questions which
• 50:22
  Speaker 2: many singers find it difficult to answer correctly unless they
• 50:26
  Speaker 2: read further in the hymn Who can answer off hand
• 50:29
  Speaker 2: the riddle what is the thing of greatest price? The
• 50:32
  Speaker 2: whole creation round? Even the answer in the next two
• 50:37
  Speaker 2: lines is enigmatic to some that which was lost in paradise,
• 50:42
  Speaker 2: that which in Christ is found. The second verse makes
• 50:46
  Speaker 2: it all clearer. The soul of Man Jehovah's breath that
• 50:50
  Speaker 2: keeps two worlds as strife, Hell moves beneath to work
• 50:54
  Speaker 2: its death. Heaven stoops to give it life. The very
• 50:58
  Speaker 2: next hymn in the Hymnal offers the question wherewith a
• 51:01
  Speaker 2: lord shall I draw near? And the second verse declares
• 51:05
  Speaker 2: the conditions under which a soul may gain God's grace.
• 51:09
  Speaker 2: Philip doddridgees him, Jesus, my Lord, how rich thy grace?
• 51:14
  Speaker 2: Raises the question of interest high on a throne of
• 51:18
  Speaker 2: radiant light, Dost thou, exalted shine, What can my poverty
• 51:22
  Speaker 2: bestow when all the worlds are thine? The answer found
• 51:27
  Speaker 2: in subsequent verses should satisfy the present day leaders of
• 51:31
  Speaker 2: social service. Martin Luther makes quaint use of question and
• 51:35
  Speaker 2: answer in a infisted Burgh, wherein he refers in the
• 51:40
  Speaker 2: second verse to the right man on our side, dost.
• 51:45
  Speaker 3: Ask who that may be? Christ?
• 51:47
  Speaker 2: Jesus it is he. There are still other hymns effectively
• 51:51
  Speaker 2: using questions and answers for dramatic effect that are worth
• 51:55
  Speaker 2: studying see epitaph. The Hymnal makes mention of the graves
• 52:03
  Speaker 2: of the dead, and also of tombstones, the graves of
• 52:06
  Speaker 2: all his saints. He blessed unveil thy bosom, faithful tomb.
• 52:12
  Speaker 2: When sorrowing o'er some stone I bend which covers what
• 52:16
  Speaker 2: was once a friend. And while there is no direct
• 52:19
  Speaker 2: reference to epitaphs, there are a hundred lines or phrases
• 52:23
  Speaker 2: on the pages of the hymn book that may be
• 52:26
  Speaker 2: found deep carved upon the stone pages of churchyard literature.
• 52:31
  Speaker 2: In the necropolis of Toronto, Canada. One may read on
• 52:35
  Speaker 2: a tombstone these four hymn lines crowded into three. When
• 52:39
  Speaker 2: I rise to worlds unknown, and behold thee on thy throne,
• 52:42
  Speaker 2: rock of ages cleft for me, Let me hide myself
• 52:45
  Speaker 2: in THEE on the monument to the Great Missionary William
• 52:49
  Speaker 2: Carey at Serampore, India. This hymnotic legend is carved in
• 52:54
  Speaker 2: accordance with his last will and testament. A wretched, poor
• 52:58
  Speaker 2: and helpless worm on thy kind arms I fall One
• 53:02
  Speaker 2: summer night as a boy in London. I sat alongside
• 53:05
  Speaker 2: of Hugh Price Hughes on the platform of Saint James
• 53:09
  Speaker 2: Hall before a vast audience of men.
• 53:11
  Speaker 3: After singing of.
• 53:12
  Speaker 2: The old hymn Jesus Lover of my soul, mister Hughes
• 53:16
  Speaker 2: made such an eloquent evangelistic appeal that scores of men
• 53:20
  Speaker 2: came forward seeking salvation. One line from this very hymn
• 53:24
  Speaker 2: you may read upon his tombstone to day, and it
• 53:27
  Speaker 2: sums up the highest ambitions of his wonderful life. Thou
• 53:31
  Speaker 2: O Christ art all I want. My grandfather, the Reverend
• 53:36
  Speaker 2: Jacob T. Price, rounded out his long career of service
• 53:40
  Speaker 2: in the Methodist ministry as president of a camp meeting
• 53:43
  Speaker 2: in New Jersey. Many times have I heard him singing
• 53:47
  Speaker 2: his favorite hymn, I've angered my soul in the Haven
• 53:50
  Speaker 2: of Rest, leading a congregation whose voice of praise resounded
• 53:54
  Speaker 2: through the rafters of the auditorium. On a recent pilgrimage
• 53:59
  Speaker 2: to his grave. Nearby, I noticed the grave of a
• 54:02
  Speaker 2: devout Sea Captain William T. Grace, who had often heard
• 54:06
  Speaker 2: him preach. And on the captain's tombstone is written the
• 54:09
  Speaker 2: line I've anchored my soul in the haven of rest.
• 54:14
  Speaker 2: Nearly every old Protestant cemetery will yield hymnotic epitaphs. To
• 54:19
  Speaker 2: test this, we once strolled through Trinity Cemetery, New York City.
• 54:24
  Speaker 2: The first epitaph read was from a hymn of the
• 54:26
  Speaker 2: old Wesleyan preacher Joseph Humphreys. Blessed are the sons of God.
• 54:32
  Speaker 2: They are bought with Jesus' blood, they are ransomed from
• 54:36
  Speaker 2: the grave, life eternal they shall have. And near by
• 54:40
  Speaker 2: on James Swan's grave were these lines from an old
• 54:44
  Speaker 2: metrical version of the twenty third Psalm. And in God's
• 54:48
  Speaker 2: House forevermore my dwelling place shall be. On other tombstones
• 54:53
  Speaker 2: there were to be found a number of phrases that
• 54:56
  Speaker 2: you will find in the Methodist hymnal on Jane E e
• 54:59
  Speaker 2: h Kill Mister's monument, Heaven is my home. Old hymnal
• 55:05
  Speaker 2: on Catharine Ford's he giveth his beloved sleep on Lucy E.
• 55:10
  Speaker 2: Walker's asleep in Jesus, On Isaac Fords, I know that
• 55:15
  Speaker 2: my Redeemer liveth In Woodlawn Cemetery, New York City, on
• 55:20
  Speaker 2: the tombstone of William Goddard Ilyn, aged four, are four
• 55:25
  Speaker 2: lines of a hymn that the little child hath learned
• 55:28
  Speaker 2: to sing, Jesus Tender Shepherd, hear me bless thy little
• 55:32
  Speaker 2: lamb to night, fear that darkness be down near me,
• 55:36
  Speaker 2: Keep me safe till morning light. A reference to the
• 55:41
  Speaker 2: hymn book editors Sternhold and Hopkins well represented in Methodist ymnals.
• 55:46
  Speaker 2: Since Wesley is wrought into the epitaph of the Sexton
• 55:50
  Speaker 2: at Rexham Churchyard in England, and is not altogether without humor.
• 55:55
  Speaker 3: Here lies old hare worn out with care.
• 55:58
  Speaker 2: Who Willem told the bell could dig a grave or
• 56:03
  Speaker 2: set a stave and say Amen full well for sacred song.
• 56:08
  Speaker 2: He'd sternhold's tongue and hopkins z eeeke also with couthin hem.
• 56:13
  Speaker 2: He stood by them as far as lungs would go
• 56:17
  Speaker 2: d angels. The average Christian is hesitant in defining his
• 56:23
  Speaker 2: beliefs regarding angels, and yet one out of every ten
• 56:28
  Speaker 2: of our hymns mentions angels. And these seventy odd hymns
• 56:32
  Speaker 2: give us the chief scriptural doctrines about angels. Angels sing,
• 56:38
  Speaker 2: and about two thirds of the hymn mentioning angels represent
• 56:41
  Speaker 2: them as singing, while a few refer to the musical
• 56:44
  Speaker 2: instruments played by the angels. Each angel sweeps his lyre
• 56:50
  Speaker 2: angel harps, forever ringing the archangel's trumpet tone. The angel
• 56:57
  Speaker 2: Gabriel is usually represented as the trump of the Judgment
• 57:01
  Speaker 2: Day and is the only angel named in the Bible
• 57:05
  Speaker 2: who is mentioned also in the Hymnal, But the Hymnal
• 57:08
  Speaker 2: speaks of him as a singer and vi with Gabriel
• 57:12
  Speaker 2: while he sings in notes almost divine. The theme of
• 57:16
  Speaker 2: Angel's songs is chiefly the praise of God, as sung
• 57:19
  Speaker 2: about the divine throne. At Jesus's birth, they sang to
• 57:23
  Speaker 2: the listening shepherds, as attested by nearly all of our
• 57:27
  Speaker 2: Christmas hymns, and some of our Easter hymns represent them
• 57:30
  Speaker 2: as singing at Christ's resurrection, lift up your heads, ye,
• 57:35
  Speaker 2: Heavenly Gates, and the Resurrection Song. Angels minister to man,
• 57:42
  Speaker 2: and they ministered to the Son of God when he
• 57:45
  Speaker 2: dwelt in human life, not only had his birth and resurrection,
• 57:48
  Speaker 2: but also in the other great events of his life,
• 57:51
  Speaker 2: as when on that first Palm Sunday the winged squadrons
• 57:55
  Speaker 2: of the sky whipped down with sad and wondering eyes
• 58:00
  Speaker 2: during the agonies of gathsemone Christ heard to his comfort.
• 58:03
  Speaker 2: The song that angels know from the Angel's ministry to
• 58:07
  Speaker 2: Jacob at Bethel is derived a part of our hymn
• 58:11
  Speaker 2: Nearer my God to thee Angels to beckon Me, and
• 58:15
  Speaker 2: possibly also the picture of descending angels drawn by Fanny
• 58:19
  Speaker 2: Crosby in blessed assurance. It is the office of the
• 58:23
  Speaker 2: angels to guard us through the night as well as
• 58:26
  Speaker 2: the day. Angel guards from thee surround us, spreading their
• 58:31
  Speaker 2: white wings above through the long night watches, and when
• 58:36
  Speaker 2: at last our Father calls us home, we shall gladsome
• 58:39
  Speaker 2: mount on angel wings. Angels are the messengers of God.
• 58:46
  Speaker 2: The etymology of the word angel shows this. It is
• 58:49
  Speaker 2: derived from the Greek word for messenger.
• 58:53
  Speaker 3: Angelous.
• 58:55
  Speaker 2: Angel bands are waiting at the throne of God his
• 58:58
  Speaker 2: messages of love, to bear to humanity and to execute
• 59:04
  Speaker 2: his sacred will. In obedience to the divine commands, Angels
• 59:10
  Speaker 2: descending bring from above echoes of mercy, whispers of love.
• 59:14
  Speaker 2: At the final judgment day, God shall give his angels
• 59:18
  Speaker 2: charge at last in the fire the terries to cast,
• 59:21
  Speaker 2: but the fruitful ears to store in his garner. Evermore,
• 59:26
  Speaker 2: it seems somewhat strange that only three of our twenty
• 59:29
  Speaker 2: five hymns on Heaven even mention angels. But after all,
• 59:33
  Speaker 2: the angels are but the servants of God, while the redeemed,
• 59:36
  Speaker 2: who are celebrated in most of the hymns on Heaven,
• 59:39
  Speaker 2: are the sons of God. Angels have their limitations, since
• 59:44
  Speaker 2: they can never fathom the mysteries of salvation, nor enter
• 59:48
  Speaker 2: into the fullness of joy reserved for those who have
• 59:50
  Speaker 2: come through great tribulation and have washed their robes in
• 59:54
  Speaker 2: the blood of the Lamb. Eyes of angels are too
• 59:57
  Speaker 2: dim to behold God.
• 59:59
  Speaker 3: In his effulgent glory.
• 1:00:01
  Speaker 2: But when Heaven is attained, then shall I see in
• 1:00:05
  Speaker 2: his own light, whom angels dimly see. Then shall we
• 1:00:09
  Speaker 2: all join with the Redeemed in a song which even
• 1:00:13
  Speaker 2: angels can never never sing.
• 1:00:15
  Speaker 3: They know not.
• 1:00:16
  Speaker 2: Christ as Savior, but worship Him as King. End of
• 1:00:22
  Speaker 2: chapter five, Chapter six of Curiosities of the Hymnal. This
• 1:00:32
  Speaker 2: is the LibriVox recording. All LibriVox recordings are in the
• 1:00:36
  Speaker 2: public domain. For more information or to volunteer, please visit
• 1:00:40
  Speaker 2: LibriVox dot org. Read by Shrimpfish. Curiosities of the Hymnal
• 1:00:47
  Speaker 2: by Carl F. Price, Charles Wesley's brogue. When one sounds
• 1:00:53
  Speaker 2: a single note on the piano, the average listener hears
• 1:00:57
  Speaker 2: only the one tone, But the musician with trained ear,
• 1:01:01
  Speaker 2: if he properly directs his attention, can hear the first
• 1:01:04
  Speaker 2: overtone an octave higher, the second overtone a fifth still higher,
• 1:01:10
  Speaker 2: the third overtone on the double octave, and possibly also
• 1:01:14
  Speaker 2: a fourth overtone sixteen notes higher than the original tone.
• 1:01:20
  Speaker 2: It is largely a matter of attention and knowing for
• 1:01:23
  Speaker 2: what to listen on reading Charles Wesley's hymns in the
• 1:01:28
  Speaker 2: Methodist Hymnal, if your attention is properly focused, you may
• 1:01:32
  Speaker 2: hear some of the overtones of his voice coming down
• 1:01:35
  Speaker 2: to us from the eighteenth century. His hymn A Thousand
• 1:01:39
  Speaker 2: Oracles Divine their common beams unite, that sinners may with
• 1:01:44
  Speaker 2: angels join.
• 1:01:46
  Speaker 3: Re echoes.
• 1:01:47
  Speaker 2: His particular utterance of the word join, for it must
• 1:01:50
  Speaker 2: be pronounced jhne to rhyme with divine, as indeed we know,
• 1:01:56
  Speaker 2: was the fashion of good English speech in the eighteenth century.
