--is:^'^ J. BiOORFlELD. FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY Sectioa '^ ""1^ •ifyrr,.. >^,...i..K .. ... ■■■■ "J...... .^'^...^.ieadMjgttBtt; C-' -6w ^tc^^w-/ r^^ *^ ' :^^^ Hr^h , /--i:' *v ' "-'^w- »^ .<»« /. ,,.i-, 7u^^ /^' Y f ''^ Digitized by the Internet Archive in 2010 with funding from Calvin College http://www.archive.org/details/sacredpoetrymusiOOwill SACRED POETRY AND MUSIC OR A COLLECTI O..N. ,-;,o OF HYMNS, ^RieiNAL AND COMPILED, INTENDED TO SECURE, BY THE SIMPLEST AND MOST PRACTICABLE MEANS, AN INVARIABLE COINCIDENCE BETWEEN THE POETIC AND THE MUSICAL EMPHA- SES, AND THUS TO COMBINE THE TWO POWERS FOR THE HIGH PURPOSE OF RELIGIOUS IMPRESSION J TO WHICH ARE ADDED SEVERAL CHANTS FOR HYMNS AND SELECT SCRIP- TURES, WITH A SIMPLE NOTATION, ADAPTED TO THE GENERAL DESIGN. O. BY SAMUEI. lYILLARD, D. D. A. A. S. ADOPTED, WHILE IN MANUSCRIPT, BY THE THIRD CONGRE- GATIONAL SOCIETY IN HINGHAM. BOSTON, LEONARD C. BOWLES. SOLD ALSO BY GRAY & BOWEN, AND BY RICHARDSON, LORD, & HOLBROOK. 1830. DISTRICT OF MASSACHUSETTS to Wtt. District Clerk's Office. Be it remembered that on the twenty seventh day ot" July, A. D.lS30,in the tifty fourth year oi the Independence of the United States of America. Samuel Willard, of the said District, has deposited in this office the title of a book the rij^ht whereof he claims as Author and Proprietor, in the words following, lo wit: ' Sacred Poetry and Music reconciled ; or a collection of Hymns original and compiled, intended to secure, by the simplest and most practicable means, an invariable coincidence between the po- etic and the musical emphases, and thus to combine the two pow- ers for the high purpose of religious impression; to which are ad- ded several chants for hymns and select Scriptures, with a simple notation, adapted to the general design. By Samuel V/illard, D. D. A. A. S. — Adopted, while in manuscript, by the Third Con- gregational Society in Hingham.' In conformity to the act of the Congress of the United States, entitled an 'act for the encouragement of learning, by securing the copies of maps, charts, and books to the authors and proprie- tors of such copies, during the times therein mentioned ;' and also to an act, entitled ' an act supplementary to an act, entitled an act» for the encouragement of learning, by securing the copies of maps, charts, and books to the authors and proprietors of such copies during the times therein mentioned, and exteiding the benefits thereof to the arts of designing, engraving, and etching historical and other prints.' TTVT/-W «r T^tx-io ") Clerk of the District HlNGHAM Press ofMinot Pratt. INTRODUCTION. The design of the (bllowing collection of hymns was announced, and in some measure de!nie;ited in a communication, published in the Christian Disciple for IMarch and April, 1821 ; and before the close of the following year, the work was prepared for the press. Considerations, which may have had too little, or too much influ- ence on the mind of the author, have delayed the publication till this time. After several revisions, however, and some alterations, suggested by reflection, experiment, or the advice of friends, it is now offered to the public, and humbly solicits a candid and critical examination from every purson of piety and musical taste. The most essential charactetistic, the peculiar object of this collection, is that which is presented singly in the title page, though it is far from being the only improvement, that has been attempted. This object, as it is there staled, is ' to secure, by the simplest and the most praclicablc means, an invariable coincidence between the po- etic and the musical emphases, and thus to combine the two powers, for the high purpose of religious impression.' The emphases in poetry, or those points, on which the rhetorical power is most effectually exerted, are tixed by the immutable laws of nature and reason, so long, at least, as the pronunciation of sin- gle words continues unaltered. In music also, the emphalical points are determined by laws, over which custom has no control ; laws, which are founded in the very depths of nature. I do not say, that the poet, or the musical composer is not at liberty to vary these points in accommodation