Though, like the wanderer, The sun gone down, Darkness be over me, My rest a stone, Yet in my dreams I'd be Nearer, my G.o.d, to Thee, Nearer to Thee!

There let my way appear Steps unto heaven; All that Thou sendest me In mercy given; Angels to beckon me Nearer, my G.o.d, to Thee, Nearer to Thee!

Then with my waking thoughts, Bright with Thy praise, Out of my stony griefs Bethel I'll raise, So by my woes to be Nearer, my G.o.d, to Thee, Nearer to Thee!

Or if on joyful wing, Cleaving the sky, Sun, moon, and stars forgot, Upwards I fly; Still all my song shall be, Nearer, my G.o.d to Thee, Nearer to Thee!

Sarah Adams, 1840.

SARAH ADAMS AND THE RISE OF WOMEN HYMN-WRITERS

Nineteenth century hymnody was characterized by an extraordinary number of women hymn-writers. It is significant that this development came, as we have noted in a previous chapter, with the great spiritual revivals which aroused evangelical Europe and America from 1800 to 1875. It was also coincident with the general movement resulting in the enlargement of women's influence and activity in all spheres of human endeavor. In the realm of hymnody women have become the chief exponents of church song.

Dr. Breed has pointed out that the large increase of women hymnists, as well as the preponderance of hymn translations, is indicative of a period of decadence in sacred song. While this is probably true of the latter half of the nineteenth century, which saw the rise of the so-called "Gospel song," we must cheerfully recognize the fact that such women as Charlotte Elliott, Sarah Adams, Cecil Alexander and Frances Havergal in England and Mary Lathbury, Anna Warner, Catherine Esling, Harriet Beecher Stowe, Phoebe Gary, Elizabeth Prentiss and f.a.n.n.y Crosby in America have contributed some of the most precious gems to the treasure-store of Christian hymns. Indeed, the hymnody of the Church would have been immeasurably poorer had these consecrated women failed to make use of their heaven-born talent.

And, although we must deplore the apparent fact that "original utterance in sacred song is departing from the Church," we must be forever grateful to such gifted women as Catherine Winkworth and the Borthwick sisters, who, through their excellent translations, gave to the English-speaking world some of the choicest pearls of German hymnody.

Charlotte Elliott was the forerunner of the long line of women hymnists.

Then came Sarah Flower Adams, the writer of "Nearer, my G.o.d, to Thee,"

one of the greatest sacred lyrics ever given to the world, and probably the finest ever written by a woman.

Sarah Flower was born at Harlow, England, February 22, 1805, the daughter of Benjamin Flower, editor of the Cambridge "Intelligencer." The mother died when Sarah was only five years old. A sister, Eliza, was a gifted musician, while Sarah early showed talent along literary lines. In later years Eliza wrote music for the hymns of her sister.

Sarah was fond of the stage. She believed that it could be made to teach great moral truths as well as the pulpit. Her dreams of becoming an actress, however, failed to materialize because of poor health. In 1834 she became the wife of John Bridges Adams, a civil engineer, after which she made her home in London. Her health was seriously impaired through caring for her sister, who died a consumptive in 1846, and she survived her less than two years.

Her great hymn was written in 1840. It was published the following year in a volume of hymns and anthems edited by her pastor, Rev. William Johnson Fox. This man was a Unitarian, and for this reason Mrs. Adams has also been cla.s.sified with that sect. It is said, however, that she became a Baptist near the close of her life. Other hymns written by her indicate that she had arrived at a living faith in Christ. Perhaps the many trials she suffered proved in the end to be the means of bringing her to the Saviour. And thus was fulfilled in her own life the beautiful lines:

E'en though it be a cross That raiseth me.

"Nearer, my G.o.d, to Thee" has probably aroused more discussion than any other hymn. Because it is based entirely on the story of Jacob at Bethel and omits reference to Christ, it has been called more Unitarian than Christian. Many efforts have been made, but without much success, to write a subst.i.tute hymn with a definite Christian note. In 1864 Bishop How of London wrote a hymn, the first stanza of which reads:

Nearer, O G.o.d, to Thee!