• 1:02:00
  Speaker 2: This explains away in Wesley's other hymns the apparent absurdity
• 1:02:05
  Speaker 2: to our modern ears in the rhyming of joy and
• 1:02:08
  Speaker 2: divine of joined, and mankind.
• 1:02:13
  Speaker 3: Of join, and sign of oil and smile.
• 1:02:18
  Speaker 2: Besides divine Joy, Isaac Watts gives us these similar rhymes
• 1:02:24
  Speaker 2: in his hymns Flies joys design, Joy rise Joy's Philip
• 1:02:33
  Speaker 2: Doddridge rhymes joy employ, but probably they were both pronounced
• 1:02:39
  Speaker 2: as though the vowel O were not there. James Russell
• 1:02:43
  Speaker 2: Lowell takes note of this colloquial sounding of oi as
• 1:02:48
  Speaker 2: though it were pronounced E in his Learned Interlude between
• 1:02:52
  Speaker 2: the two parts of the Big Low Papers, wherein he
• 1:02:55
  Speaker 2: justifies the strange pronunciation and other apparent solicisms of the
• 1:03:00
  Speaker 2: Yankee dialect by appeals to approved precedence in English literature.
• 1:03:06
  Speaker 2: One other gallicism survives in our pronunciation. Perhaps I would
• 1:03:11
  Speaker 2: rather call it a semi galaxism, for it is the
• 1:03:14
  Speaker 2: result of a futile effort to reproduce a French sound
• 1:03:19
  Speaker 2: with English lips. Thus, for joint employ Royal, we have
• 1:03:24
  Speaker 2: giant employ Royle.
• 1:03:29
  Speaker 3: We hear Charles Wesley.
• 1:03:30
  Speaker 2: Uttering speaks as though it were spelled today, spakes where
• 1:03:36
  Speaker 2: it rhymes with breaks Jesus the prisoners fetters, breaks and
• 1:03:42
  Speaker 2: bruises Satan's head power into strengthless souls. He spakes. Read
• 1:03:48
  Speaker 2: this hymn, making the first and third lines rhyme as
• 1:03:51
  Speaker 2: they did in the eighteenth century, and you will hear
• 1:03:54
  Speaker 2: the overtones of Wesley's voice. His rhyme shade dead is
• 1:03:59
  Speaker 2: explained by this principle. Isaac Watts gives us prayer here
• 1:04:05
  Speaker 2: break speak, shades heads made head, Edward Jones, please pray.
• 1:04:16
  Speaker 2: Henry Kirk White breaks speaks, John Wesley afraid dread. William
• 1:04:24
  Speaker 2: Cooper rhymes stream theme, which to our twentieth century ears
• 1:04:29
  Speaker 2: sounds as a good rhyme. But when we realize that theme,
• 1:04:33
  Speaker 2: a classical word was rhymed by Thomas Blacklock with fame,
• 1:04:38
  Speaker 2: and by Isaac Watts and Robert Robinson with name, we
• 1:04:42
  Speaker 2: must pronounce stream as though we're strain and theme to
• 1:04:47
  Speaker 2: rhyme with this pronunciation if we are to reproduce their
• 1:04:50
  Speaker 2: correct eighteenth century sounds.
• 1:04:53
  Speaker 3: By the same token Watts.
• 1:04:54
  Speaker 2: Gives us name Jerusalem. This use of a for e
• 1:05:01
  Speaker 2: is well illustrated in the word see, which Isaac Watts
• 1:05:05
  Speaker 2: uses with such majesty in the second verse of come
• 1:05:09
  Speaker 2: ye that love the Lord, the God that rules on high,
• 1:05:13
  Speaker 2: that all the earth surveys, that rides upon the stormy
• 1:05:17
  Speaker 2: sky and calms the roaring, says William Cooper also sings
• 1:05:23
  Speaker 2: God moves in a mysterious way, his wonders to perform.
• 1:05:27
  Speaker 2: He plants his footsteps in the say elsewhere Watts rhymes
• 1:05:32
  Speaker 2: see they, the verse most frequently used to illustrate this
• 1:05:37
  Speaker 2: principle in eighteenth century pronunciation is, of course, Alexander Pope's
• 1:05:42
  Speaker 2: apostrophe to the British Queen Anne in the Rape of
• 1:05:46
  Speaker 2: the Locke. Here thou Great honor, whom three realms obey
• 1:05:52
  Speaker 2: dost sometimes counsel take and sometimes tay. English sentry poets
• 1:05:58
  Speaker 2: so substitute the sound of a for i in such
• 1:06:02
  Speaker 2: words as still spirit fifty, making them stell spare it fifty.
• 1:06:11
  Speaker 2: Therefore Charles Wesley rhymes inherent spirit and merit spirit, as
• 1:06:18
  Speaker 2: does also John Blakewell Merrit's spirits in such words as fortune,
• 1:06:24
  Speaker 2: future and venture.
• 1:06:26
  Speaker 3: The un or er were so pronounced.
• 1:06:29
  Speaker 2: As to produce fortin future, inventor. Thus creator nature was
• 1:06:36
  Speaker 2: a valid rhyme. To Charles Wesley.
• 1:06:39
  Speaker 3: The habit of dropping the final.
• 1:06:40
  Speaker 2: G from the suffix ing, together with the broadening of
• 1:06:44
  Speaker 2: the vowel a in r made garden rewarding sound as
• 1:06:50
  Speaker 2: a valid rhyme. To William Cooper, Charles Wesley's prepayer confer
• 1:06:56
  Speaker 2: Isaac Watts's prayer here Prepayer of Peer, Simon Brown's and
• 1:07:02
  Speaker 2: Benjamin bed Owns their tear, Joseph Heart's there here, Thomas
• 1:07:11
  Speaker 2: Blacklock's Whar's sphears, John Fawcett's bear tear. All of these
• 1:07:19
  Speaker 2: conform to the sound we associate with the word air.
• 1:07:23
  Speaker 2: Professor Henry C. Wilde, in his History of Modern Colloquial English,
• 1:07:28
  Speaker 2: calls attention to the fact that Dickens, in reproducing his dialect,
• 1:07:33
  Speaker 2: spells r air, showing the persistence of this pronunciation even
• 1:07:39
  Speaker 2: in the nineteenth century. The same writer cites the use
• 1:07:43
  Speaker 2: of foot stood good and book as though the uh
• 1:07:48
  Speaker 2: were pronounced with belong yew. This explains Charles Wesley's renewed
• 1:07:53
  Speaker 2: good and Isaac Watts stood flood Charles Wesley rhymes rest
• 1:08:00
  Speaker 2: and priest. And of the problem thus suggested, Professor Wilde
• 1:08:04
  Speaker 2: says to his studies in English rhymes from Surrey to Pope,
• 1:08:09
  Speaker 2: owing to the imperfection of our knowledge, pending a thorough
• 1:08:12
  Speaker 2: investigation of the whole problem of lengthenings and shortenings in English,
• 1:08:17
  Speaker 2: it is impossible to say whether in such rhymes as
• 1:08:20
  Speaker 2: guest priest, we ought to assume that the first word
• 1:08:24
  Speaker 2: had its vowel lengthened, as suggested by the spelling Yeast
• 1:08:28
  Speaker 2: above quoted. The word love is variously rhymed by Charles
• 1:08:33
  Speaker 2: Wesley and his contemporaries of this fashion among the poets.
• 1:08:37
  Speaker 2: Professor Wilde says, the rhymes of love and above with
• 1:08:41
  Speaker 2: move and prove are common in the poets and were
• 1:08:45
  Speaker 2: perfectly good. There is evidence, on the one hand that
• 1:08:49
  Speaker 2: prove could be pronounced with the same vowel which we
• 1:08:52
  Speaker 2: now have in love, and on the other that this
• 1:08:55
  Speaker 2: word and above could be pronounced with the sound which
• 1:08:58
  Speaker 2: we now have in proof and move. Charles Wesley rhymed
• 1:09:03
  Speaker 2: love with prove, improve, approve, strove, reprove, above, rove, move,
• 1:09:16
  Speaker 2: John Wesley rhymed it with move and prove, Watts prove,
• 1:09:24
  Speaker 2: Philip Dodgridge move, John Fawcett prove. Even James Montgomery, who
• 1:09:30
  Speaker 2: was singularly free from eighteenth century peculiarities, gives remove love,
• 1:09:37
  Speaker 2: which may be matched with above love. As a commentary
• 1:09:42
  Speaker 2: on these rhymes, we note in Doddridge and Robert c.
• 1:09:45
  Speaker 2: Grave remove above, and in Charles Wesley dove, move, live, give,
• 1:09:52
  Speaker 2: little pity, city stick, et cetera, or pronounced with the
• 1:09:56
  Speaker 2: long eye leave, give, leave.
• 1:10:00
  Speaker 3: Et cetera.
• 1:10:01
  Speaker 2: Hence we find Charles Wesley yoking with give, believe, receive, perceive, grieve,
• 1:10:09
  Speaker 2: with live, retrieve and receive, and also using the rhymes
• 1:10:16
  Speaker 2: feel hill, concealed, filled, reveal, phil seal, will feat submit,
• 1:10:26
  Speaker 2: just as John Wesley uses receive live, Isaac Watts receive, give, zeal,
• 1:10:33
  Speaker 2: will clean.
• 1:10:35
  Speaker 3: Sin, Anthony W.
• 1:10:37
  Speaker 2: Bowney relieve, forgive, John Bakewell, and Philip Dodgridge receive give
• 1:10:45
  Speaker 2: lamb is rhymed by Charles Wesley with proclaim, shame and name,
• 1:10:51
  Speaker 2: by John Wesley with came, by Watson, Thomas Oliver's with name,
• 1:10:56
  Speaker 2: and by William Keeper with frame. Thus confirm accepted theories.
• 1:11:02
  Speaker 2: Justification is found by scholars also for Charles Wesley's rhymes
• 1:11:06
  Speaker 2: prepared guard dun groan, grieve, give, mourn, turn clean within
• 1:11:16
  Speaker 2: ben scene, this last being still the best British version,
• 1:11:22
  Speaker 2: and for Isaac Watts dare afar name Jerusalem paid head.
• 1:11:30
  Speaker 2: When we first brought this problem to Professor George P.
• 1:11:33
  Speaker 2: Crapp of Columbia University, author of the English Language in
• 1:11:38
  Speaker 2: America and one of the world's greatest experts in archaic
• 1:11:42
  Speaker 2: English pronunciation, we presented for his consideration a list of
• 1:11:47
  Speaker 2: eighteenth century rhymes which sound alien to our twentieth century years,
• 1:11:52
  Speaker 2: including one hundred fifty from Charles Wesley's ninety two from
• 1:11:56
  Speaker 2: Isaac Watts, and thirty three from John Wesley's hymn In
• 1:12:00
  Speaker 2: the present Methodist Hymnal, we came prepared to defend the
• 1:12:04
  Speaker 2: cacophonic rhymes of these hymnic worthies on the ground of
• 1:12:07
  Speaker 2: their earnest piety and rich spiritual thought. What was our
• 1:12:12
  Speaker 2: astonishment to hear the Professor declare that nearly all of
• 1:12:16
  Speaker 2: these queer rhymes were valid in the eighteenth century and
• 1:12:19
  Speaker 2: were accepted as such by cultured English gentlemen of that day.
• 1:12:23
  Speaker 2: Assuming this to be true, and Professor Crapp is an
• 1:12:27
  Speaker 2: unchallenged authority in this field, we may use the Methodist
• 1:12:31
  Speaker 2: Hymnal as a sort of sounding board through which to
• 1:12:34
  Speaker 2: hear the peculiarities of Charles Wesley's voice and his table talk,
• 1:12:38
  Speaker 2: his sermons, his wonderful songs were that sturdy little man,
• 1:12:43
  Speaker 2: author of over six thousand hymns, by some magical annihilation
• 1:12:47
  Speaker 2: of anachronisms, to meet our own Bishop Herbert Welch at
• 1:12:51
  Speaker 2: a conference on Methodism in London to day, each would
• 1:12:55
  Speaker 2: be astounded at the other's pronunciation of the English language.
• 1:12:58
  Speaker 2: And yet each of them achieved reputations for a superb
• 1:13:02
  Speaker 2: scholarship and received from their respective colleges the degree of
• 1:13:06
  Speaker 2: Master of Arts. Wesley from Lincoln College, Oxford, Welch from
• 1:13:12
  Speaker 2: the American college named for the Wesleys Wesleyan University, and
• 1:13:18
  Speaker 2: taking our vowel sounds from his hymns in the Methodist Hymnal,
• 1:13:21
  Speaker 2: we may imagine Wesley as saying to the American Bishop,
• 1:13:25
  Speaker 2: it gives gives us great joy joy to hare hear
• 1:13:33
  Speaker 2: that the sperit spirit of God God is still still
• 1:13:41
  Speaker 2: blessing your work.
• 1:13:42
  Speaker 3: Affair afar across the.
• 1:13:45
  Speaker 4: Says sees as you spake speak to the people on
• 1:13:51
  Speaker 4: the fame theme of His louve love.
• 1:13:56
  Speaker 3: We air are not a wee.
• 1:14:00
  Speaker 2: Little little rejoiced, rejoiced that you have comb come to
• 1:14:07
  Speaker 2: join join us in conferring, conferring upon methods to imply
• 1:14:15
  Speaker 2: employ in the future future first sprading spreading the good
• 1:14:24
  Speaker 2: good news of Salvation throughout the whole sphere sphere. End
• 1:14:32
  Speaker 2: of chapter six.
• 1:14:40
  Speaker 5: Chapter seven of Curiosities of the Hymnal. This is a
• 1:14:43
  Speaker 5: LibriVox recording. All LibriVox recordings are in the public domain.