to his particular purpose. This may be done, and frequently must be done, in order to produce the greatest ef- 1' 6 INTRODUCTION. feet ; but the author of a hymn, or a tune, fixes the emphatical points beyond the power of change, without an essential change in the language, or the notes. The emphases in poetry and tho>e in music are effected by simi- lar means, and are regulated by the same principles. For a partic- ular statement and discussion of these piinciples, the reader is re- ferred to the chapters on emphasis, int^eciion, and intonation in the Rhetoric and Elocution, I have lately published. Suffice it here to say, that emphasis, both in rhetoiic and music, depends chiefly on the quantity of time, that is given to a syllable or note, the al- ternation of force and feebleness, the elevation of the tone, and the inflection, or change of tone on the same syllable. That these four things are unspeakably more essential lo emphatic force, both in music and elocution, than mere loudness of voice, I think as clearly demonstrable from experiment, as any principle in natural philos- ophy. As musical and poetic emphases are controlled by the same prin- ciples, and are identical in their very nature, as well as in their ob- ject, what can be more obvious, than that they ought to cooperate, instead of counteracting each other? that the em|)hatic points of a hymn should be so arranged, as to render it possible for the mu- sical emjjhases to act in union with then; ? On a proposition so evident, I will not fill these pages with arguments, but merely refer the reader to experiment and to the preface of the Regular Hymns, to the review of iho?e Hynms ir; the United States Literary Gazette for July, 1824, to the review in the Christian Ex- aminer for July and August, 1824, and to a communication on the con- nexion between poetry and music, in the Christian Disciple for Sep. temberand October, 1822. The practice of psahnody toar.y considerable extent, in common choirs, renders it necessarj' in general, lo repeat the same tune as many times, as there are stanzas lo be sui g. In order therefore, to combine the musical and the poetic forces, one of these two things must be provided ; either such a correspondence and simili- tude in all the successive stanzas, as would in\ ariably coincide with the emphases of one and the same tune, or such a fluctuation in the length, the elevation, and the relation of notes, as would ac- INTRODUCTION. 7 commodate the ttine to the irregularities of the hymn. It is hardly necessary to say, that the latter of these expedients could not bo applied to any great nuniberof hymns, so as to render it practica- ble in any but the most select choirs. The general plan of this collection, therefore, has been to secure an exact coincidence be- tween the emphases of the tirst stanza, and those of every other stanza in the same hymn ; to cast them all in the same mould ; so that if the natural emphases of any tune correspond to those of one verse, they will be equally suited to those of every other verse. On this principle the original hymns are composed, and most of the selections are made and modelled. Some of the selections, with few or no alterations, harmonized with my leading design, as stated above. Others have required considerable changes ; and these changes have sometimes consist- ed in varying the phraseology, sometimes in omitting irregular verses, which might conveniently be spared, and sometimes by di- viding long hymns, and arranging dissimilar verses, so as to form them into different hymns. The importance of the object, I con- ceive, would have justified considerable sacrifices of poetic grace ; and still it is hoped, that the sacrifices, which have indeed been made, are few and small. A considerable number of hymns, however, from different authors, are at once too beautiful to be readily relinquished, and too inflexi- ble to be reduced to regular emphases. These, to the number of ten or fifteen, I have inserted, although it is impossible that they should ever be sung in common psalm tunes, without annihilating all their beauty and force. I speak of such hymns as the 13,77, 259, 403,which are marked with a star as irregular, and for which of course