"GUIDE ME, O THOU GREAT JEHOVAH."

This great hymn has a double claim on the name of Williams. We do not have it exactly in its original form as written by Rev. William Williams, "The Watts of Wales," familiarly known as "Williams of Pantycelyn." His fellow countryman and contemporary, Rev. Peter Williams, or "Williams of Carmarthen," who translated it from Welsh into English (1771) made alterations and subst.i.tutions in the hymn with the result that only the first stanza belongs indisputably to Williams of Pantycelyn, the others being Peter's own or the joint production of the two. As the former, however, is said to have approved and revised the English translation, we may suppose the hymn retained the name of its original author by mutual consent.

Guide me, O Thou Great Jehovah, Pilgrim through this barren land.

I am weak, but Thou art mighty, Hold me by Thy powerful hand; Bread of heaven, Feed me till I want no more.

Open Thou the crystal Fountain Whence the healing streams do flow, Let the fiery cloudy pillar Lead me all my journey through.

Strong Deliverer, Be Thou still my Strength and Shield!

When I tread the verge of Jordan Bid my anxious fears subside; Death of death, and h.e.l.l's destruction, Land me safe on Canaan's side.

Songs of praises I will ever give to Thee.

Musing on my habitation, Musing on my heavenly home, Fills my heart with holy longing; Come, Lord Jesus, quickly come.

Vanity is all I see, Lord, I long to be with Thee.

The second and third stanzas have not escaped the touch of critical editors. The line,--

Whence the healing streams do flow

--becomes,--

Whence the healing waters flow,

--with which alteration there is no fault to find except that it is needless, and obliterates the ancient mark. But the third stanza, besides losing its second line for--

Bid the swelling stream divide,

--is weakened by a more needless subst.i.tution. Its original third line--

Death of death, and h.e.l.l's destruction,

--is exchanged for the commonplace--

Bear me through the swelling current.

That is modern taste; but when modern taste meddles with a stalwart old hymn it is sometimes more nice than wise.

It is probable that the famous hymn was sung in America before it obtained a European reputation. Its history is as follows: Lady Huntingdon having read one of Williams' books with much spiritual satisfaction, persuaded him to prepare a collection of hymns, to be called the _Gloria in Excelsis_, for special use in Mr. Whitefield's Orphans' House in America. In this collection appeared the original stanzas of "Guide me, O Thou Great Jehovah." In 1774, two years after its publication in the _Gloria in Excelsis_, it was republished in England in Mr. Whitefield's collections of hymns.

The Rev. Peter Williams was born in the parish of Llansadurnen, Carmarthenshire, Wales, Jan. 7, 1722, and was educated in Carmarthen College. He was ordained in the Established Church and appointed to a curacy, but in 1748 joined the Calvinistic Methodists. He was an Independent of the Independents however, and preached where ever he chose. Finally he built a chapel for himself on his paternal estate, where he ministered during the rest of his life. Died Aug. 8, 1796.

_THE TUNE._

If "Sardius," the splendid old choral (triple time) everywhere identified with the hymn, be not its original music, its age at least ent.i.tles it to its high partnership. _The Sacred Lyre_ (1858) ascribes it to Ludovic Nicholson, of Paisley, Scotland, violinist and amateur composer, born 1770; died 1852; but this is not beyond dispute. Of several names one more confidently referred to as its author is F.H.

Barthelemon (1741-1808).

"PEACE, TROUBLED SOUL"

Is the brave faith-song of a Christian under deep but blameless humiliation--Sir Walter Shirley[16].

[Footnote 16: See page 127]

_THE TUNE._

Apparently the favorite in several (not recent) hymnals for the subdued but confident spirit of this hymn of Sir Walter Shirley is Mazzinghi's "Palestine," appearing with various tone-signatures in different books.

The treble and alto lead in a sweet duet with slur-flights, like an obligato to the ba.s.s and tenor. The melody needs rich and cultured voices, and is unsuited for congregational singing. So, perhaps, is the hymn itself.

Peace, troubled soul, whose plaintive moan Hath taught these rocks the notes of woe; Cease thy complaint--suppress thy groan, And let thy tears forget to flow; Behold the precious balm is found, To lull thy pain, to heal thy wound.

Come, freely come, by sin oppressed, Unburden here thy weighty load; Here find thy refuge and thy rest, And trust the mercy of thy G.o.d.

Thy G.o.d's thy Saviour--glorious word!

For ever love and praise the Lord.

As now sung the word "scenes" is subst.i.tuted for "rocks" in the second line, eliminating the poetry. Rocks give an _echo_; and the vivid thought in the author's mind is flattened to an unmeaning generality.

Count Joseph Mazzinghi, son of Tomma.s.so Mazzinghi, a Corsican musician, was born in London, 1765. He was a boy of precocious talent. When only ten years of age he was appointed organist of the Portuguese Chapel, and when nineteen years old was made musical director and composer at the King's Theatre. For many years he held the honor of Music Master to the Princess of Wales, afterwards Queen Caroline, and his compositions were almost numberless. Some of his songs and glees that caught the popular fancy are still remembered in England, as "The Turnpike Gate," "The Exile," and the rustic duet, "When a Little Farm We Keep."

Of sacred music he composed only one ma.s.s and six hymn-tunes, of which latter "Palestine" is one. Mazzinghi died in 1844, in his eightieth year.

"BEGONE UNBELIEF, MY SAVIOUR IS NEAR."

The Rev. John Newton, author of this hymn, was born in London, July 24, 1725. The son of a sea-captain, he became a sailor, and for several years led a reckless life. Converted, he took holy orders and was settled as curate of Olney, Buckinghamshire, and afterwards Rector of St. Mary of Woolnoth, London, where he died, Dec. 21, 1807. It was while living at Olney that he and Cowper wrote and published the _Olney Hymns_. His defiance to doubt in these lines is the blunt utterance of a sailor rather than the song of a poet:

Begone, unbelief, my Saviour is near, And for my relief will surely appear.

By prayer let me wrestle and He will perform; With Christ in the vessel I smile at the storm.

_THE TUNE_

Old "Hanover," by William Croft (1677-1727), carries Newton's hymn successfully, but Joseph Haydn's choral of "Lyons" is more familiar--and better music.

"Hanover" often accompanies Charles Wesley's lyric,--

Ye servants of G.o.d, your Master proclaim.

"HOW FIRM A FOUNDATION."

The question of the author of this hymn is treated at length in Dr.

Louis F. Benson's _Studies of Familiar Hymns_. The utmost that need to be said here is that two of the most thorough and indefatigable hymn-chasers, Dr. John Julian and Rev. H.L. Hastings, working independently of each other, found evidence fixing the authorship with strong probability upon Robert Keene, a precentor in Dr. John Rippon's church. Dr. Rippon was pastor of a Baptist Church in London from 1773 to 1836, and in 1787 he published a song-manual called _A Selection of Hymns from the Best Authors_, etc., in which "How Firm a Foundation"

appears as a new piece, with the signature "K----."

The popularity of the hymn in America has been remarkable, and promises to continue. Indeed, there are few more reviving or more spiritually helpful. It is too familiar to need quotation. But one cannot suppress the last stanza, with its powerful and affecting emphasis on the Divine promise--

The soul that on Jesus has leaned for repose I will not, I will not, desert to his foes; That soul, though all h.e.l.l should endeavor to shake, I'll never, no never, no never forsake.