• 1:14:47
  Speaker 5: For more information or to volunteer, please visit LibriVox dot
• 1:14:51
  Speaker 5: org read by Julianne Thompson Curiosities of the hymnal by
• 1:14:56
  Speaker 5: Carl F. Price, chapter seven book titles from. The fertilization
• 1:15:04
  Speaker 5: of literature by the hymns is a theme that should
• 1:15:07
  Speaker 5: challenge the investigator. A Wesleyan clergyman in Yorkshire, the Reverend
• 1:15:12
  Speaker 5: Henry Bett, has ably studied the obverse side of this subject,
• 1:15:16
  Speaker 5: the debt of our Methodist hymns, especially those by the Wesleys,
• 1:15:20
  Speaker 5: to the world's best literature in thought, figures of speech,
• 1:15:24
  Speaker 5: striking expressions and style. His monograph The Hymns of Methodism
• 1:15:29
  Speaker 5: in their Literary Relations from the Official Press of Wesleyan
• 1:15:33
  Speaker 5: Methodism traces the debt of Methodist hymns not only to
• 1:15:37
  Speaker 5: the writings of sacred Scriptures, but also to the classical
• 1:15:41
  Speaker 5: Latin writers Plutarch, Virgil and Horace, to the early fathers
• 1:15:46
  Speaker 5: of the Church such as Ignatius, Jerome, Eusebius, Augustine and
• 1:15:52
  Speaker 5: their successors, to the English poets Milton, Herbert Dryden, Cowley
• 1:15:58
  Speaker 5: prior poet Young, and also to Sundry, French and German writers,
• 1:16:04
  Speaker 5: all of which proves the wide scholarship of the Wesleys
• 1:16:08
  Speaker 5: in some of their hymn writing contemporaries. Nor does the
• 1:16:11
  Speaker 5: British hymnologist claim his researches in this field to have
• 1:16:15
  Speaker 5: been exhaustive. They are confined to early Methodist hymns, and
• 1:16:19
  Speaker 5: even here remarkable as his discoveries approved in tracing the
• 1:16:23
  Speaker 5: reappearance of the striking ideas and expressions of classical writers.
• 1:16:28
  Speaker 5: There are in our hymns probably many other instances of
• 1:16:31
  Speaker 5: our hypnotic debt to the classics, which he has overlooked.
• 1:16:37
  Speaker 5: One of these has been cited by doctor Charles S.
• 1:16:40
  Speaker 5: Nutter in The Hymns and hymn Writers of the Church,
• 1:16:44
  Speaker 5: wherein he refers to John Wesley's hymn We lift our
• 1:16:48
  Speaker 5: hearts to thee. The sublime thought expressed in the third
• 1:16:52
  Speaker 5: line of the first stanza is borrowed from Plato Luhmann
• 1:16:57
  Speaker 5: est Umbra day, which is being translated light is the
• 1:17:03
  Speaker 5: shadow of Deity. The line in which Wesley reproduced this
• 1:17:07
  Speaker 5: figure is to be found in the Methodist Hymnal number
• 1:17:11
  Speaker 5: forty five. The scent itself is but thy shade. Now,
• 1:17:17
  Speaker 5: when the literary investigator crosses the line and views the
• 1:17:20
  Speaker 5: relations of the hymns in literature. From the opposite angle,
• 1:17:24
  Speaker 5: he will find that the books of our modern life
• 1:17:27
  Speaker 5: at least are replete with references to Christian hymns, and
• 1:17:32
  Speaker 5: sometimes with quotations from them. Especially is this true of
• 1:17:36
  Speaker 5: our fiction? All along the road, from Shakespeare's Romeo and
• 1:17:42
  Speaker 5: Juliet quote our solemn Hymns, to Solenderge's change end quote
• 1:17:48
  Speaker 5: to Sinclair Lewis's Main Street, there are to be found
• 1:17:52
  Speaker 5: frequent allusions to hymns and hymn singing. Some of these
• 1:17:57
  Speaker 5: are highly picturesque. For instance, in Thackeray's Henry Asmund there
• 1:18:04
  Speaker 5: is the sketchy description of bon Papa Pesterot, the French Huguenot,
• 1:18:09
  Speaker 5: preaching in his little room and singing hymns quote out
• 1:18:13
  Speaker 5: of his great old nose. And who that has read
• 1:18:17
  Speaker 5: Hermann Melville's Seafaring classic Moby Dick can forget the Whaleman's Chapel,
• 1:18:22
  Speaker 5: where the ex harpooner father Mapple comes in from the storm,
• 1:18:27
  Speaker 5: clad in his dripping pilot cloth jacket in tarpaulin hat, and,
• 1:18:33
  Speaker 5: after ascending his pulpit by a ship's rope ladder, pulling
• 1:18:37
  Speaker 5: it up after him, begins the service and at length
• 1:18:41
  Speaker 5: sets the congregation to singing that quaint old hymn about
• 1:18:45
  Speaker 5: Jonah and the whale, and about the terrors and mercies
• 1:18:48
  Speaker 5: of the Lord. It would prove to be an illuminating
• 1:18:52
  Speaker 5: and perhaps profitable exercise to investigate the attitude of her
• 1:18:57
  Speaker 5: modern novelists towards the hymn. At present, however, we would
• 1:19:03
  Speaker 5: not venture into this field. Saved glance at the title
• 1:19:07
  Speaker 5: pages of some of the books now in print here,
• 1:19:10
  Speaker 5: at least in book titles that have been made from
• 1:19:13
  Speaker 5: hymn lines, there is ample evidence that some of our
• 1:19:16
  Speaker 5: authors are familiar with the hymns. Fifteen years ago there
• 1:19:22
  Speaker 5: appeared in New York City a little volume entitled book
• 1:19:25
  Speaker 5: Titles from Shakespeare, wherein are enumerated, through over three score pages,
• 1:19:32
  Speaker 5: sundry quotations from Shakespearean plays that have felicitously occurred to
• 1:19:38
  Speaker 5: perplexed authors seeking apt titles for their books, beginning, by
• 1:19:43
  Speaker 5: the way, with sixteen book titles taken by William Dean
• 1:19:46
  Speaker 5: Howells from Shakespeare's plays. A presentation copy of this biblio
• 1:19:52
  Speaker 5: curiosity came to us one day from its author, Volney Streamer.
• 1:19:57
  Speaker 5: He began his career as a shakespea Siberian actor, having
• 1:20:01
  Speaker 5: played every part in Hamlet, even Ophelia at various times
• 1:20:06
  Speaker 5: when Edwin Booth was playing the title role, and he
• 1:20:10
  Speaker 5: ended his days as librarian of the Player's Club, New
• 1:20:13
  Speaker 5: York City, Booth's old residence on Gramercy Park, where he
• 1:20:17
  Speaker 5: could indulge freely such an odd whim as this little
• 1:20:21
  Speaker 5: book embodies, he was a lover and good judge of hymns,
• 1:20:25
  Speaker 5: and were he alive today, he would be urged to
• 1:20:28
  Speaker 5: do for the hymn lines what he did for Shakespeare's
• 1:20:32
  Speaker 5: trace the debt ode to them by modern book titles,
• 1:20:36
  Speaker 5: and with the leisure and library opportunities which were his,
• 1:20:40
  Speaker 5: amplify into the hundreds. The little list which we here
• 1:20:44
  Speaker 5: present of book titles from the hymns. First upon our
• 1:20:49
  Speaker 5: list let their stand. One of the most recent books,
• 1:20:53
  Speaker 5: Life's Little Day, by missus A. M. W. Sterling, sister
• 1:20:59
  Speaker 5: in law of William de Morgan. Her previous book on
• 1:21:03
  Speaker 5: de Morgan and his Wife, gives us the best extant
• 1:21:07
  Speaker 5: picture of the home life of the author of joseph
• 1:21:11
  Speaker 5: Ance and Alice for short. The present book of reminiscences
• 1:21:17
  Speaker 5: from her own life obviously derives its title from the
• 1:21:21
  Speaker 5: first line of the second verse of Henry f Light's
• 1:21:26
  Speaker 5: Abide with Me. Of the length of her book, Missus
• 1:21:30
  Speaker 5: Sterling says, quote, I have long since reached and passed
• 1:21:34
  Speaker 5: the one hundred thousand words respecting which the modern publisher
• 1:21:39
  Speaker 5: has pronounced his fiat quote. Thus far shalt thou go,
• 1:21:44
  Speaker 5: and no further end quote end quote. This gives point
• 1:21:50
  Speaker 5: to the comment made upon the book by w Orton
• 1:21:53
  Speaker 5: Tuson the Attic Saltshaker in the Literary review of the
• 1:22:00
  Speaker 5: New York Evening Post, quote, we enjoyed Life's Little Day.
• 1:22:05
  Speaker 5: Although we think the publishers could reasonably have insisted on
• 1:22:10
  Speaker 5: their theat being obeyed without herding the book or us.
• 1:22:16
  Speaker 5: It is not an instance where Swift to its close
• 1:22:20
  Speaker 5: ebbs out Life's Little Day end quote. About the same
• 1:22:26
  Speaker 5: time as Missus Sterling's Life's Little Day, there appeared Life's
• 1:22:31
  Speaker 5: Little Laughs, a collection of children's wit, Conscious and Unconscious
• 1:22:36
  Speaker 5: by Missus Seaton Christopher, which we mention parenthetically on account
• 1:22:42
  Speaker 5: of one of its hymn stories. A child who had
• 1:22:45
  Speaker 5: heard the line quote and Satan trembles when he sees
• 1:22:49
  Speaker 5: the weakest saint upon his knees end quote naively asked
• 1:22:53
  Speaker 5: her father, and why was the little Saint on Satan's knees.
• 1:22:58
  Speaker 5: Children's questions on the hymn sometimes revealed to us our
• 1:23:01
  Speaker 5: culpable neglect in explaining to them the meaning of what
• 1:23:05
  Speaker 5: they sing. Kipling's recessional God of our Fathers Known of
• 1:23:11
  Speaker 5: Old is the source of more than one book title,
• 1:23:15
  Speaker 5: Valiant Dust Katherine Fullerton, Gerold, Captains and Kings, Andre Murrau,
• 1:23:22
  Speaker 5: lest we forget Hugh Black, God of our Fathers H. P. Smith.
• 1:23:29
  Speaker 5: The book titles Steps into Heaven by T. J. Gere
• 1:23:33
  Speaker 5: and Sun Moon and Stars by A. Gibern were taken
• 1:23:37
  Speaker 5: from Sarah Flower Adams much loved Him Nearer my God
• 1:23:42
  Speaker 5: to thee in the following list are presented first the
• 1:23:45
  Speaker 5: book's title and author, than the hymn line in which
• 1:23:48
  Speaker 5: the title occurs, and the author of the hymn. If
• 1:23:53
  Speaker 5: the book title has been taken from some other hymn
• 1:23:56
  Speaker 5: line than the first, we have quoted also the first
• 1:23:59
  Speaker 5: line love Divine Uriah f Rogers, Love Divine All Love's
• 1:24:07
  Speaker 5: excelling Charles Wesley, the Soul's sincere desire. Glenn Clark Prayer
• 1:24:15
  Speaker 5: is the soul's sincere desire. James Montgomery, who follows in
• 1:24:20
  Speaker 5: their train.
• 1:24:21
  Speaker 3: Mary C.
• 1:24:22
  Speaker 5: Holmes, who follows in their train. From the Son of
• 1:24:25
  Speaker 5: God goes forth the war Bishop, Reginald Heber, the King
• 1:24:31
  Speaker 5: of Love. J. D. Jones, the King of Love. My
• 1:24:34
  Speaker 5: shepherd is H. W. Baker. Sweetly solemn thoughts. Helen E.
• 1:24:41
  Speaker 5: Coolidge one sweetly solemn thought. Phoebe Carey, amazing grace. George
• 1:24:48
  Speaker 5: Whitefield ride out, amazing grace. Kate Tremble Sharber quote, amazing grace.
• 1:24:57
  Speaker 5: How sweet the sound? John Newton New every morning? Ralph H.
• 1:25:06
  Speaker 5: Williams New every morning is the love? John Keeble, To
• 1:25:13
  Speaker 5: serve the present age. W. R. Maltby, to serve the
• 1:25:18
  Speaker 5: present age from a charge to keep I have Charles
• 1:25:22
  Speaker 5: Wesley Faith of our fathers. Dorothy Walworth Canfield, faith of
• 1:25:31
  Speaker 5: our fathers living still, Frederick W. Faber Our glorious hope. J. J.
• 1:25:38
  Speaker 5: Ross to our high callings, glorious hope from all praise
• 1:25:44
  Speaker 5: to our redeeming Ward, Charles Wesley. The Rock that is
• 1:25:49
  Speaker 5: higher T. E. Gowans, to the Rock that is higher
• 1:25:53
  Speaker 5: than I from Oh, sometimes the shadows are deep. E. Johnson,
• 1:25:58
  Speaker 5: The Man of Sorrows. Albert T. W. Steinhauser, see the
• 1:26:04
  Speaker 5: Man of sorrows now from look ye Saints. The sight
• 1:26:08
  Speaker 5: is glorious. Thomas Kelly, Peace, perfect peace. F. B. Meyer Peace,
• 1:26:16
  Speaker 5: perfect peace in this dark world of sin. Edward H. Bickersteth,
• 1:26:24
  Speaker 5: Thy will be done, Andrew Murray, My Lord, thy will
• 1:26:28
  Speaker 5: be done from my Jesus, as thou wilt. Benjamin Schmolkey,
• 1:26:36
  Speaker 5: The Sweet Story of Old Margaret Sangster. I think when
• 1:26:40
  Speaker 5: I read that sweet story of old Jemima t Luke,
• 1:26:46
  Speaker 5: we would see Jesus, George W. Truwitt, we would see
• 1:26:51
  Speaker 5: Jesus for the shadow's Lengthen Anna B. Warner, come unto me.
• 1:26:58
  Speaker 5: G w Lews, come unto me. Henry a boardman, come
• 1:27:04
  Speaker 5: unto me. When shadows darkly gather. Katherine h. Esling follow me.