I could name no tunes. The greatest irregularities, however, do not injure them for chants, which by division, conjbination, omission, protrac- tion, or diminution of notes, enable us, with the aid of a simple no- tation, to accommodate the expression to any change of empha- sis. From the preceding remarks, it will appear, that the adaptation of tunes, out of which the selection is to be made, must require a more thorough examination, a more minute and comprehensive view, both of the hymn and of the several tunes, than any person It 8 INTRODUCTION. upon earth can have at a glance. Hence it has appeared conven- ient, if not indispensable, to name for each hymn one or more tunes. I hope, however, this will not be misunderstood. It is not intended, that no other tunes, than those which are named, shall ever be sung. The chorister is indeed requested to pay an inviolable regard to the emphasis and rhythm ; but, if in any case he prefers a different tune, which corresponds in emphasis and expression with the tunes I have mentioned, I wish him to feel himself perfectly at liberty to fol- low his own taste or rojivenience. In this case, however, he should sit down at home, and, after repeated and thorough experiments, decide on the tune for every hymn, and write the name of it with a pencil in the blank, which is left for this purpose. In adapting tunes to hymns, it is highly important to remember, that every note in every part has some influence on the emphases, and the general expression, contributing more or less to fit or unfit the tune for a particular hymn or stanza. As already observed, em- phasis depends on the elevation, the length, the alternation, and mu- tual relations of notes. Other things being equal, single notes or slurs are emphatical in proportion to their length, and this effect is often increased by a pause after the emphatical note, even though the pause be taken fiom the time of the note itself. In like manner, we may affirm that the comparative elevation or depression of a note has an essential influence on the em- phatic force. To rise, for instance, in the base from the tonic to the upper dominant, is totally different in respect to em- phasis from falling to the lower dominant. It is further to be observed, that two notes on the same syllable are generally more emphatical than one, and that in most instances, a falling slur is more expressive than a rising one. On these two last principles, the notes on the word hide, in the air of the tune of Hotham, are very expressive ; but those on the words 7ny and Saviour in the same line are the reverse of what they should be. Finally, alter- nation is a principle of emphasis. In poetry, an accent generally recurs with every second or third syllable, and when the voice has fallen into this train, it is somewhat difficult to avoid this ac- cent. On this ground, it has become a law in music, that the first part of every measure or bar shall receive the accent. Hence, some INTRODUCTION. y tune, whose lines all begin with accents, like those in Duke Street, China, Ellentljorpe,Oiland,or Owen's, is required for Hymn 53 or 373. The commencement of the lines would be enfeebled by such a tune as Monmouth or Knficld, and still more by Effing- ham, Winchester, or St Peter's, in which the second note of each has more than twice the force of the first ; a force, which cannot be reduced to the feebleness of the second syllable. The first, second, and fourth lines of Park Street, the first and third of Rothwell, the first of Dunstan, and the third of Luton, are suited to hymns, like the ones named above, while the other lines of those tunes would pervert the emphases. The best lines of eight syllables length, have natural pauses near the middle, that is, after the third, fourth, or fifth syllable, which a good reader always observes. When this natural pause comes between the fourth and fifth syllables, it is best suited by a pointed minim in common time, as in the first line of Brattle Street, the first and third of Leyden, or the third of Watchman or Silver Street. When the natural pause follows a word of more than one syllable, which is not accented on the last, it is best expressed by equal notes, or notes, that will be