VI.

THE MINISTRY OF SONG

We may turn aside for a short time before we consider the last eventful weeks of Frances Ridley Havergal's sojourn upon earth, to deal with a subject that has been but lightly touched upon, namely, her ministry of song.

She had inherited from her gifted father a great talent for music. She was a remarkably skilful performer upon the pianoforte. So retentive was her memory that she could play without notes a large portion of the works of Handel, Beethoven and Mendelssohn.

[Ill.u.s.tration: F.R. Havergal]

Her musical compositions were of a very high order. When she was thirty years of age she went, while at Cologne, to show some of her compositions to Ferdinand Hiller. After looking through them and learning that she had had no instruction in harmony, he expressed his surprise and delivered his verdict, the worst part first.

He said her melodies bore the stamp of talent, not of genius. "But as to your harmonies," he said to her, "I must say I am astonished. It is something singular to find such a grasp of the subject, such power of harmonisation except where there has been long and thorough study and instruction; here I can give almost unlimited praise." She told him her question was, had she talent enough to make it worth while to devote herself to music as a serious thing, as a life-work? He answered, "Sincerely and unhesitatingly I can say that you _have_."

How spontaneous was her musical and poetical genius will be seen from the account of the genesis of her well-known missionary hymn and tune, "Tell it out among the heathen." She was unable to go to church at Winterdyne one snowy morning in 1873. She asked for her Prayer-book while still in bed, as she always liked to follow the services for the day. On Mr. Shaw, her brother-in-law, returning from church, he heard the piano sounding. "Why, Frances," he said, "I thought you were upstairs." "Yes, but I had my Prayer-book, and in the Psalm for to-day I read, 'Tell it out among the heathen that the Lord is King.' I thought what a splendid first line; and then the words and music came rushing on to me. There, it's all written out." She had written it out, the words and music and harmonies complete. And her sister remarks: "Only those who heard her could imagine the brisk ringing tone with which she sang this tune."

In her "Consecration Hymn" occurs the couplet--

"Take my voice and let me sing Always only for my King."

And to her these were no mere words of a song. She tried to consecrate all her singing to G.o.d's service. It was a real ministry. She strove always to sing the very words of the Bible, as she observed that persons could not with decency object to them, though they might have done so to her own words.

During a sojourn in Switzerland she was anxious to reach the people she saw wending their way to early ma.s.s. On learning that she would sing to them, many promised to come to her pension. She says, "First I sang to them, and then got the girls to join in the hymn which they had [previously] copied out. Then I read some pa.s.sages.... A few went away when I read.... You will wonder what I sang! Well, I had been singing s.n.a.t.c.hes of hymns to myself and especially 'Only for Thee,' and found this gave immense gratification in our little pension; so I thought G.o.d could as well give me French as English if He would, and I set to and wrote 'Seulement pour Toi!' (as they had liked the tune so much). Only it is quite a different hymn, making prominent the other side, He and He _only_ is and does all for us." This hymn thus written was of good service on another occasion. On the way from Chamounix to Great St.

Bernard Hospice, some of the pa.s.sengers in the diligence sang French songs remarkably well. Her sister says: "We listened and commended, and then asked if they would join us in a new tune, 'Seulement pour Toi!'

Finding the driver took up the chorus in ba.s.s, Frances went outside that he might see the words, and most heartily was it sung by all!"

The following Sunday was spent at the hospice; and once again was her musical talent used in proclaiming the Master's message. Her brilliant touch upon the piano attracted the attention of the "fathers" in the monastery, and they begged her to sing after dinner. She asked her sister to join in prayer that the King's message might be given, and that it might search some hearts. As there were different nationalities present, she very simply but gracefully said she was going to sing from the Holy Scriptures, repeating the words in German and Italian, and then sang Handel's "Comfort ye," "He shall feed His flock," and afterwards, "Rest in the Lord." An Italian professor of music, with many others, thanked her, and were expressing their admiration to her sister, when Frances bade them "good night," remarking to her sister, "You see, Marie, I gave my message, and so it is better to come away."