• 1:27:11
  Speaker 5: Martin R. Vincent saying, Christian follow me from Jesus. Calls
• 1:27:17
  Speaker 5: us o'er the tumult missus. C F Alexander, when I
• 1:27:23
  Speaker 5: have crossed the bar, James Robinson, when I have crossed
• 1:27:27
  Speaker 5: the bar. From Sunset and evening Star Alfred Lord Tennyson,
• 1:27:33
  Speaker 5: Watch and pray. G w Lews, watch and pray from Christians,
• 1:27:38
  Speaker 5: seek not yet repose. Charlotte Elliott, God is our refuge. G. W.
• 1:27:45
  Speaker 5: Lews God is our refuge and defense. James Montgomery joy
• 1:27:52
  Speaker 5: in God, Bishop A. F. W. Ingram, Faith worketh hourly,
• 1:27:58
  Speaker 5: joy in God. From faith is a living power from Heaven.
• 1:28:02
  Speaker 5: Patrus Herbert flinging out the banner, Missus H. M. Morrison
• 1:28:11
  Speaker 5: fling out the banner, Let it float. George Washington Don
• 1:28:17
  Speaker 5: the heavenly vision. George H. Wilkinson, wrapped in the heavenly vision.
• 1:28:23
  Speaker 5: From not Always on the Mount, May we f l
• 1:28:28
  Speaker 5: Osmer God of Might, Elias Tobinken, lead on O God
• 1:28:35
  Speaker 5: of Might. From lead on O King Eyolonel Ernest W.
• 1:28:39
  Speaker 5: Shirteleleff as it was in the beginning, Arthur Trayne, as
• 1:28:46
  Speaker 5: it was in the beginning, from Glory b to the Father,
• 1:28:49
  Speaker 5: Gloria Patry Cite to the blind, Lucy Foreman, Cite to
• 1:28:55
  Speaker 5: the inly blind, from Thou whose almighty word, John, may
• 1:29:01
  Speaker 5: the power of prayer? Sandon macombe here. May we prove
• 1:29:06
  Speaker 5: the power of prayer from Jesus where'er thy people meet.
• 1:29:11
  Speaker 5: William Cowper while shepherds watched Richard A. Marr, While shepherds
• 1:29:18
  Speaker 5: watched their flocks by night. Tate and Brady the power
• 1:29:23
  Speaker 5: of an endless life. T. C. Hall The power of
• 1:29:28
  Speaker 5: endless life. From out of the depths to thee. I
• 1:29:31
  Speaker 5: cry Elizabeth E. Marcy, the Throne of Grace. M. Rhodes,
• 1:29:39
  Speaker 5: They who seek the Throne of Grace. Oliver Holden before
• 1:29:44
  Speaker 5: the throne. William Bellers Saints shall stand before the throne
• 1:29:51
  Speaker 5: from seeing with all the sons of Glory. William J.
• 1:29:54
  Speaker 5: Irons Light at evening time. John S. Holme, Light at
• 1:30:01
  Speaker 5: evening time from Holy Father, Cheer our way. Richard H.
• 1:30:06
  Speaker 5: Robertson our templed hills. Ralph A. Felton, Thy woods in
• 1:30:14
  Speaker 5: templed hills. From my country tis of thee. Samuel F. Smith,
• 1:30:21
  Speaker 5: Every creature M. T. Lamb. Let every creature speak his
• 1:30:26
  Speaker 5: praise from the Lord is King, lived up thy voice.
• 1:30:30
  Speaker 5: Josiah Conder Wondrous love. D. L. Moody, embracing in thy
• 1:30:37
  Speaker 5: wondrous love from Lord Jesus. When we stand afar William W.
• 1:30:43
  Speaker 5: Howe the day of his coming H. H. Gowan, Oh,
• 1:30:49
  Speaker 5: that each in the day of His coming may say,
• 1:30:52
  Speaker 5: from come, let us anew our journey pursue. Charles Wesley
• 1:30:59
  Speaker 5: a living faith G. Miriam on the Rock of a
• 1:31:03
  Speaker 5: living Faith from one sweetly solemn thought, Phoebe Carrey. The
• 1:31:10
  Speaker 5: hymns above cited are to be found in the Methodist
• 1:31:13
  Speaker 5: Hymnal of nineteen oh five. The following book titles are
• 1:31:17
  Speaker 5: taken from hymns not in the Methodist Hymnal To the Work,
• 1:31:23
  Speaker 5: to the Work D. L. Moody to the Work to
• 1:31:27
  Speaker 5: the Work Fanny J. Crosby, bringing in sheaves a b earle,
• 1:31:34
  Speaker 5: bringing in the sheaves from sewing in the morning. K.
• 1:31:38
  Speaker 5: Shaw Our immortality D. P. Rhoades, our immortality from I
• 1:31:45
  Speaker 5: know not how that Bethlehem's Babe Harry W. Farrington, the Christ,
• 1:31:53
  Speaker 5: that is to be a noon, ring in the Christ,
• 1:31:56
  Speaker 5: that is to be from ring out wild bells to
• 1:31:59
  Speaker 5: the wild sky Alfred Lord Tennyson. These are but a
• 1:32:05
  Speaker 5: few samples of hymn line book titles discovered almost fortuitously,
• 1:32:11
  Speaker 5: and are probably only a fraction of those which could
• 1:32:14
  Speaker 5: be unearthed by a systematic perusal of the United States
• 1:32:18
  Speaker 5: Catalog of Books. The Hymnal is rich in striking, vivid phrases,
• 1:32:24
  Speaker 5: and besides those already enumerated, there is a great abundance
• 1:32:28
  Speaker 5: of possible book titles in our hymns awaiting adoption by
• 1:32:33
  Speaker 5: authors who are eagerly searching for an apt title for
• 1:32:36
  Speaker 5: their next book, such as The Everlasting Father from hymn
• 1:32:41
  Speaker 5: number ten, The Night becomes as Day number thirty two,
• 1:32:46
  Speaker 5: in Ways of Righteousness number forty one, through Cloud and
• 1:32:51
  Speaker 5: Sunshine number fifty are Changeful Lives number sixty one, mirr
• 1:32:57
  Speaker 5: from the forest one fourteen, in the Seate of Power
• 1:33:01
  Speaker 5: one sixty nine, That flame of living fire one eighty seven,
• 1:33:06
  Speaker 5: A lamp of burnished gold two hundred, A Stranger at
• 1:33:11
  Speaker 5: the door number two forty nine, This Little Landscape of
• 1:33:16
  Speaker 5: our Life number three twenty three, in spite of dungeon,
• 1:33:20
  Speaker 5: fire and sword number four fifteen, Under the sunset skies
• 1:33:27
  Speaker 5: number four twenty two, The Rainbow through the rain four
• 1:33:31
  Speaker 5: eighty one, This Robe of Flesh five sixteen, A proverb
• 1:33:37
  Speaker 5: of reproach five sixty one, The Music of the Gospel
• 1:33:43
  Speaker 5: six twenty one, The Martyr's Ashes six forty one, A
• 1:33:48
  Speaker 5: Nation's Sacrifice seven thirteen. The next time you write a story,
• 1:33:54
  Speaker 5: go to your hymnal to find the most appropriate title
• 1:33:57
  Speaker 5: for your book. It is there. End of chapter seven.
• 1:34:07
  Speaker 2: Chapter eight of Curiosities of the hymnal. This is a
• 1:34:11
  Speaker 2: LibriVox recording. All LibriVox recordings are in the public domain.
• 1:34:16
  Speaker 2: For more information or to volunteer, please visit LibriVox dot org.
• 1:34:21
  Speaker 2: Read by Shrimpfish. Curiosities of the hymnal by Carl F. Price,
• 1:34:27
  Speaker 2: When Winter Comes, Those last haunting yearning lines of Shelley's
• 1:34:34
  Speaker 2: Ode to the West Wind, from which A. S. M.
• 1:34:37
  Speaker 2: Hutchinson derived his book title, If Winter Comes, expressed the
• 1:34:42
  Speaker 2: coming of winter in the conditional mood, as though there
• 1:34:46
  Speaker 2: were really some doubt as to its coming. Two winters
• 1:34:49
  Speaker 2: had come and gone after the issuance of Hutchinson's novel,
• 1:34:54
  Speaker 2: when there appeared a similar book title When Winter Comes
• 1:34:57
  Speaker 2: to Main Street, not lesque of the novel that the
• 1:35:02
  Speaker 2: chatty illuminating book by Grant Overton concerning current books in
• 1:35:07
  Speaker 2: their authors, which title assumes the inevitability of winter's coming
• 1:35:12
  Speaker 2: without the doubting if Likewise? The Methodist hymnal in hymn
• 1:35:16
  Speaker 2: number five hundred and twenty two sings of the time
• 1:35:20
  Speaker 2: when Winter comes, And that phrase caught our attention, as
• 1:35:24
  Speaker 2: would any other phrase of the day on everybody's lips,
• 1:35:27
  Speaker 2: for instance, who and that kuaside season could have escaped
• 1:35:32
  Speaker 2: this reaction on seeing day by day, as it appears
• 1:35:35
  Speaker 2: ten times in our Hymnal in hymns one hundred, one
• 1:35:39
  Speaker 2: hundred thirty eight, one hundred seventy six, two hundred and
• 1:35:42
  Speaker 2: eighty four twice, three hundred eighty four, hundred and thirty
• 1:35:47
  Speaker 2: eight thrice and six hundred and seventy six. Fortunately, in
• 1:35:54
  Speaker 2: every way is not in the hymnal. The nearest we
• 1:35:57
  Speaker 2: come to this is in every five hundred and fifteen,
• 1:36:02
  Speaker 2: and as on our daily way we go for the moment.
• 1:36:07
  Speaker 2: The phrase when winter comes seems to have yielded another
• 1:36:10
  Speaker 2: book title from the hymnal, But when Winter Comes is
• 1:36:14
  Speaker 2: only half a book title, and its interest springs from
• 1:36:18
  Speaker 2: quite a different sort of disclosure, namely the hymnal as
• 1:36:22
  Speaker 2: an anthology on friendship. This same lonely streamer to whom
• 1:36:27
  Speaker 2: reference was made in the preceding chapter, also made a
• 1:36:30
  Speaker 2: book in Friendship's name, which clustered together within its covers
• 1:36:35
  Speaker 2: a choice bouquet of many of the best quotations on
• 1:36:38
  Speaker 2: that sacred and precious relation friendship. It is astonishing to
• 1:36:43
  Speaker 2: note what seventy hymns in our hymnal have to say
• 1:36:46
  Speaker 2: about friendship. It was the Irish poet Thomas Moore who
• 1:36:51
  Speaker 2: used the phrase when winter comes. He was writing of
• 1:36:54
  Speaker 2: the winter of old age and of its pathetic tragedy
• 1:36:57
  Speaker 2: in the loss of early friends. The second verse of
• 1:37:00
  Speaker 2: his hymn begins with these lines, the friends who in
• 1:37:05
  Speaker 2: our sunshine live when winter comes are flown. The first verse,
• 1:37:10
  Speaker 2: with its phrases who the riest, the mourner's tear, and
• 1:37:15
  Speaker 2: when deceived and wounded, here implies the loss of friends
• 1:37:20
  Speaker 2: through death or through disloyalty. However those early friends may
• 1:37:25
  Speaker 2: have been lost, old age is keenly sensible of their loss,
• 1:37:29
  Speaker 2: as anyone knows who lives close to an older person.
• 1:37:33
  Speaker 2: There is always a strange tender pathos in an old
• 1:37:36
  Speaker 2: man's lament for the friends of his youth. And it
• 1:37:39
  Speaker 2: is then, as the poet reminds us, that the divine
• 1:37:43
  Speaker 2: consolation of God's love is the sweetest. But thou wilt
• 1:37:47
  Speaker 2: heal that broken heart, which, like the plants that throw
• 1:37:51
  Speaker 2: the fragrance from the wounded part, breathes sweetness out of woe.
• 1:37:57
  Speaker 2: Other hymnists have sung tenderly of the loss of friends
• 1:38:00
  Speaker 2: by death. What thou and lonely grief. I sigh for
• 1:38:04
  Speaker 2: friends beloved no longer nigh. Friend after friend departs, who
• 1:38:10
  Speaker 2: hath not lost a friend? There is no union here
• 1:38:13
  Speaker 2: of hearts that finds not here an end. Those angel
• 1:38:17
  Speaker 2: faces smile, which I have loved long since and lost awhile. Likewise,
• 1:38:23
  Speaker 2: also they have sung of the loss of friends who
• 1:38:26
  Speaker 2: have deserted us through disloyalty. Though friends should all fail,
• 1:38:31
  Speaker 2: every human tie may perish. Friend to friend, unfaithful prove,
• 1:38:36
  Speaker 2: foes may hate, and friends may shun me. What though
• 1:38:40
  Speaker 2: the world deceitful prove and earthly friends and hopes remove,
• 1:38:45
  Speaker 2: do thy friends despise forsake thee when other helpers fail
• 1:38:50
  Speaker 2: and comforts flee. It is then that the lonely soul
• 1:38:55
  Speaker 2: can sing with confidence help of the helpless. Oh abide
• 1:38:59
  Speaker 2: with me, For Christ is throughout our hymns of faith,
• 1:39:03
  Speaker 2: portrayed as tenderest friend and best true friend, my chief delight,
• 1:39:09
  Speaker 2: our friend, our brother, and our Lord. A false friend, however,
• 1:39:14
  Speaker 2: is a contradictory term for disloyalty disproves real friendship. But
• 1:39:19
  Speaker 2: the hymnal enumerates many noble qualities of true human friendship.
• 1:39:24
  Speaker 2: Every one of which may be found in the friendship
• 1:39:26
  Speaker 2: of Jesus Christ. Professor Engelman's hymn Through the Knight of
• 1:39:31
  Speaker 2: Doubt and Sorrow, translated from the Danish pictures the mutual
• 1:39:36
  Speaker 2: sympathy of friends marching through tribulation, brother clasps the hand
• 1:39:41
  Speaker 2: of brother, stepping fearless through the night. Frequently we sing
• 1:39:45
  Speaker 2: in the hymn which the Baptist minister in Wainsgate, Yorkshire,
• 1:39:50
  Speaker 2: the Reverend John Fawcett, wrote to express his friendly and
• 1:39:54
  Speaker 2: intimate relations with his parishioners, and often for each other.