reduced to equality, when the time for the pause is deducted from the last, as in the second lines of Hymns 92, 96, and 108, intended for Psalm 97th. I add, that hymns containing many such long words as vanity, eternity, orig- inal, consecrated, ^c, can never be set to tunes in triple time, con- structed as they generally are, without rendering them lifeless and awkward. The justice of the preceding remarks I think will appear, in pro- portion as they are examined and brought to the test of experiment. I would barely add, that the principles of emphasis sometimes counteract each other in the difterent parts of the same tune, and somatimes in the same part, in such a manner, as to render it doubt- ful whether the combined effect at a particular point should be considered eniphatical, or uncmphatical. Hence it maj' sometimes become a question, whether the adaptations in this book are the best, that iriJght be made. Another difficulty affecting this part of my design, has arisen 10 INTRODUCTION. from the want of tunes corresponding in their rhythm to some of the hymns. For the third variety of Common Metre, for instance, like the 9th, 70th, and 90th hymns, I believe there is no tune in either of the collecfions most in use, and very few for some other varieties in the different metres. These defects however, will, it is hoped, be supplied in the next editions of the Handel and Haydn and of the Bridgewater collections. In many instances, a slight variation of two or throe notes would accommodate to a par- ticular rhythm a tune that is already familiar. Though it has been my endeavor to make every hymn as regu- lar, as possible, both in the emphases and the pauses, some irregu- larities are unavoidable, r.ud, to meet these, it is necessary to pro- vide a few simple indications for the accommodation of the music to the poetry, by lengthening, or shortening, dividing, or uniting notes. To signify the length of notes, required in different places, I have used vowels marked with the three numbers, 1, 2, and 4, which are in proportion one to another, as a semibreve, a minim, and a crotchet, or as a minim, a crotchet, and a quaver. When, therefore, a syllable has the figure 1 over it, as the word ' float,' in the second line of the fourth hymn, that syllable is intended to have the length of two beats. A syll ible, marked with the figure 2, is to have one beat, and those, marked with 4, a half beat each. These numbers, it is believed, will soon become as simple guides to the most unskilful, as the notes themselves would be. Syllables,which are neither numbered nor pointed, are to be considered as having the length, which the tune would naturally give them. A point after a syllable, as for instance in the word * awake' in the second line of the second hymn, adds to it one half of its former length, in exact correspondence with the points used in music. When the first three syllables of a line are marked with the number 2, it is to be understood, that that line begins with the falling beat, as in hymn ninth, the third line of every verse ; while the first note of the mu- sic is omitted, and the second divided. In common time the first note is in such a case to be omitted, and the note or notes, which would otherwise come upon the third syllable,to be divided. As we have no numbered capitals, the first number is sometimes omitted, but this does not alter the mode of performance. By this notation, a raeas- INTRODUCTION. 11 ure or bar in common time may have a semibreve and a minim, and should be beat like triple time, as may be observed in the fifth hymn; while on the contrary a measure in trii)le time may be reduced to two minims or two crotchets, and should be beat like common time, as on the words 'equal,' 'fixes,' and ' elements,' in hymn 83. When one syllable is marked for one beat, and the following; syllable completing the measure in common time is marked for a half beat, it is intended the time shall be com- pleted by a pause between (hem. On the other hand, a point generally takes from the following syllable as much time as it adds to the pre- ceding. In some instances the short accent is placed over a sylla- ble, as in the word 'can,' in the second verse of hymn 89, to show indefinitely