An instance ill.u.s.trating the singing powers and also the friendliness of this sweet singer is recorded by Rev. S.B. James, D.D., in his _Frances Ridley Havergal, a Lecture Sermon_.[1] "After a garden-party in Somersetshire where she had almost exhausted herself, she happened to overhear her hostess's regret that the servants had not been present.

'Oh, if it is work for the Master,' she exclaimed, 'of course I can do it.' And though she had been just stung by a bee upon the hand, and was suffering intense pain, she threw off hat and gloves, took her seat eagerly at the piano, and ... impressed a whole retinue of servants with the beautiful piece from the _Messiah_, 'Come unto Me, all ye that labour and are heavy laden, and I will give you rest.' And when it was all done she stood up and said, 'Now I am going to tell you what _you_ must do when you have yourselves accepted the invitation,' and she sang out before that humble spell-bound audience, 'Tell it out among the heathen that the Lord is King.' ... One person at least was turned to righteousness on that musical afternoon."

[Footnote 1: Quoted in _The Sisters_. Charles Bullock, B.D., p. 100.]

The ministry of song of F.R. Havergal will chiefly be remembered, however, by the goodly heritage of poetry which she has left to the Church of Christ, and in which she being dead yet speaketh. Here it is that her great influence is still felt. She had the happy gift of expressing the deep breathings of the consecrated soul in whole-hearted loyalty to the blessed Master. She strove to regard the Lord Jesus as a real living and personal Friend. She longed to be entirely yielded up to His service, and she put the thoughts of her heart, which had been warmed by the indwelling Spirit, in real and genuine expressions of love to and praise of her Master.

She began writing verses when she was only seven years of age.

In 1860 her poetry was so much appreciated that she received applications from the editors of various religions magazines to supply poetical contributions. In 1803 she received her first cheque of 10 17s. 6d. This she sent to her father: 10 for anything he liked to employ it on, 10s. for the Scripture Readers' collection, and 7s. 6d.

for any similar emergency.

Her hymn "I gave my life for thee" first appeared in _Good Words_. It was written in Germany in 1858. She had come in weary and sat down opposite a picture with this motto. At once the lines flashed upon her and she wrote them in pencil on a sc.r.a.p of paper. Reading them over, they did not satisfy her. She tossed them into the fire, but they fell out untouched. Showing them some months after to her father, he encouraged her to preserve them, and wrote the tune "Baca"

especially for them.

The origin of the well-known hymn, 'Take my Life,' she thus describes--"I went for a little visit of five days. There were ten persons in the house, some unconverted and long prayed for, some converted, but not rejoicing Christians. He gave me the prayer, 'Lord, give me _all_ in this house.' And He just _did_! Before I left the house, every one had got a blessing. The last night of my visit I was too happy to sleep, and pa.s.sed most of the night in praise and renewal of my own consecration, and these little couplets formed themselves, and chimed in my heart one after another, till they finished with '_Ever_, ONLY, ALL, for Thee.'"

Some six months before she died she wrote thus about this hymn, "I had a great time early this morning, renewing the never-regretted consecration. I seemed led to run over the 'Take my Life,' and could bless Him verse by verse for having led me on to much more definite consecration than even when I wrote it--voice, gold, intellect, etc. But the eleventh couplet--"

'Take my love--my Lord, I pour At Thy feet its treasure store'--

"that has been unconsciously _not filled up_. Somehow, I felt mystified and out of my depth here; it was a simple and definite thing to be _done_, to settle the voice, or silver and gold; but 'love?' I have to love others, and I do; and I've not a small treasure of it; and even loving _in Him_ does not quite meet the inner difficulty.... I shall just go forward and expect Him to fill it up, and let my life from this day answer really to that couplet. The worst part to me is that I don't in practice prove my love to Him, by delight in much and long communion with Him; hands and head seem so full of other things' (which yet are His given work), that 'heart' seems not 'free to serve' in fresh and vivid love."