• 1:39:59
  Speaker 2: Flows the s sympathizing tear. But our Hymnal purchays Christ
• 1:40:03
  Speaker 2: also as the sympathizing friend, showing to us the same
• 1:40:07
  Speaker 2: loyal qualities which we find in our human friends. For
• 1:40:10
  Speaker 2: thou didst weep o'er Lazarus dead? Can we find a
• 1:40:15
  Speaker 2: friend so faithful who will all our sorrows share? The
• 1:40:19
  Speaker 2: true human friend always comes to the aid of a
• 1:40:21
  Speaker 2: brother in distress. As in the Hymnal, we are exhorted
• 1:40:24
  Speaker 2: to do. Let each his friendly aid, afford and feel
• 1:40:28
  Speaker 2: his brother's care. And real friendship never demands return for
• 1:40:33
  Speaker 2: its generosity. Nothing ye in exchange shall give but out
• 1:40:38
  Speaker 2: of his infinite riches, the divine friend is ever lavishing
• 1:40:42
  Speaker 2: his gifts upon us. Christ was still the healing friend
• 1:40:46
  Speaker 2: of poverty and pain. But warm, sweet, tender, even yet
• 1:40:51
  Speaker 2: a present help is he thou, loving friend and Savior
• 1:40:55
  Speaker 2: of our race. Ten thousand thousand precious gifts my daily
• 1:41:01
  Speaker 2: thanks employ our human friend is ever ready to defend
• 1:41:04
  Speaker 2: us when we have aired, And likewise Christ is our advocate.
• 1:41:09
  Speaker 2: With God, he undertakes our cause. The joys of fellowship
• 1:41:14
  Speaker 2: and human friendship are celebrated in many of our hymns.
• 1:41:17
  Speaker 2: The fellowship of kindred minds is like to that above,
• 1:41:22
  Speaker 2: where friend holds fellowship with friend, we all partake the
• 1:41:26
  Speaker 2: joy of one And this fellowship is not dependent upon
• 1:41:31
  Speaker 2: the actual presence of friends in each other's company. It
• 1:41:34
  Speaker 2: defies the disability of absence. Our bodies may far off remove,
• 1:41:39
  Speaker 2: we still are one in heart. It even bridges the
• 1:41:43
  Speaker 2: chasm which death for a time has opened between this
• 1:41:46
  Speaker 2: life and the life beyond. Come, let us join our
• 1:41:50
  Speaker 2: friends above that have obtained the prize, and on the
• 1:41:54
  Speaker 2: eagle wings of love to joy celestial rise. Let all
• 1:41:58
  Speaker 2: the saints terrestrial sin with those to glory gone severed
• 1:42:03
  Speaker 2: friends shall meet again, and soon my friends in Christ
• 1:42:08
  Speaker 2: below will join the glorious band. For loved ones in
• 1:42:12
  Speaker 2: the homeland are waiting me to come. What knitting severed
• 1:42:17
  Speaker 2: friendships up where partings are no more. How quaintly and
• 1:42:22
  Speaker 2: almost hilariously, Charles Wesley has expressed this idea. There all
• 1:42:27
  Speaker 2: the ships company meet, who sailed with their savior beneath,
• 1:42:31
  Speaker 2: with shouting each other, they greet and triumph o'er sorrow
• 1:42:35
  Speaker 2: and death. The first line of this hymn, as originally
• 1:42:39
  Speaker 2: written by Wesley, was in the same spirit, rejoice for
• 1:42:43
  Speaker 2: a brother deceased. Timorous generations succeeding have denatured the robust,
• 1:42:49
  Speaker 2: triumphant joy of that line into our present day first line,
• 1:42:53
  Speaker 2: weep not for a brother deceased. The Joint Hymnal Commission,
• 1:42:58
  Speaker 2: which in nineteen o five completed the Methodist Hymnal of
• 1:43:02
  Speaker 2: that date after a long discussion, barely lacked the courage
• 1:43:06
  Speaker 2: to change the hymn back to its original first line. However,
• 1:43:10
  Speaker 2: rich and satisfying human friendships thus described may prove to
• 1:43:14
  Speaker 2: be the fellowship, which is based on friendly kindness and gratitude,
• 1:43:18
  Speaker 2: finds its noblest expression in fellowship with Christ. If human
• 1:43:23
  Speaker 2: kindness meets return and owns the grateful tie. If tender
• 1:43:27
  Speaker 2: thoughts within us burn to feel a friend is nigh,
• 1:43:31
  Speaker 2: oh shall not warmer accents tell the gratitude we owe
• 1:43:36
  Speaker 2: to him who died. Our fears to quell are more
• 1:43:39
  Speaker 2: than orphan's woe. Jesus. The very thought of thee with
• 1:43:43
  Speaker 2: sweetness fills the breast, but sweeter far thy face to see,
• 1:43:48
  Speaker 2: and in thy presence rest True friends are expected to
• 1:43:52
  Speaker 2: forgive one another the wrongs that are done. But at
• 1:43:55
  Speaker 2: this point friendship finds its severest strain, and we recognize
• 1:44:00
  Speaker 2: the poet that to err is human, to forgive divine.
• 1:44:05
  Speaker 2: In Christ's friendship alone, forgiveness reaches perfection. It was John Newton,
• 1:44:10
  Speaker 2: the converted slaveship captain, who wrote these two hymns. A
• 1:44:14
  Speaker 2: wondrous love to bleed and die, to bear the cross,
• 1:44:18
  Speaker 2: and shame that guilty sinners such as I might plead
• 1:44:21
  Speaker 2: Thy gracious name. One there is above all others well
• 1:44:26
  Speaker 2: deserves the name a friend. His is love beyond a
• 1:44:29
  Speaker 2: brother's costly free and knows no end which of all
• 1:44:33
  Speaker 2: our friends to save us could or would have shed
• 1:44:36
  Speaker 2: his blood. But the Savior died to have us reconciled
• 1:44:40
  Speaker 2: in him to God when he lived on earth. Abused
• 1:44:43
  Speaker 2: friend of sinners was his name. Now above all glory
• 1:44:47
  Speaker 2: rays he rejoices in the same Oh, for grace our hearts,
• 1:44:51
  Speaker 2: to soften, teach us Lord at length to love we
• 1:44:54
  Speaker 2: alas forget too often what a friend we have.
• 1:44:57
  Speaker 3: Above.
• 1:44:59
  Speaker 2: While Christ's exhibits all of the noble qualities of human
• 1:45:02
  Speaker 2: friendship and exalts them to their highest possible degree, it
• 1:45:06
  Speaker 2: is unique in that he is the one friend who,
• 1:45:09
  Speaker 2: in reality is always with us, ever present, truest friend
• 1:45:14
  Speaker 2: ever near thine aid to lend. And he is the
• 1:45:18
  Speaker 2: only friend who can look deep into our hearts and
• 1:45:21
  Speaker 2: understand what is there. No human heart can enter each
• 1:45:25
  Speaker 2: dim recess of mine and soothe and hush and calm it.
• 1:45:29
  Speaker 2: A blessed Lord like thine, he is our everlasting friend,
• 1:45:34
  Speaker 2: our redeemer and friend, our guide, and our friend. Little
• 1:45:40
  Speaker 2: wonder that Philip Doddridge, knowing the divine friend and experiencing
• 1:45:44
  Speaker 2: the wonders of his love, should have written, tis my
• 1:45:48
  Speaker 2: delight thy face to see and serve the cause of
• 1:45:51
  Speaker 2: such a friend. Once upon a time, winter came to
• 1:45:55
  Speaker 2: Joseph Scriven as a young man when he was overborne
• 1:45:59
  Speaker 2: by the news of the drowning of his fiancee just
• 1:46:02
  Speaker 2: before the date set for their wedding, but at last
• 1:46:05
  Speaker 2: finding comfort only in the friendship of Christ, he sang
• 1:46:09
  Speaker 2: in millions have since re echoed the song of Divine friendship.
• 1:46:14
  Speaker 2: What a friend we have in Jesus, all our sins
• 1:46:17
  Speaker 2: and griefs to bear? What are privileged to carry everything
• 1:46:21
  Speaker 2: to God in prayer? Can we find a friend so
• 1:46:24
  Speaker 2: faithful who will all our sorrows share? Jesus knows our
• 1:46:28
  Speaker 2: every weakness, Take it to the Lord in prayer?
• 1:46:33
  Speaker 6: End of Chapter eight, Chapter nine of Curiosities of the Hymnal.
• 1:46:44
  Speaker 6: This is a LibriVox recording. All LibriVox recordings are in
• 1:46:47
  Speaker 6: the public domain. For more information or to volunteer, please
• 1:46:51
  Speaker 6: visit LibriVox dot org. Read by George Banfield. Curiosities of
• 1:46:56
  Speaker 6: the Hymnal by Carl F. Price. The vocabulary of the Hymnal.
• 1:47:02
  Speaker 6: The vocabulary of the Methodist Hymnal consists of six thousand,
• 1:47:07
  Speaker 6: one hundred and twenty five different words. Although this number
• 1:47:11
  Speaker 6: is but an approximation, it has been reached by a
• 1:47:14
  Speaker 6: careful method. The exact number of different words in the
• 1:47:18
  Speaker 6: first one hundred hymns is two thousand, one hundred thirty eight.
• 1:47:22
  Speaker 6: By examining ten hymns in each succeeding group of one
• 1:47:26
  Speaker 6: hundred hymns, a fairly accurate estimate of the whole number
• 1:47:29
  Speaker 6: was made. Shakespeare's vocabulary was twenty three thousand. Woodrow Wilson's
• 1:47:35
  Speaker 6: books contain sixty thousand verbal varieties. Doctor Frank H. Visitelli,
• 1:47:41
  Speaker 6: an editor of the New Standard Dictionary of the English Language,
• 1:47:44
  Speaker 6: declares that the average businessman uses ten thousand, the average
• 1:47:49
  Speaker 6: clergyman twenty five thousand words. For an anthology of over
• 1:47:54
  Speaker 6: seven hundred hymns from more than three hundred different poets
• 1:47:57
  Speaker 6: living and writing English in four different centuries. This appears
• 1:48:01
  Speaker 6: to be a small vocabulary, but it served to remind
• 1:48:05
  Speaker 6: us that the language of the hymns is circumscribed and
• 1:48:08
  Speaker 6: restrained as compared with the wideness of their theme. In fact,
• 1:48:13
  Speaker 6: the hymnal eloquently bespeaks a joy no language measures. To
• 1:48:18
  Speaker 6: quote Bishop Bickersteth's hymn Oh God the Rock of Ages
• 1:48:23
  Speaker 6: at one extreme, hymnody has all of the limitations of
• 1:48:27
  Speaker 6: general poetry. At the other it is barred from using
• 1:48:30
  Speaker 6: a great body of words that are legitimate in other
• 1:48:33
  Speaker 6: forms of poetry. The language of poetry recognizes many words
• 1:48:37
  Speaker 6: as aliens that are frequent in daily speech, in prose writings,
• 1:48:42
  Speaker 6: in technical discussions, through hundreds of different departments of human thought.
• 1:48:46
  Speaker 6: Hymnology excludes all these, and besides a very large group
• 1:48:51
  Speaker 6: of words belonging to themes appropriate to general poetry but
• 1:48:55
  Speaker 6: not to hymns. Words of many syllables are within the
• 1:48:59
  Speaker 6: province of pro rather than of mellifluous poetry, but from
• 1:49:03
  Speaker 6: the hymns, by reason of restricted metrical form and for
• 1:49:07
  Speaker 6: musical purposes, are almost entirely excluded. Some about two dozen
• 1:49:13
  Speaker 6: of our hymns contain no words with more than two
• 1:49:15
  Speaker 6: syllables see him thirty seven. Many of them use only
• 1:49:20
  Speaker 6: two or three trisyllabic words, while most of them have
• 1:49:23
  Speaker 6: no words with four syllables. Father Fabour's polysyllable Incomprehensible is
• 1:49:29
  Speaker 6: a very rare specimen. The hymns are very largely monosyllabic.
• 1:49:34
  Speaker 6: The strong Anglo saxon of the King James version has
• 1:49:37
  Speaker 6: in general determined their vocabulary, and this speaks eloquently of
• 1:49:42
  Speaker 6: the Bible reading habits of our hymn writers. The Latinized
• 1:49:46
  Speaker 6: style has not invaded the hymnal. One is reminded of
• 1:49:50
  Speaker 6: the lines of Samuel Johnson's hymn in singing of the
• 1:49:53
  Speaker 6: language of the Church of God. How purely hath thy
• 1:49:56
  Speaker 6: speech come down from man's primeval youth. Precise words so
• 1:50:02
  Speaker 6: effective in the emotional development of some styles of poetry
• 1:50:06
  Speaker 6: are out of place in the hymnal. Even such words
• 1:50:09
  Speaker 6: as harbinger, milton, minaret, gurdon, potentate, and paraclet are exceptional.
• 1:50:18
  Speaker 6: The hymnal is rich in colorful adjectives, enlivening metaphors and
• 1:50:22
  Speaker 6: figures of speech to make more vivid the thought of
• 1:50:25
  Speaker 6: the hymnist, and yet indulgence in too many adjectives may
• 1:50:30
  Speaker 6: easily sacrifice that strength and virility which is recognized in
• 1:50:34
  Speaker 6: hymns like Oh God, our help in ages past, and
• 1:50:38
  Speaker 6: I Love Thy Kingdom Lord, where adjectives are used sparingly
• 1:50:43
  Speaker 6: within the confines of such a limited vocabulary. It is
• 1:50:47
  Speaker 6: amazing what a wealth of thought and emotion is expressed
• 1:50:50
  Speaker 6: in our hymns, and what a range of ideas the
• 1:50:53
  Speaker 6: hymnists have traversed. Some indication of the reach of the
• 1:50:57
  Speaker 6: hymnodic words may be seen in the word lists appended
• 1:51:02
  Speaker 6: to this brief chapter, which are drawn from only a
• 1:51:04
  Speaker 6: dozen subjects taken from the Methodist Hymnal. It is suggested
• 1:51:09
  Speaker 6: to the reader that, besides their use in illustrating the
• 1:51:13
  Speaker 6: vocabulary of the hymnal, these lists may be employed as
• 1:51:16
  Speaker 6: a sort of contest game for young people's gatherings or
• 1:51:19
  Speaker 6: for home drill in the use of the hymnal.