that the emphasis should be diminished. Sometimes the minor importance of two syllables renders it desirable that they should divide the note, which would otherwise be given to the first. An example of tliis occurs in the last line of hymn 53. Where two words, therefore, are united by a hyphen, they are to be sung by the division of a note accord- ing to the proportions marked ; and in a case like that referred to, the third syllable will unite the two or more notes, which would otherwise be divided between the second and third syllables. In some instances, two stanzas are intimatel}'^ connected, and the connexion is signified by one of the shorter pauses and a brace, as in hynms 87 and 144. In sinking such stanzas, no longer pause should be made between them, tlian is taken from the last note in the former verse. A considerable number of hymns in this collection are in the anapestic measure, like the first, fourth, and eighteenth, con- taining in general three syllables for a measure or bar; wliile most of the tunes, which aie named for them, have usually been sung in iambic verse, dividing each measure into two parts, the first a semibreve, or other notes equivalent to it, and the sec- ond a minim. If these hymns should be adopted in any society, where these tunes are not actually divided in the collections of mu- sic in use, the following rule >vill remove everj' difficulty in per- forming these or any other tunes of the kind, in the manner re- quired ; viz. 12 INTRODUCTION. Let every measure, intended for three syllables, be divided into three equal parts, by splitting seniibreves, or removing slurs, and let every part be sounded on the same tone, it would otherwise be. Thus, for instance, in the tune of Froome, named for the first hymn, let the slur be removed from the crotchets in the first full measure of the first line, and let the minim in the first measure of the second line be performed like two crotchets. The only excep- tions to this rule are those, which are signified by numbers or points in several hymns, and which may be observed, or not, as may be found convenient. When the first syllable in a measure has the number 1 over it, it is to fill two thirds of the bar, and for the two followin^ HYMN 58. c. M. Close of the Evening Service. 1 Soon will our fleeting hours be past ; And, as the setting sun Now leaves the clouds in yonder west, Our parting beams be gone. 2 O may the Lord, who claims our praise. Our sacred rites attend ; Unite our hearts in wisdom's ways, Till life's short journey end. 3 And, as the rapid sands run down, Our virtue still improve ; Till each receive the glorious crown Of never-fading love. Dedham. HYMN 59. L. M. A. a 1 The church is a school of wisdom divine, Where lessons of truth and virtue are given ; Where every thing awful and winning combine, To solace our spirits, and fit them for heaven. 2 The Lord is our guide, our teacher, and friend ; His precepts are all benignant and pure ; Divine attestations each doctrine attend, His promise is ever infallibly sure. 3 Disciples of Christ should daily improve In all that is good, and noble, and wise. Who soon must be sunmioncd from earth to remove. And join the communion of saints in the skies. Lyons, St Michael's. 3t 54 FOR THE CLOSE OF HYMN 60. L. M. 1 Servants of God, in joyful lays, Proclaim the Lord Jehovah's praise ; His glorious name let all adore, From age to age for evermore. 2 Blest be that name, supremely blest From north to south, from east to west ; Above the heavens his power is known ; Through all the earth his goodness shown. 3 Who is like God ? So great, so high, He bows himself to view the sky. And yet whh condescending grace Regards the sons of mortal race. 4 Servants of God, in joyful lays, Proclaim the Lord Jehovah's praise ; His saving name let all adore, From age to age, for evermore. Truro, Dunstan. HYMN 6 L s. M. A. 1 Thee, Father in heaven, we adore ; Our spirits rejoice in thy reign. To thee be ascriptions of glory and power, For ever and ever. Amen. 2 Thy wondrous salvation be sung In regions remote and unknown ; Let praises unceasing from many a tongue Ascend and encircle thy throne. 