In writing her hymns, F.R. Havergal looked up to G.o.d to give her the ideas and words, and they were often produced very rapidly. Mr. Snepp of Perry Bar left her leaning against a wall while he went in to visit the boys' school, and on his return ten minutes afterwards she handed him the well-known hymn "Golden harps are sounding," pencilled upon an old envelope.

A remarkable fact is recorded in connection with another hymn ent.i.tled, "Reality, Reality, Lord Jesus Christ, Thou art to me." She was much struck with the expression used by a working man in a prayer-meeting--"Father, we know the reality of Jesus Christ." This thought took hold of her and found expression in this hymn on a stormy night at Whitby, after she had seen the life-boat put forth to a wreck, hence the expressions, "Pilot," "Lifeboat," and "Haven." The very night she wrote the hymn, a young Christian four hundred miles away was pleading at a prayer-meeting, "Lord Jesus, let Thy dear servant write for us what Thou art, Thou living, bright Reality, and let her do it _this very night_." "While they are yet speaking, I will hear."

s.p.a.ce does not permit any detailed account of her poetry. Her's were specially songs of the inner life. She revealed in her poetic works her own inner experience, and a perusal of them will give indications of her own growth in holiness.

A reader is impressed not only with the ease and brightness of her style, but with her firm grasp of things unseen. Her poetry was not just stringing together words, but it was the very expression of her heart.

She thus writes on this point in _The Ministry of Song_:

"Poetry is not a trifle, Lightly thought and lightly made; Not a fair and scentless flower, Gaily cultured for an hour, Then as gaily left to fade.

'Tis not stringing rhymes together, In a pleasant true accord; Not the music of the metre, Not the happy fancies sweeter Than a flower-bell honey-stored.

'Tis the essence of existence, Rarely rising to the light; And the songs that echo longest, Deepest, fullest, truest, strongest, With your life-blood you must write."

So did the sweet singer herself write from her own experience.

Her hymns, which are very numerous, no less than seventy being in common use, have been the means not only of arresting the undecided and helping the saint, but of consoling the suffering and the doubting. So many of her poems were the expressions of a bright faith and simple trust shining out through storm and cloud, that others, storm-tossed and beclouded, catch the rays and are cheered thereby.

Although many of the poems are in a plaintive minor tone there are occasional bursts of more cheerful strain, as in the lines on "A Merrie Christmas," which appeared in the _Sunday at Home_.

"A Merrie Christmas to you!

For we serve the Lord with mirth.

And we carol forth glad tidings Of our holy Saviour's birth.

So we keep the olden greeting, With its meaning deep and true, And wish a Merrie Christmas And a Happy New Year to you.

Oh, yes! 'a Merrie Christmas,'

With blithest song and smile, Bright with the thought of Him who dwelt On earth a little while,

That we might dwell for ever Where never falls a tear: So 'a Merrie Christmas' to you, And a Happy, Happy Year!"

The beautiful and aptly chosen t.i.tles alone in many cases are most suggestive and refreshing. Yes, Frances R. Havergal's power of giving expression to holy aspiration and Christian loyalty and heartfelt praise will live as long as English Hymnology lives.

VII.

"SEEING THE KING."

We come now to describe the closing months of this devoted life. Her sister recalls that the New Year's greeting given to her on January 1, 1879. was, "'He crowneth the year with His goodness,' and He crowneth me 'with loving-kindness and tender mercies.' You, dear Marie, are one of my mercies; and I do hope He will let me do something for you up in heaven."

The following subjects of prayer for 1878-79, found in her Bible, will not only ill.u.s.trate her method of pet.i.tion, but will be helpful to other Christians longing to excel in supplication.