• 1:51:22
  Speaker 2: Let.
• 1:51:22
  Speaker 6: The contestants have the Methodist Hymnal and copies of these
• 1:51:26
  Speaker 6: lists before them, and write opposite each word the number
• 1:51:30
  Speaker 6: of a hymn in which it is found. Prizes may
• 1:51:33
  Speaker 6: be awarded to those who correctly locate the greatest number
• 1:51:36
  Speaker 6: of words on the lists. Bible places mentioned in the
• 1:51:41
  Speaker 6: Methodist Hymnal Bethlehem, Edom, olivet Galilee, Carmo, horeb Herman, Bethany, Bethel, Sharon, Olives, Salem, Zion, Deathsemone, Calvary, Canan, Jerusalem, Jordan, Pisgar, Babel, Siloam, Judea, Eden, Babel, Nineveh, Tire,
• 1:52:27
  Speaker 6: Red Sea, Animal, Kingdom, Lamb, sheep, serpent, foxes, heart, flocks, herds, music, liar, harp, trumpet, harmony, sound, bell, rings, music, choir, chant, strain, carol, canticle, choristers, chords, lay, notes, strings, tune, concert, sing, voice, choral,
• 1:53:20
  Speaker 6: anthem songs, clarion, chorus, mineral, kingdom, gold, crystal, silver, mines, rocks, brass, iron,
• 1:53:39
  Speaker 6: steel stone, adamant rock, waste, coral gems, duel, marbles, sapphire, jasper, pearl, Bible, persons, Mary,
• 1:54:01
  Speaker 6: Virgin Hannah, Mary of Bethany, Adam, Lazarus, Abraham, Paul, Isaiah, David, Elijah, Moses, Job, John, Peter, Jacob, Gabriel, Pharaoh, Samuel, Eli, Israel, birds, sparrow, eagles, bird, raven, dove, botany, laurel, pine,
• 1:54:49
  Speaker 6: fig tree, bough, oak, leaves, lilies, sheaves, grain, blade, stalk, ear,
• 1:55:05
  Speaker 6: corn seed, apple tree, rose, flowers, palms, fruits, bloom, grass, wheat, thorns, wormwood, bud, blossom, woods, groves, garden, vineyard. Astronomy, moon, sun, stars, planets, firmament, crescent,
• 1:55:49
  Speaker 6: sun's eclipse, waning, moons, setting, suns, earth, sphere, worlds, globe, orbs, sky, burning, luminaries, morning, star, moonlight, sunset,
• 1:56:13
  Speaker 6: dawn countries, Arabia, India, Greenland, Africa, Ceylon, waters, rivers, currents, torrents, ocean,
• 1:56:34
  Speaker 6: sea streams, waves, dews, showers, flood, deluge, storm, fountain, springs, mists, rains, bubble, foam, icye, frost, snow, rills, earth, surface, hill, veil, dell, mountains, plains, deserts,
• 1:57:17
  Speaker 6: strand more, ground, land, shore, aisles, continent, gulf, meadows, quicksands, valley, field, clay, dust, sand, dune, crag,
• 1:57:44
  Speaker 6: fen colours green, purple, red, blue, white, silver, golden, crimson, rainbow,
• 1:58:02
  Speaker 6: deepest die. End of chapter nine.
• 1:58:12
  Speaker 1: Chapter ten of Curiosities of the Hymnal. This is a
• 1:58:16
  Speaker 1: LibriVox recording. All LibriVox recordings are in the public domain.
• 1:58:21
  Speaker 1: For more information or to volunteer, please visit LibriVox dot org.
• 1:58:27
  Speaker 1: Read by Larry Wilson. Curiosities of the Hymnal by Carl F. Price.
• 1:58:34
  Speaker 1: Come in the Hymnal. One Sunday morning in spring in
• 1:58:39
  Speaker 1: New England, we heard the Reverend Albert Abbott, a Methodist minister,
• 1:58:43
  Speaker 1: state in the forepart of his sermon that the word
• 1:58:46
  Speaker 1: come occurs in the King James version of the Bible
• 1:58:50
  Speaker 1: six hundred and forty two times This is one of
• 1:58:54
  Speaker 1: the curiosities of the Bible. To one browsing in the
• 1:58:58
  Speaker 1: field of hymnal curiosities, the question must immediately arise, how
• 1:59:03
  Speaker 1: many times does it occur in the Methodist hymnal. We
• 1:59:07
  Speaker 1: might have been tempted then and there to investigate our
• 1:59:10
  Speaker 1: hymnotic coms, had we ever formed that very questionable habit
• 1:59:14
  Speaker 1: which Carl Kennicott so rudely displayed in Saint Clair Lewis
• 1:59:18
  Speaker 1: Main Street, of finding relief from the dullness of a
• 1:59:21
  Speaker 1: sermon by perusing the pages of the hymnal. This particular
• 1:59:26
  Speaker 1: sermon Uncome, however, proved to be the reverse of doll
• 1:59:30
  Speaker 1: But the impulse to curiosity was not forgotten, and that
• 1:59:34
  Speaker 1: night we counted the cumbs in the hymnal as far
• 1:59:37
  Speaker 1: as Hymn seven hundred before sleep came, and in the
• 1:59:41
  Speaker 1: morning discovered that there were only nine combs in all
• 1:59:44
  Speaker 1: the body of our hymns beyond that point, and all
• 1:59:48
  Speaker 1: but one in one hymn number seven hundred seventeen. Come, ye,
• 1:59:52
  Speaker 1: thankful people, Come altogether Come, in its various tenses and participles,
• 1:59:57
  Speaker 1: occurs in our hymns three hundred and forty four times,
• 2:00:02
  Speaker 1: and this, of course is a much greater proportion than
• 2:00:04
  Speaker 1: in the Bible. Half of the combs are found among
• 2:00:08
  Speaker 1: the hymns of worship at the beginning, and also under
• 2:00:11
  Speaker 1: the subjects the Incarnation, Holy Spirit, Lord's Supper, and the
• 2:00:16
  Speaker 1: Gospel with his warnings calls to repentance, and provisions and promises,
• 2:00:21
  Speaker 1: although the hymns under these subjects comprise less than one
• 2:00:24
  Speaker 1: quarter of all the hymns in the hymnal. There are
• 2:00:27
  Speaker 1: three kinds of come in the Hymnal. First, there is
• 2:00:31
  Speaker 1: the simple declarative that describes the act of coming. Milton
• 2:00:36
  Speaker 1: uses this plain little word come with a characteristic majesty
• 2:00:40
  Speaker 1: in his metrical paraphrase of the eighty fifth and eighty
• 2:00:43
  Speaker 1: sixth Psalms, The Lord will come and not be slow.
• 2:00:48
  Speaker 1: The coming of the Lord is sometimes denoted in the
• 2:00:50
  Speaker 1: past tense, thou didst come to ransom sinners. Sometimes in
• 2:00:55
  Speaker 1: the present he comes to break oppression, and sometimes in
• 2:00:59
  Speaker 1: the future until he come when the Judge at last
• 2:01:03
  Speaker 1: shall come. It is interesting to note that the Seventh
• 2:01:07
  Speaker 1: Day Adventist symnal puts the first line of Isaac Watt's
• 2:01:11
  Speaker 1: Christmas hymn in the future tense joy to the world.
• 2:01:15
  Speaker 1: The Lord will come. Probably in our hymnal, the simple
• 2:01:20
  Speaker 1: declarative come is nowhere used more effectively than in Charlotte
• 2:01:24
  Speaker 1: Elliott's exclamation, O Lamb of God, I come, so eloquent
• 2:01:29
  Speaker 1: of that complete and unreserved consecration with which she concludes
• 2:01:33
  Speaker 1: each verse of her noble hymn, just as I am,
• 2:01:37
  Speaker 1: and probably no other hymn has been the means of
• 2:01:40
  Speaker 1: inspiring so many sinsic but hesitant souls to decide to
• 2:01:44
  Speaker 1: come to the Lamb of God. A hymnotic study of
• 2:01:48
  Speaker 1: the word, however, yields greater interest in its other two uses,
• 2:01:53
  Speaker 1: the hortatory come and the supplicatory come. The hortatory come
• 2:01:58
  Speaker 1: is capable of expressing a great variety of emotions. Used
• 2:02:02
  Speaker 1: as an exhortation or an appeal in the hymnal, it
• 2:02:06
  Speaker 1: registers joy or sorrow, sympathy or importunity, a simple invitation,
• 2:02:12
  Speaker 1: or the yearning call of the Master's voice. A professional
• 2:02:16
  Speaker 1: nurse once told us of an interesting case under her care.
• 2:02:20
  Speaker 1: The patient was a bright, cultured woman who, by a
• 2:02:23
  Speaker 1: stroke of apoplexy, had been almost wholly deprived of her
• 2:02:26
  Speaker 1: power a speech. Though she could understand everything said to her.
• 2:02:31
  Speaker 1: She could utter, however, only one word, and that was
• 2:02:35
  Speaker 1: come by an astonishing variety of inflections and of manner
• 2:02:39
  Speaker 1: in saying it. She managed for ten years, with this
• 2:02:42
  Speaker 1: vocabulary of one word to express her delight, her disappointment,
• 2:02:47
  Speaker 1: her various needs, her sorrow, even her indignation, so that
• 2:02:52
  Speaker 1: it was possible, albeit in a limited way, to carry
• 2:02:56
  Speaker 1: on a conversation with this woman of one word. Once,
• 2:03:00
  Speaker 1: when she lost the use of even that word for
• 2:03:02
  Speaker 1: four days, her despondency was profound, But the doctor's prescription
• 2:03:07
  Speaker 1: of natroglycerin restored the wonderful word to her, and she
• 2:03:11
  Speaker 1: was soon as gaily talkative as ever with her eloquent
• 2:03:15
  Speaker 1: come become a come. What contrasting tones and expressions of
• 2:03:19
  Speaker 1: the voice we hear in the different hortatory comes of
• 2:03:22
  Speaker 1: our hymns, A holy joy and an eager gladness are
• 2:03:26
  Speaker 1: heard in the words, Come, ye that love the Lord,
• 2:03:30
  Speaker 1: and let your joys be known. Come, let us join
• 2:03:33
  Speaker 1: with one accord, Come sound his praise abroad. The mournful
• 2:03:39
  Speaker 1: sorrow of heavy hearts in the presence of Christ's crucifixion
• 2:03:42
  Speaker 1: is uttered in these lines, O, come and mourn with
• 2:03:46
  Speaker 1: me a while. Come, sinners, see your savior die. Thomas
• 2:03:51
  Speaker 1: Moore has expressed a melting sympathy for grief stricken hearts
• 2:03:55
  Speaker 1: in his hymn Come ye disconsolate, where ye languish. There
• 2:04:00
  Speaker 1: is a stern importunity of appeal in the come that
• 2:04:03
  Speaker 1: reaches us from non Christian lands. Come over and help us,
• 2:04:08
  Speaker 1: they cry. Where gospel invitations in our hymnal addressed. Dissin
• 2:04:13
  Speaker 1: laden souls abound in the urgent, appealing loving tones with
• 2:04:18
  Speaker 1: which come is uttered. Come sinners, haste, O haste away,
• 2:04:23
  Speaker 1: Come every soul by sin oppressed, Come ye, sinners, poor needy.
• 2:04:30
  Speaker 1: The voice of Jesus re echoes throughout our hymns, tender
• 2:04:34
  Speaker 1: but compelling, commanding but reassuring. Whenever come is spoken by him,
• 2:04:41
  Speaker 1: Come unto me, ye weary, come hither soul, I am
• 2:04:45
  Speaker 1: the way. Come to me, saith one and coming be
• 2:04:49
  Speaker 1: at rest. Sometimes the divine voice is hushed to a
• 2:04:54
  Speaker 1: whisper in its quiet but winsome appeal, whispering softly, wanderer,
• 2:04:59
  Speaker 1: Come follow me, I'll guide thee home. As a supplication,
• 2:05:05
  Speaker 1: come is best suited to hymnotics. For the ancient test
• 2:05:09
  Speaker 1: of a real hymn still survives that it be addressed
• 2:05:12
  Speaker 1: to Deity in formed to be sung. Many of our
• 2:05:16
  Speaker 1: so called hymns are neither prayer nor praise, but are
• 2:05:19
  Speaker 1: merely descriptive or else addressed to some one other than Deity.
• 2:05:24
  Speaker 1: Watchmen tell us of the night, Christian, dost thou see them?
• 2:05:28
  Speaker 1: My country tis of thee. But wherever Come is used
• 2:05:32
  Speaker 1: in the hymnal as a supplication, the hymn containing it
• 2:05:36
  Speaker 1: thus meets at least the first essential test of a
• 2:05:39
  Speaker 1: true hymn. The first hymn and our hymnal containing the
• 2:05:42
  Speaker 1: supplicatory Come is Come Thou, Almighty King, in which the
• 2:05:47
  Speaker 1: word occurs five times, each time gathering new emphasis as
• 2:05:51
  Speaker 1: it is reiterated. In the first verse it is addressed
• 2:05:54
  Speaker 1: to the Father all glorious, and the second to the
• 2:05:58
  Speaker 1: Son Thou incarnate Word, and in the third to the
• 2:06:01
  Speaker 1: Holy comforter, the last verse uniting eternal praises to the
• 2:06:05
  Speaker 1: Great One and three. Among the succeeding hymns we find
• 2:06:09
  Speaker 1: the prayerful appeal to Come addressed to each person of
• 2:06:12
  Speaker 1: the Trinity separately. O Father, Come, Oh, Come to my heart. Lord, Jesus,
• 2:06:19
  Speaker 1: come Holy ghosts for thee I call, and sometimes to
• 2:06:23
  Speaker 1: all three persons in the Godhead at once, Come Father, Son,
• 2:06:27
  Speaker 1: and Holy Ghost. But in these petitions, as well as
• 2:06:31
  Speaker 1: in the exhortations noted previously, there is a wide difference
• 2:06:35
  Speaker 1: in the emotional tones with which the coms are uttered.