3 Thee, Father in heaven, we adore ; Let all men exult in thy reign ; To th^e be Ascriptions of glory and power, For ever and ever. Amen. Sutton. PUBLIC WORSHIP. 55 HYMN 62. 7s. Sabbath evening. 1 Sacred day, forever blessed ! Day of all oar days the best ! Welcome hours of praise and prayer, Free from toil, fatigue, and care. 2 Happy, happy, happy, Lord, Those, who read or hear thy word ! Happy those, who dwell with thee, Who thy grace and glory see ! 3 We once more have heard thy voice ; Lord, in thee our souls rejoice ; Borne by faith to worlds on high, Called to reign above the sky. 4 Though this day of rest we close, Still on thee our hearts repose ; Guide and guard us all our days ; O, may all our lives be praise. Eddyfield, Savannah. HYMN 63. c. M. a 1 With pleasing wonder, Lord, we view Thy rich unbounded grace ; Much IS bestowed, and much reserved For those, who seek thy face. 2 Thy mercy hides their numerous sins, And forms them for the sky ; Crowns their short lives with present joys. And lifts their hopes on high. 3 For them rich treasures, yet unknown, Ai*e stored in worlds to come. Peaceful and pleasant is their way, ji^a^ And happy, Lord, their home. 4 56 FOR THE CLOSE OF 4 Since time 's too short, O gracious God, To utter all thy praise. Loud to the honor of thy name, Eternal hymns we '11 raise. 3 Blandford. HYMN 64. H. M, 1 To heaven we Hft our eyes. From God is all our aid ; The God, who built the skies, And earth and nature made. Eternal power, To thee we fly. Whose grace is nigh In every hour. 2 Our feet shall never slide. Nor fall in fatal snares, Since God, our guard and guide, Attends our humble prayers. Thy watchful eyes, Which never sleep. Thy children keep, When dangers rise. 3 Hast thou not given thy w^ord, To save our souls from death ? And we can trust thee, Lord, To keep our mortal breath. We '11 go and come, Nor fear to die, Till thou on high Shalt call us home. Swithin, Bethesda. PUBLIC WORSHIP. i>7 HYMN 65. L. M. c 1 These outward forms of praise and prayer The love and grace of God declare ; While every instituted rite Matures the soul for realms of light. 2 His mercy every house attends, Whence pure devotion's flame ascends, And ever lends a gracious ear, Where churches pray with hearts sincere. a 3 To men of pure and pious hearts, All real good their God imparts ; With grace he crowns them here below, And endless glory will bestow. 4 His blessing yields a large increase Of wisdom, joy, and sacred peace ; While ripening holiness and love, Prepare our souls for joys above. 1 Clinton, PortugaJ. HYMN 66. c. M. Absence from public worship lamented, c 1 Within thy temple once, O God, How sweetly passed my days ; Prayer my divine employment then, And all my pleasure, praise. t 2 But now I 'm lost to every joy. Because detained from thee ; Those golden moments ne'er return, Or ne'er return to me. 3 Yet, O my soul, why thus depressed ? And whence the falling tear ? c The God of Zion still is nigh, The humble prayer to hear. Windsor. 58 THE PERFECTIONS OF GOD HYMM 67. c. M. ,Bl 1 All nature sings aloud of thee, Great Source of life and light ; The earth and skies, in concert joined, Th' enraptured ear invite. 2 The brilliant orbs of heaven proclaim Thy boundless power and skill ; While night and day, in endless rounds, Thy grand designs fulfil. (S 3 The mighty winds and thunders, Lord, Thy dreadful praise resound. When storms convulse the watery deep, And ruins strew the ground. s 4 In softer notes the genial shower And smiling calm declare The love and grace of Him, who deigns To make the earth his care. c 5 The sportive flock, the stately herd, Their different voices raise ; And birds, that wing the fragrant air, Unite to chant his praise. a 6 Ye sons of men, your powers exert, T' improve their humble songs : Ji To God, the source of all our joys. Our highest praise belongs. 1 Swanwick. HYMN 68. L. M. 1 Awake, my soul, to hymns of praise, To God the song of triumph raise ; g Adorned with majesty divine, What pomp, what glory. Lord, are thine ! DISPLAYED IN NATURE. 