Hear Thou our prayer; E'en though a heavy cross Fainting we bear.

Still all our prayer shall be Nearer, O G.o.d, to Thee, Nearer to Thee!

Prof. Henry Eyster Jacobs of Philadelphia, in 1887, also wrote a version:

Nearer, my G.o.d, to Thee, Nearer to Thee!

Through Word and Sacrament Thou com'st to me.

Thy grace is ever near, Thy Spirit ever here Drawing to Thee.

The hymn was a favorite with William McKinley, the martyred president.

When he was dying, his attending physician heard him murmur, "'Nearer, my G.o.d, to Thee, E'en though it be a cross,' has been my constant prayer."

That Sweet Story of Old

I think, when I read that sweet story of old, When Jesus was here among men, How He called little children as lambs to His fold, I should like to have been with them then.

I wish that His hand had been placed on my head, That His arm had been thrown around me, And that I might have seen His kind look when He said, "Let the little ones come unto Me."

Yet still to His footstool in prayer I may go, And ask for a share in His love; And if only I earnestly seek Him below, I shall see Him and hear Him above.

In that beautiful place He has gone to prepare For all who are washed and forgiven, Full many dear children are gathering there, "For of such is the kingdom of heaven"

But thousands and thousands who wander and fall Never heard of that heavenly home: I should like them to know there is room for them all, And that Jesus has bid them to come.

And O how I long for that glorious time, The sweetest and brightest and best, When the dear little children of every clime Shall crowd to His arms and be blest!

Jemima Luke, 1841.

A HYMN WRITTEN IN A STAGE-COACH

Some one has said, "Let me write the songs of a nation, and I care not who may write its laws."

It is a wise saying; for who can estimate the influence of the songs we sing, especially the songs of children? There is no better way to teach Christian truths to children than to have them sing those truths into their hearts and souls.

When Jemima Luke sat in an English stage-coach in 1841 composing the lines of a little poem that had been ringing in her mind, she could scarcely have known she was writing a hymn that would gladden the hearts of thousands of children in many years to come. But that is how she wrote "I think when I read that sweet story of old," and that is the happy fate that was in store for her labor of love.

Her maiden name was Jemima Thompson. Her father was a missionary enthusiast, and she herself was filled with zeal for mission enterprises.

Even as a child, at the age of thirteen, she was an anonymous contributor to "The Juvenile Magazine." When she was twenty-eight years old she visited a school where the children had been singing a fine old melody as a marching song.

"What a lovely children's hymn it would make," she thought, "if only there were suitable religious words for it."

She hunted through many books for the words she desired, but could find none that satisfied her. Some time later, as she was riding in a stage coach with nothing to occupy her, she thought of the tune again. Taking an old envelope from her pocket, she recorded on the back of it the words that have come to be loved on both sides of the Atlantic, and some day probably will be sung by the children of all the world.

When she returned home, she taught the words and the melody to her Sunday school cla.s.s. Her father, who was superintendent of the school, chanced to hear them one day.

"Where did that hymn come from?" he asked.

"Jemima made it!" was the proud answer of the youngsters.

Without telling his daughter about it, the father sent a copy of the words to the "Sunday School Teachers' Magazine," and in a few weeks it appeared for the first time in print. Since that time it has continued to find a place year after year in almost every juvenile hymnal published in the English language.

The last stanza of the hymn, which begins with the words, "But thousands and thousands who wander and fall," was added subsequently by the author, who desired to make it suitable for missionary gatherings. Her interest in foreign missions continued unabated throughout her life. At one time she was accepted as a missionary to the women of India, but poor health prevented her from carrying out her purpose. However, she edited "The Missionary Repository," the first missionary magazine for children, and numbered among her contributors such famous missionaries as David Livingstone, Robert Moffatt and James Montgomery.

In 1843 she married a minister, Rev. Samuel Luke. After his death in 1868 she devoted much of her time to promoting the erection of parsonages in parishes that were too poor to provide them for their pastors.