• 2:06:39
  Speaker 1: What tinder pathos, Bishop Christopher Wordsworth has wrought into the prayer,
• 2:06:44
  Speaker 1: Come Lord in lonesome days when storms assail? What anxious
• 2:06:48
  Speaker 1: importunity is heard in the cry, come quickly from above?
• 2:06:52
  Speaker 1: What confidence in the evening prayer? Come near and bless
• 2:06:55
  Speaker 1: us when we wake? What holy ecstasy? And come Thou
• 2:06:59
  Speaker 1: source of joy and gladness. Thus, the little word of
• 2:07:03
  Speaker 1: only four letters, of only one syllable, as used in
• 2:07:06
  Speaker 1: the Hymnal, expresses vividly the definite act of coming, the
• 2:07:10
  Speaker 1: invitation to come, and the prayer that God may come,
• 2:07:14
  Speaker 1: and also eloquently, so persuasively and with such a wealth
• 2:07:17
  Speaker 1: of meaning, that it develops into one of the most
• 2:07:20
  Speaker 1: expressive words in the language of our faith. End of
• 2:07:24
  Speaker 1: Chapter ten.
• 2:07:31
  Speaker 2: Chapter eleven of Curiosities of the Hymnal. This is a
• 2:07:35
  Speaker 2: LibriVox recording all LibriVox recordings are in the public domain.
• 2:07:39
  Speaker 2: For more information or to volunteer, please visit LibriVox dot org.
• 2:07:45
  Speaker 2: Read by shrimp Fish Curiosities of the hymnal by Karl F.
• 2:07:50
  Speaker 2: Price Youth. In the hymns, one usually thinks of hymn
• 2:07:56
  Speaker 2: writers as being amiable, old gentleman, benevolent of countenance, and
• 2:08:01
  Speaker 2: with a plenty of wrinkles and gray hairs to attest
• 2:08:04
  Speaker 2: the experience of long life, so that it comes somewhat
• 2:08:08
  Speaker 2: as a shock to the gentle reader to be reminded
• 2:08:11
  Speaker 2: as frequently as Doctor E. S Nind reminds us in
• 2:08:16
  Speaker 2: the story of the American Hymn, that so many of
• 2:08:18
  Speaker 2: our great hymns were written by young men, some of
• 2:08:21
  Speaker 2: them in their twenties, and some not yet out of
• 2:08:24
  Speaker 2: their teens. Of course, one finds an English hymnody the
• 2:08:28
  Speaker 2: classic example of Henry kirk White's hymn When Marshaled on
• 2:08:33
  Speaker 2: the Knightly Plain, a poetic description of his conversion, written
• 2:08:37
  Speaker 2: when he was not yet of lawful age. He died
• 2:08:40
  Speaker 2: at twenty two. In the more astounding instance of the hymn,
• 2:08:44
  Speaker 2: Jesus and shall it ever be said to have been
• 2:08:47
  Speaker 2: written by Joseph Grigg when he was ten years old,
• 2:08:51
  Speaker 2: though to its present form it was somewhat altered by
• 2:08:53
  Speaker 2: Benjamin Francis. But these illustrations of youthful hymnity have always
• 2:08:58
  Speaker 2: been regarded as very exceptional in the field of American
• 2:09:02
  Speaker 2: Christian hymns alone. However, to which doctor Ninn's scholarly and
• 2:09:07
  Speaker 2: entertaining book is confined, over a score of nineteenth century
• 2:09:11
  Speaker 2: hymn writers are discussed, who, as young men, gave to
• 2:09:15
  Speaker 2: the church hymns that will live. Judge Palmer's boy Ray,
• 2:09:19
  Speaker 2: at the age of thirteen, started to earn his living
• 2:09:22
  Speaker 2: as a clerk in a Boston store, but after two
• 2:09:25
  Speaker 2: years of work, he was persuaded by his pastor, the
• 2:09:28
  Speaker 2: Reverend Sereno E. Dwighte, to seek an education. He attended
• 2:09:34
  Speaker 2: Phillips Andover Academy, graduated there, and four years later, in
• 2:09:38
  Speaker 2: eighteen thirty, graduated from Yale. That year he began teaching
• 2:09:42
  Speaker 2: in a young ladies school in the then fashionable quarter
• 2:09:46
  Speaker 2: of Fulton Street, New York City, behind Saint Paul's Church,
• 2:09:50
  Speaker 2: and while there, at the age of twenty two, wrote
• 2:09:53
  Speaker 2: what doctor Theodore Cuyler used to call by far the
• 2:09:57
  Speaker 2: most precious contribution which American ge genius has yet made
• 2:10:01
  Speaker 2: to the hymnity of the Christian Church, that incomparable hymn
• 2:10:05
  Speaker 2: My Faith looks Up to Thee. Written in eighteen thirty,
• 2:10:09
  Speaker 2: it was not published until eighteen thirty two, when doctor
• 2:10:12
  Speaker 2: Lowell Mason set it to the tune Olivette. Another boy
• 2:10:17
  Speaker 2: born the same year as Rabe Palmer eighteen o eight,
• 2:10:21
  Speaker 2: was graduated from Harvard in eighteen twenty nine, and, like Palmer,
• 2:10:25
  Speaker 2: was destined to be a great hymnist as well as
• 2:10:28
  Speaker 2: a clergyman. Samuel Francis Smith in eighteen thirty two, at
• 2:10:33
  Speaker 2: the age of twenty four, one dismal day in February,
• 2:10:36
  Speaker 2: about half an hour before sunset, he found in an
• 2:10:40
  Speaker 2: important music book which Lowell Mason had loaned him the
• 2:10:44
  Speaker 2: tune now called America, and within that half hour he
• 2:10:47
  Speaker 2: wrote the immortal hymn My Country tis of THEE, which
• 2:10:52
  Speaker 2: doctor Mason brought out the following fourth of July. The
• 2:10:56
  Speaker 2: same year, Smith wrote also the morning light is breaking,
• 2:11:00
  Speaker 2: in response to that new found missionary impulse which the
• 2:11:03
  Speaker 2: church was beginning to experience, and which left a deep
• 2:11:06
  Speaker 2: impress in the hymnity of that generation. Charles William Everest
• 2:11:11
  Speaker 2: was only nineteen years old had not yet entered college
• 2:11:15
  Speaker 2: Trinity College, Hartford, Connecticut, when in eighteen thirty three he
• 2:11:20
  Speaker 2: wrote take up thy Cross, the Savior said. Curiously enough,
• 2:11:24
  Speaker 2: it has been more widely used in England than in America,
• 2:11:28
  Speaker 2: and is one of the very few American hymns published
• 2:11:31
  Speaker 2: in Hymns Ancient and modern.
• 2:11:34
  Speaker 3: Bishop Arthur C.
• 2:11:35
  Speaker 2: Cox's stately hymn Aware are Kings and Empires Now was
• 2:11:40
  Speaker 2: written when he was twenty one, and how beauteous were
• 2:11:44
  Speaker 2: the marks divine when he was twenty two. In fact,
• 2:11:47
  Speaker 2: nearly all of that splendid body of sacred verse with
• 2:11:51
  Speaker 2: which he enriched American hymnity, was written in his youth.
• 2:11:55
  Speaker 2: His too scrupulous modesty as member of the Protestant Episcope
• 2:12:00
  Speaker 2: Bolhymnal Committee prevented their being included in that collection until
• 2:12:04
  Speaker 2: long after they had been adopted by other denominations of
• 2:12:08
  Speaker 2: quite a different type. But of the widest service in
• 2:12:12
  Speaker 2: Christian worship has been the popular Sacred Song he leadeth
• 2:12:16
  Speaker 2: Me Professor Joseph H. Gilmore, who wrote it in eighteen
• 2:12:20
  Speaker 2: sixty two at the age of twenty eight, had been
• 2:12:23
  Speaker 2: talking about the twenty third Psalm at the midweek service
• 2:12:27
  Speaker 2: of the First Baptist Church in Philadelphia. Impressed with the
• 2:12:30
  Speaker 2: blessedness of the thoughts developed in the meeting, he took
• 2:12:34
  Speaker 2: out his pencil on arriving at his place of entertainment
• 2:12:37
  Speaker 2: after the service, and wrote the four verses and chorus
• 2:12:41
  Speaker 2: which have thrilled so many worshippers. He gave the manuscript
• 2:12:46
  Speaker 2: to his wife, and three years later he was unaware
• 2:12:48
  Speaker 2: that it had been published until when about to preach
• 2:12:51
  Speaker 2: in Rochester one day, he found it in a hymn book.
• 2:12:54
  Speaker 2: While selecting the hymns, a young man just graduating from
• 2:12:59
  Speaker 2: Andover Theological Seminary in eighteen eighty seven was urged by
• 2:13:03
  Speaker 2: his classmates to write a parting hymn for them which
• 2:13:06
  Speaker 2: they might sing before separating. Thus, Ernest W. Shirtleff, twenty
• 2:13:12
  Speaker 2: five years old, came to write lead on O King
• 2:13:16
  Speaker 2: Eternal for the Franklin Gazette in Philadelphia during the summer
• 2:13:21
  Speaker 2: of eighteen eighteen.
• 2:13:23
  Speaker 3: William B.
• 2:13:23
  Speaker 2: Tappan, then twenty four years old, wrote the hymn there
• 2:13:27
  Speaker 2: Is an Hour of Peaceful Rest. It was republished the
• 2:13:31
  Speaker 2: following year in New England and other poems. The first
• 2:13:35
  Speaker 2: of ten volumes of his Verse and thereafter was extensively
• 2:13:39
  Speaker 2: used not only in America, but also in Europe and
• 2:13:41
  Speaker 2: on the continent, surviving to this day in many hymnals
• 2:13:45
  Speaker 2: after a century of popular use. Bishop George Washington Doane
• 2:13:50
  Speaker 2: was but twenty five years old when he wrote Softly
• 2:13:53
  Speaker 2: Now the Light of Day. The late Professor Caleb T.
• 2:13:57
  Speaker 2: Winchester of Wesleyan University made frequent reference, as occasion arose
• 2:14:03
  Speaker 2: in his lectures to the fondness of young poets for
• 2:14:06
  Speaker 2: the theme of death. As the years of a man's
• 2:14:09
  Speaker 2: life advance, it is less likely to be the subject
• 2:14:12
  Speaker 2: of his poetry. Much of youth's poetic contemplation of death
• 2:14:16
  Speaker 2: is morbid, though some of our singers, in their earlier
• 2:14:19
  Speaker 2: years have given to us the noblest expressions in the
• 2:14:22
  Speaker 2: English language upon that inevitable and mysterious transition which all
• 2:14:27
  Speaker 2: mankind is ever facing. Tennyson's in Memoriam was the farnodie
• 2:14:34
  Speaker 2: of a young man's grief. Bryant's Thanatopsis was penned when
• 2:14:39
  Speaker 2: he was but a seventeen year old boy, and so
• 2:14:43
  Speaker 2: lofty was its tone that the incredulous Richard H. Dana,
• 2:14:47
  Speaker 2: editor of the North American Review, when he was handed
• 2:14:50
  Speaker 2: the manuscript, said, no one of the sight of the
• 2:14:53
  Speaker 2: Atlantic its capable of writing such verses. Bryant wrote a
• 2:14:57
  Speaker 2: number of hymns that came into somewhat general. He was
• 2:15:01
  Speaker 2: twenty six when he wrote five hymns for the Unitarian
• 2:15:03
  Speaker 2: Hymn Book of Henry D. Sewell in eighteen twenty. His
• 2:15:07
  Speaker 2: poem in Praise to Him whose wisdomed deign to plan
• 2:15:12
  Speaker 2: is partly reminiscent of his childhood memories. The hymn blessed
• 2:15:16
  Speaker 2: are they that morn, beginning with the line deemed not
• 2:15:20
  Speaker 2: that they are blessed alone, was sung at his funeral
• 2:15:23
  Speaker 2: fifty eight years later. Samuel F. Smith, to whom we
• 2:15:27
  Speaker 2: have already alluded, was just graduating from the seminary when
• 2:15:31
  Speaker 2: he wrote Softly fades the twilight ray of the Holy
• 2:15:35
  Speaker 2: Sabbath day gently as life's setting sun, when the Christian's
• 2:15:39
  Speaker 2: course is run. Though a young man, he associated the
• 2:15:44
  Speaker 2: sunset with the end of man's earthly life, with less
• 2:15:47
  Speaker 2: of sentimentality and more of genuine tenderness. Phoebe Carey than
• 2:15:53
  Speaker 2: twenty eight wrote one sweetly solemn thought on a Sunday
• 2:15:57
  Speaker 2: morning in eighteen fifty two, having just returned from a
• 2:16:00
  Speaker 2: church service where the sermon on the brevity of life
• 2:16:04
  Speaker 2: had peculiarly impressed her. She declared afterward that it was
• 2:16:08
  Speaker 2: not written for a hymn, but as such it has
• 2:16:11
  Speaker 2: become greatly endeared to worshippers. Leonard Bacon's collection of Hymns,
• 2:16:17
  Speaker 2: printed when he was but twenty one, was the first
• 2:16:20
  Speaker 2: missionary hymnal in America, and contained his hymn The Missionary's Death,
• 2:16:25
  Speaker 2: beginning with the line weep not for the Saint that ascends.