59 G 2 Light forms thy rohe ; and round thy head The heavens their ample curtain spread; Around thee, ranged in awful state, Dark silent storms attentive w^ait. 3 The lightning's pallid sheet expands, c And showers descend on furrowed lands ; They water every hill and plain, And life in various forms sustain. G 4 Thus clouds, and storms, and fires obey Thy wise and all controlhng sway ; But while thy terrors round us stand, c We see a Father's bounteous hand, 1 Old HuBdred. HYMN 69. L. M, a 1 Behold the sun, serenely bright, O'er nature's wide extended frame Inscribes, in characters of light, His mighty Maker's glorious name. 2 Diffusing life, his influence spreads. And health and plenty smile around. The fruitful fields and verdant meads With songs of joy and peace resound. 3 By cooling streams and softening showers, The vegetable race are fed ; And trees, and plants, and herbs, and flowers. Their Maker's constant bounty spread. 4 Ye curious minds, that roam abroad. And trace creation's wonders o'er, Confess the agency of God ; His wondrous power and love adore. Aldridge, Timsbury. 60 THE PERFECTIONS OF GOD HYMN 70. c. M. a 1 Eternal Wisdom ! thee we praise ; Thee all thy creatures sing*. Lord, with thy name, rocks, hills, and seas, And heaven's high arches ring. 2 Thy hand, how wide it spread the sky, Our wondering eyes behold'; Tinged with a blue of heavenly dye. And starred with sparkling gold. 3 There dost thou make the globes of light Their endless circles run*; There the pale planets rule the night. And day obeys the sun. g 4 The rolling mountains of the deep Observe thy strong command-; Oceans and seas their limits keep. Nor dare invade the land. 5 Unbounded power and equal skill Pervade the worlds abroad*; j3 All our best thoughts with rapture fill, And speak the builder, God. Barby. * HYMN 71. L. M. God of the rolling orbs above. Thy name is written clearly bright In the warm day's unvarying blaze, , Or evening's golden shower of light. For every fire that fronts the sun. And every spark that walks alone Around the utmost verge of heaven, Were kindled at thy burning throne. DISPLAYED IN NATURE. 61 2 God of the world, the hour must come, And nature's self to dust return ; Her crumbling altars must decay ; Her incense fires shall cease to burn : But still her grand and lovely scenes Have made man's warmest praises flow ; For hearts grow holier, as they trace Tlie beauty of the world below. HYMN 72. c. M. a I Hail, great Creator, wise and good ! To thee our songs we raise ; Thy various w^orks on every side Invite our souls to praise. 2 (At morning, noon, and evening mild. Fresh wonders strike our view ; And while we gaze, our hearts exult With transports ever new.) 3 Thy glory beams in every star, Which gilds the gloom of night ; And decks the smiling face of morn With rays of cheerful light. 4 The lofty hill, the humble vale. With countless beauties shine ; s The silent grove, the deepening shade Proclaim thy power divine. a 5 Lord, while in all thy wondrous works, Thy varied love we see. May every contemplation lead Our grateful hearts to thee. 1 St Johns. 4t 62 THE PERFECTIONS OF GOD HYMN 73. c. M. a 1 Great First of beings, mighty Lord, We praise thy glorious name ; Produced by thy creating word, Arose this svondrous frame. 2 By thee, through fields of azure, roll Unnumbered worlds above ; Thy mighty hand sustains the whole j Each creature shares thy love. 3 By thee the earth its product yields, And countless myriads live ; And trees and plants that grace the fields, Their richest treasures give. 4 To thee, all-gracious Power, we bow. And would ourselves resign ; Accept the praise, accept the vow, And make us wliolly tiiine. 1 Clarendon, Christmas. HYMN 74. L. M. A. g 1 How rich are the wonders all regions display ! What beauty and grandeur embellish the skies ! liCt reason contemplate these wonders, and say, Who gave them existence ? or whence did they rise? 2 Thou sun, the bright regent and fountain of day, Whence all thine effulgence, so constant and free? Who kindled thy splendors? who launches each ray That gilds, or enliv^ens the earth, or the sea ? G 3 Ye planets so ponderous, revolving on high. In orbits stupendous and ever the same, Wlio governs your courses, while swifter ye fly, Than whirlwinds, or lightning's ethereal flame? DISPLAYED IN NATURE. 