The enemy's fleet was preparing to bombard Fort McHenry, and Mr. Key's return with his friend was forbidden lest their plans should be disclosed. Forced to stay and witness the attack on his country's flag, he walked the deck through the whole night of the bombardment until the break of day showed the brave standard still flying at full mast over the fort. Relieved of his patriotic anxiety, he pencilled the exultant lines and chorus of his song on the back of a letter, and, as soon as he was released, carried it to the city, where within twenty-four hours it was printed on flyers, circulated and sung in the streets to the air of "Anacreon in Heaven"--which has been the "Star Spangled Banner" tune ever since.

O say, can you see by the dawn's early light What so proudly we hailed at the twilight's last gleaming?

Whose broad stripes and bright stars through the perilous fight O'er the ramparts we watched, were so gallantly streaming, And the rockets red glare, the bombs bursting in air Gave proof through the night that the flag was still there: O say, does the star-spangled banner yet wave, O'er the land of the free and the home of the brave?

O thus be it ever when freemen shall stand, Between their loved homes and the war's desolation; Blessed with victory and peace, may the heaven-rescued land Praise the Power that hath made and preserved us a nation.

Then conquer we must, when our cause it is just, And this be our motto, "_In G.o.d is our trust_."

And the star-spangled banner in triumph shall wave, O'er the land of the free and the home of the brave.

The original star-spangled banner that waved over Fort McHenry in sight of the poet when he wrote the famous hymn was made and presented to the garrison by a girl of fifteen, afterwards Mrs. Sanderson, and is still preserved in the Sanderson family at Baltimore.

[Ill.u.s.tration: Samuel F. Smith]

The additional stanza to the "Star-Spangled Banner"--

When our land is illumined with Liberty's smile, etc.,

--was composed by Dr. O.W. Holmes, in 1861.

The tune "Anacreon in Heaven" was an old English hunting air composed by John Stafford Smith, born at Gloucester, Eng. 1750. He was composer for Covent Garden Theater, and conductor of the Academy of Ancient Music.

Died Sep. 20, 1836. The melody was first used in America to Robert Treat Paine's song, "Adams and Liberty." Paine, born 1778--died 1811, was the son of Robert Treat Paine, signer of the Declaration of Independence.

"STAND! THE GROUND'S YOUR OWN, MY BRAVES."

Sympathetic admiration for the air, "Scots wha hae wi' Wallace bled,"

(or "Bruce's address," as it was commonly called), with the syllables of Robert Burns' silvery verse, lingered long in the land after the wars were ended. It spoke in the poem of John Pierpont, who caught its pibroch thrill, and built the metre of "Warren's Address at the Battle of Bunker Hill" on the model of "Scots wha hae."

Stand! the ground's your own, my braves; Will ye give it up to slaves?

Will ye look for greener graves?

In the G.o.d of battles trust: Die we may, or die we must, But O where can dust to dust Be consigned so well,

As where Heaven its dews shall shed, On the martyred patriot's bed, And the rocks shall raise their head Of his deeds to tell?

This poem, written about 1823, held a place many years in school-books, and was one of the favorite school-boy declamations. Whenever sung on patriotic occasions, the music was sure to be "Bruce's Address." That typical Scotch tune was played on the Highland bag-pipes long before Burns was born, and known as "Hey tuttie taite." "Heard on Fraser's hautboy, it used to fill my eyes with tears," Burns himself once wrote.

Rev. John Pierpont was born in Litchfield, Ct., April 6, 1785. He was graduated at Yale, 1804, taught school, studied law, engaged in trade, and finally took a course in theology and became a Unitarian minister, holding the pastorate of Hollis St. Church, Boston, thirty-six years. He travelled in the East, and wrote "Airs of Palestine." His poem, "The Yankee Boy," has been much quoted. Died in Medford, Ma.s.s., Aug. 26, 1866.

"MY COUNTRY, 'TIS OF THEE."

This simple lyric, honored so long with the name "America," and the t.i.tle "Our National Hymn," was written by Samuel Francis Smith, while a theological student at Andover, Feb. 2, 1832. He had before him several hymn and song tunes which Lowell Mason had received from Germany, and, knowing young Smith to be a good linguist, had sent to him for translation. One of the songs, of national character, struck Smith as adaptable to home use if turned into American words, and he wrote four stanzas of his own to fit the tune.

Mason printed them with the music, and under his magical management the hymn made its debut on a public occasion in Park St. Church, Boston, July 4, 1832. Its very simplicity, with its reverent spirit and easy-flowing language, was sure to catch the ear of the mult.i.tude and grow into familiar use with any suitable music, but it was the foreign tune that, under Mason's happy pilotage, winged it for the western world and launched it on its long flight.