• 2:16:29
  Speaker 2: William Hunter's popular hymn My Heavenly Home is Bright and Fair,
• 2:16:33
  Speaker 2: with its refrain I'm going home to die no more,
• 2:16:37
  Speaker 2: was a product of his twenty seventh year. The famous
• 2:16:40
  Speaker 2: American poets Oliver Wendell Holmes, John G. Whittier, and Missus
• 2:16:47
  Speaker 2: Harriet Beecher Stowe wrote much of their best poetry in
• 2:16:51
  Speaker 2: early youth, including some of the hymns that the church
• 2:16:54
  Speaker 2: has adopted.
• 2:16:56
  Speaker 3: George W.
• 2:16:57
  Speaker 2: Bethune was only twenty one when he was pointed chaplain
• 2:17:01
  Speaker 2: to the seamen at Savannah, and his first hymn Life's
• 2:17:04
  Speaker 2: Billows was written that year, inspired by the experiences of
• 2:17:08
  Speaker 2: the men whom he served tossed upon Life's raging billows.
• 2:17:14
  Speaker 2: Henry Ware Junior entered the ministry in eighteen seventeen at
• 2:17:18
  Speaker 2: the age of twenty three, and that year wrote the
• 2:17:21
  Speaker 2: stirring Easter hymn Lift your glad Voices in Triumph on
• 2:17:25
  Speaker 2: High under the title the Resurrection of Christ. Of this hymn,
• 2:17:30
  Speaker 2: Bishop Henry W. Warren said, this is Boston's best Unitarianism,
• 2:17:37
  Speaker 2: rises to the height of the Methodist's shout Glory to God.
• 2:17:42
  Speaker 2: Samuel G. Bulfinch began writing Sacred Verse as a youth,
• 2:17:45
  Speaker 2: and produced his best hymn, Hail to the Sabbath Day,
• 2:17:49
  Speaker 2: when he was twenty two. Samuel Longfellow was twenty nine
• 2:17:53
  Speaker 2: when in eighteen forty eight his Beneath the Shadow of
• 2:17:56
  Speaker 2: the Cross appeared in the Unitarian Hymnal. What other examples
• 2:18:00
  Speaker 2: of young American hymnists we might cite, but the list
• 2:18:04
  Speaker 2: is already long enough to prove not only that many
• 2:18:07
  Speaker 2: of our hymns, but also some of the best, the
• 2:18:09
  Speaker 2: most helpful, the most endearing, have been evolved from the
• 2:18:12
  Speaker 2: earlier spiritual Experiences of the Christian Life end of chapter eleven.
• 2:18:25
  Speaker 1: Chapter twelve of Curiosities of the Hymnal. This is a
• 2:18:29
  Speaker 1: LibriVox recording. All LibriVox recordings are in the public domain.
• 2:18:34
  Speaker 1: For more information or to volunteer, please visit LibriVox dot org.
• 2:18:40
  Speaker 1: Read by Larry Wilson. Curiosities of the Hymnal by Carl F. Price,
• 2:18:46
  Speaker 1: A Catechism of Hymnal superlatives. Twenty six questions on What's
• 2:18:51
  Speaker 1: what in the Methodist Hymnal?
• 2:18:54
  Speaker 4: One?
• 2:18:55
  Speaker 1: What book is the official hymnal of more millions of
• 2:18:58
  Speaker 1: worshipers than any other published in this country? The Methodist
• 2:19:03
  Speaker 1: Hymnal Official Hymnal for seven million, one hundred ninety thousand,
• 2:19:07
  Speaker 1: six hundred seventeen Methodists North and South.
• 2:19:12
  Speaker 2: Two?
• 2:19:13
  Speaker 1: What book had the largest first edition of any book
• 2:19:16
  Speaker 1: ever published for sale in this country? The Methodist Hymnal
• 2:19:20
  Speaker 1: first edition in nineteen oh five was five hundred seventy
• 2:19:23
  Speaker 1: six thousand copies. Three? What is the oldest Christian hymn
• 2:19:29
  Speaker 1: in the Methodist Hymnal Shepherd of tinder Youth, translated by
• 2:19:33
  Speaker 1: doctor Henry M. Dexter from the original Greek hymn of
• 2:19:37
  Speaker 1: Clement of Alexandria, his full name being Titus Flavius Clemens.
• 2:19:42
  Speaker 1: He was born one hundred sixty or one seventy eight
• 2:19:46
  Speaker 1: d and died two fifteen or two twenty.
• 2:19:50
  Speaker 6: Four.
• 2:19:51
  Speaker 1: What is the oldest music in the Hymnal probably the
• 2:19:56
  Speaker 1: Gregorian music, represented by such tunes as Olmboots, Intercession, old
• 2:20:02
  Speaker 1: Tonus Regius, although these and others of our tunes taken
• 2:20:06
  Speaker 1: from the Gregorian music have been considerably re arranged from
• 2:20:10
  Speaker 1: their original form. Five what hymn has the largest number
• 2:20:15
  Speaker 1: of verses? O Lord of Heaven and Earth and Sea,
• 2:20:19
  Speaker 1: written by Bishop Christopher Wordsworth, nephew of the great poet Wordsworth,
• 2:20:24
  Speaker 1: contains nine verses, as it did in its original form,
• 2:20:27
  Speaker 1: first published in the author's Holy Year in eighteen sixty three.
• 2:20:32
  Speaker 1: Among the occasional hymns, however, in the back of the hymnal,
• 2:20:35
  Speaker 1: may be found W. J. Iron's translation A Dius Eire,
• 2:20:39
  Speaker 1: with its nineteen verses set to interesting music by Doctor Dykes.
• 2:20:44
  Speaker 1: Two condensed translations of this great Latin poem by Dean
• 2:20:48
  Speaker 1: Stanley and Sir Walter Scott are also to be found
• 2:20:52
  Speaker 1: in the Hymnal. Six What hymns have the smallest number
• 2:20:56
  Speaker 1: of verses Page five hundred ten of them hymno with
• 2:21:00
  Speaker 1: tunes containing ten doxologies, half of which have four lines each.
• 2:21:05
  Speaker 1: Most of them are products of the eighteenth century. All
• 2:21:09
  Speaker 1: but one of them fulfill the essential condition of a
• 2:21:12
  Speaker 1: true doxology, namely, praise to each person of the Triune God.
• 2:21:17
  Speaker 1: Nineteen of our hymns contain two verses each. Communion hymns
• 2:21:22
  Speaker 1: should have many verses, we wonder why three of the
• 2:21:25
  Speaker 1: eight hymns have only two verses each. Seven What hymn
• 2:21:30
  Speaker 1: has the largest number of words? Come O, Thout, Traveler
• 2:21:34
  Speaker 1: Unknown contains two hundred eighty two words. As originally written
• 2:21:39
  Speaker 1: by Charles Wesley, this great lyric chymn contained twice as
• 2:21:43
  Speaker 1: many verses and five more than twice as many words
• 2:21:46
  Speaker 1: as are found in the present version. Him five hundred
• 2:21:50
  Speaker 1: nine is a close second, with two hundred seventy nine words. Eight.
• 2:21:56
  Speaker 1: What hymn has the smallest number of words? On Wesley's doxology?
• 2:22:01
  Speaker 1: To God the Father's Son, which is really the last
• 2:22:04
  Speaker 1: verse of the hymn We lift our hearts to thee,
• 2:22:08
  Speaker 1: contains only twenty one words. The smallest hymn preceding the
• 2:22:12
  Speaker 1: doxologies is Charles Wesley's Lord in the Strength of Grace,
• 2:22:16
  Speaker 1: which contains forty two words. Nine. What hymn has the
• 2:22:22
  Speaker 1: largest number of lines? Savior Blessed Savior by Godfrey Thryng
• 2:22:27
  Speaker 1: has fifty six lines. If the two omitted verses were
• 2:22:31
  Speaker 1: included in the hymnal, it would contain seventy two lines
• 2:22:34
  Speaker 1: in all. Ten What hymns have the smallest number of lines?
• 2:22:41
  Speaker 1: Five of the ten doxologies on page five to ten
• 2:22:44
  Speaker 1: contain four lines each. Among the preceding hymns, three contain
• 2:22:49
  Speaker 1: eight lines. Eleven What hymn writer wrote the largest number
• 2:22:54
  Speaker 1: of hymns in our Hymnal. Charles Wesley is represented in
• 2:22:59
  Speaker 1: our hymnals by one hundred twenty one hymns he wrote
• 2:23:03
  Speaker 1: over six thousand. In all, The Book of Common Prayer
• 2:23:07
  Speaker 1: of the Church of England, of which he was an
• 2:23:09
  Speaker 1: ordained minister until his death, for a long time, contained
• 2:23:12
  Speaker 1: only one of his hymns, RK the Herald Angels singh twelve.
• 2:23:19
  Speaker 1: What hymn writer has the largest number of new hymns
• 2:23:22
  Speaker 1: in the Hymnal? Benjamin Copeland d. D. Two hymns thirteen.
• 2:23:28
  Speaker 1: What composer has the largest number of different tunes in
• 2:23:31
  Speaker 1: the Hymnal? Joseph Barnaby thirty one different tunes fourteen. What
• 2:23:38
  Speaker 1: composer wrote the largest number of new tunes in the Hymnal?
• 2:23:43
  Speaker 1: Doctor Peter C. Lutkin wrote eighteen new tunes besides the
• 2:23:46
  Speaker 1: melody to the Lord Bless You and Keep You. Professor
• 2:23:50
  Speaker 1: Carl P. Harrington wrote twelve new melodies fifteen. What is
• 2:23:55
  Speaker 1: the name of the youngest hymn writer in the Hymnal?
• 2:23:58
  Speaker 1: Ernest W. Shirt, who was born in eighteen sixty two.
• 2:24:02
  Speaker 1: The author of Leedon O King Eternal, probably Joseph Grigg,
• 2:24:07
  Speaker 1: was the youngest hymn writer at the time of the
• 2:24:09
  Speaker 1: writing of his hymn, for his lines Jesus and shall
• 2:24:12
  Speaker 1: It Ever Be were penned when he was only ten
• 2:24:15
  Speaker 1: years old. Sixteen. What woman writer is most largely represented
• 2:24:21
  Speaker 1: in the Hymnal. Francis Ridley Havergall, known as the Theodosia
• 2:24:26
  Speaker 1: of the nineteenth century, wrote eight of our hymns Seventeen.
• 2:24:31
  Speaker 1: What woman composer is most largely represented in the Hymnal
• 2:24:36
  Speaker 1: The late Missus Emma Louise Ashford, whose husband is associated
• 2:24:39
  Speaker 1: with Vanderbilt University Nashville, Tennessee, wrote two tunes. There are
• 2:24:45
  Speaker 1: only six other women among the composers in the hymnal,
• 2:24:48
  Speaker 1: and each is represented by only one tune, making eight
• 2:24:51
  Speaker 1: tunes in all by women composers. A woman composer is
• 2:24:55
  Speaker 1: the rare exception, and this is a curious fact, considering
• 2:24:59
  Speaker 1: that so large a proportion of musical instrument players are women,
• 2:25:03
  Speaker 1: and in view of the success of women in other fields.
• 2:25:07
  Speaker 1: Eighteen What tune has the greatest vocal range in the soprano?
• 2:25:13
  Speaker 1: Miles Lane has a range of an octave plus a
• 2:25:16
  Speaker 1: perfect fifth. One English hymnal editor, trying to bring it
• 2:25:20
  Speaker 1: within the compass of an octave, put all the notes
• 2:25:23
  Speaker 1: formerly below the lower F an octave higher, and the
• 2:25:26
  Speaker 1: ludicrous effect which this produced caused the tune to be
• 2:25:30
  Speaker 1: known in that version as the sea sick tune. Try
• 2:25:34
  Speaker 1: to sing it that way. Nineteen What tunes reach the
• 2:25:40
  Speaker 1: highest in the scale? Seven tunes reach f' sharp twenty
• 2:25:46
  Speaker 1: What tune reaches the lowest in the scale? Miles Lane
• 2:25:50
  Speaker 1: touches B flat twenty one? What tune is repeated oftenest
• 2:25:55
  Speaker 1: in the Hymnal Mount Calvalry is used five times to him.
• 2:26:01
  Speaker 1: Its composer, Sir Robert Prescott Stewart, was professor of Music
• 2:26:04
  Speaker 1: in the University of Dublin until his death in eighteen
• 2:26:08
  Speaker 1: ninety four. Twenty two What meter is used for the
• 2:26:13
  Speaker 1: greatest number of different tunes? C M or common meter
• 2:26:18
  Speaker 1: four lines to a stanza claims one hundred one different tunes.
• 2:26:23
  Speaker 1: L M or long meter comes next with ninety seven
• 2:26:28
  Speaker 1: twenty three what Tuone? Title is used to the largest
• 2:26:31
  Speaker 1: number of different tunes. Fortunately, Our Hymnal, unlike some other hymnals,
• 2:26:37
  Speaker 1: such as the Methodist Hymn Book in England, each tune
• 2:26:40
  Speaker 1: has a separate title. The nearest Our Hymnal comes to
• 2:26:44
  Speaker 1: duplication in tune titles is as follows. Saint George, Saint
• 2:26:48
  Speaker 1: George's Bolton, Saint George's windsor named for places of worship
• 2:26:53
  Speaker 1: in England Twenty four What profession claims the largest number
• 2:26:58
  Speaker 1: of hymn writers in the Methodists Hymnal. Over three quarters
• 2:27:02
  Speaker 1: of all the hymns of known authorship in Our Hymnal
• 2:27:06
  Speaker 1: are by clergymen. In this day of equal representation, it
• 2:27:10
  Speaker 1: behooves our lay ports to look to their laurels twenty
• 2:27:14
  Speaker 1: five In what key are written the largest number of
• 2:27:17
  Speaker 1: tunes in the key of G one hundred thirty seven tunes.
• 2:27:23
  Speaker 1: Twenty six What formal subject classification in the Hymnal contains
• 2:27:28
  Speaker 1: the largest number of hymns. Trust and Confidence contains fifty
• 2:27:33
  Speaker 1: seven hymns. Next to this comes Activity in zeal with
• 2:27:37
  Speaker 1: forty three hymns. End of Section twelve. End of Curiosities
• 2:27:43
  Speaker 1: of the Hymnal by Carl F. Price