My country, 'tis of thee, Sweet land of liberty, Of thee I sing; Land where my fathers died, Land of the pilgrims' pride, From every mountain-side Let freedom ring.

Let music swell the breeze, And ring from all the trees Sweet Freedom's song; Let mortal tongues awake, Let all that breathe partake, Let rocks their silence break, The sound prolong.

Our fathers' G.o.d, to Thee, Author of liberty, To Thee we sing; Long may our land be bright With Freedom's holy light; Protect us by Thy might, Great G.o.d, our King.

_THE TUNE._

Pages, and at least two volumes, have been written to prove the origin of that cosmopolitan, half-Gregorian descant known here as "America,"

and in England as "G.o.d Save the King." William C. Woodbridge of Boston brought it home with him from Germany. The Germans had been singing it for years (and are singing it now, more or less) to the words, "Heil Dir Im Siegel Kranz," and the Swiss to "Rufst Du mein Vaterland." It was sung in Sweden, also, and till 1833 it was in public use in Russia commonly enough to give it a national character. Von Weber introduced it in his "Jubel" overture, and Beethoven, in 1814, copied it in C Major and wrote piano variations on it. It has been ascribed to Henry Purcell (1696), to Lulli, a French composer (1670), to Dr. John Bull (1619), and to Thomas Ravenscroft and an old Scotch carol as old as 1609. One might fancy that the biography of the famous air resembled Melchizedek's.

The truth appears to be that certain bars of music which might easily happen to be similar, or even identical, when plain-song was the common style, were produced at different times and places, and one man finally harmonized the wandering strains into a complete tune. It is now generally conceded that the man was Henry Carey, a popular English composer and dramatist of the first half of the 18th century, who sang the melody as it now is, in 1740, at a public dinner given in honor of Admiral Vernon after his capture of Porto Bello (Brazil). This antedates any authenticated use of the tune _ipsissima forma_ in England or continental Europe.

The American history of it simply is that Woodbridge gave it to Mason and Mason gave it to Smith--and Smith gave it "My Country 'Tis of Thee."

"BY THE RUDE BRIDGE."

This genuinely American poem, written by Ralph Waldo Emerson and called usually the "Concord Hymn," was prepared for the dedication of the Battle-monument in Concord, April 19, 1836, and sung there to the tune of "Old Hundred." Apparently no change has been made in the original except of a single word in the first line.

By the rude bridge that arched the flood, Their flag to April's breeze unfurled, Here once the embattled farmers stood, And fired the shot heard round the world.

The foe long since in silence slept; Alike the conqueror silent sleeps; And Time the ruined bridge has swept Down the dark stream which seaward creeps.

On this green bank, by this soft stream, We set today a votive stone; That memory may their deed redeem, When, like our sires, our sons are gone.

Spirit, that made those heroes dare To die, and leave their children free, Bid Time and Nature gently spare The shaft we raise to them and Thee.

This does not appear in the hymnals and owns no special tune. Its niche of honor is in the temple of anthology, but it will always be called the "Concord Hymn"--and the fourth line of its first stanza is a perennial quotation.

Ralph Waldo Emerson, LL.D., the renowned American essayist and poet, was born in Boston, 1803. He graduated at Harvard in 1821, and was ordained to the Unitarian ministry, but turned his attention to literature, writing and lecturing on ethical and philosophical themes, and winning universal fame by his original and suggestive prose and verse. He died April 27, 1882.

BATTLE HYMN OF THE REPUBLIC.

After a visit to the Federal camps on the Potomac in 1861, Mrs. Julia Ward Howe returned to her lodgings in Washington, fatigued, as she says, by her "long, cold drive," and slept soundly. Awakening at early daybreak, she began "to twine the long lines of a hymn which promised to suit the measure of the 'John Brown' melody."

This hymn was written out after a fashion in the dark, by Mrs. Howe, and she then went back to sleep.

Mine eyes have seen the glory of the coming of the Lord; He is trampling out the vintage where the grapes of wrath are stored; He hath loosed the fateful lightning of His terrible swift sword; His truth is marching on.

I have seen Him in the watch-fires of a hundred circling camps, They have builded Him an altar in the evening dews and damps; I can read His righteous sentence by the dim and flaring lamps; His day is marching on.

I have read a fiery gospel writ in burnished rows of steel; "As ye deal with my contemners, so with you my grace shall deal;"

Let the Hero, born of woman, crush the serpent with His heel, Since G.o.d is marching on.

He has sounded forth the trumpet that shall never call retreat; He is sifting out the hearts of men before His judgment seat; Oh, be swift, my soul, to answer Him! be jubilant my feet!