4 The vast constellations, a numberless train, Diffused through all regions, where thought ever roved ! What energy formed them? what power can sustain? Are all self-existent, self-poised, and self-moved? m 5 Is nature then peopled with millions of gods ? g No ; these are all creatures of one great supreme; Whom reason in holy amazement applauds. While nature, enrapuu'ed, pays homage to Him. Castle Street. HYMN 75. c. p. M. a 1 O God, the heaven's well ordered frame Declares thy great and glorious name, And there thy wonders shine ; A thousand starry beauties there, A thousand radiant marks appear Of power and skill divine. 2 From night to day, from day to night. The awful shade and cheerful hght Their constant lectures read. With silent eloquence they raise Our thoughts to our Creator's praise. Nor sound nor language need. 3 To every land they teach diy name, From age to age thy praise proclaim ; Let all attend their voice ; And, while thy glories shine abroad. Let men adore their Maker, God ; In thy blessed power rejoice. Columbia, Clyde. 64 THE PERFECTIONS OF GOD HYMN 76. L. M. A. a 1 My soul, praise the Lord, speak good of his name; His mercies record, his bounties proclaim ; To God, their Creator, let all creatures raise The song of thanksgiving, the chorus of praise. 2 Though hid from our sight, God sits on his throne, Yet here by his works their author is known ; The world shines a mirror its Maker to show, And heaven views its image reflected below. g 3 Those agents of power, fire, water, and sky, Attest the dread might of God the Most High ; Who rides on the whirlwindjwhile clouds veil his form, c Who smiles in the sunbeam, or frowns in the storm. a 4 By knowledge supreme, by wisdom divine, God governs the earth, with gracious design : O'er beast, bird, and insect, his providence reigns, Whose will first created, whose love still sustains. 5 And man, his last work, with reason endued, t Who fahing through sin, by grace is renewed ; a To God his Creator, let man ever raise The song of thanksgiving, the chorus of praise. Lyoa's, St Clement's. *HYMN 77. L. M. The voice of God in his works. 1 The spacious firmament on high, With all the blue ethereal sky, And spangled heavens, a shining frame. Their great Original proclaim. ACKNOWLEDGED AND ADORED. 05 2 Til' unwearied sun, from day to day, Doth his Creator's power display ; And publishes to every land The work of an almighty hand. 3 Soon as the evening shades prevail, The moon takes up the w^ondrous tale ; And nightly to the listening earth Repeats the story of her birth ; 4 While all the stars, which round her burn. And all the planets in their turn. Confirm the tidings, as they roll. And spread die truth from pole to pole. 5 What, though in solemn silence, all Move round this dark terrestrial ball ? What, though no real voice nor sound. Amid their radiant orbs be found ? G In reasons ear they all rejoice. And utter forth a glorious voice ; Forever singing, as they shine, ^ The hand that made us is divdne.' Chant- HYMN 78. L. M. 1 Thee, Lord, we praise, the Hfe and light Of all this wondrous world we see ; lis glow by day, its smile by night. Are mere reflections caught from thee. Where'er we turn, thy glories shine, And all things fair and bright are diine. 2 When day, with farewell beams, delays Among the opening clouds of even, And we can almost think we gaze Through golden vistas into heaven ; Those huesUiat make the sun's decline So soft, so rildiiint, Lord, are thine. 66 THE PERFECTIONS OF GOD 3 When youthful spring around us breathes, Thy spirit warms her fragrant sigh ; And every flower the summer wreathes, Is born beneath thy kindling eye. Where'er we turn, thy glories shine, And all things fair and bright are thine. Katon, Morning Hymu. HYMN 79. c. M. g 1 How shall we praise the eternal God, That infinite unknown ? Who can ascend his high abode. Or venture near his throne ? ^ 2 He in his awful glory dwells. Concealed in dazzling light ; While his all-searching eye reveals The darkest scenes of night. 3 Speak we of strength ? his arm is strong. Whom deeds of might employ ; g Infinite years his fife prolong, A life of endless joy. S 4 Justice and judgment he maintains In all his dread decrees. g Firm as a rock his truth remains, To guard his promises. t 5 Now to my soul, immortal King, Speak some forgiving word ; ^ Then 't will be double joy to sing Thy solemn praises, Lord. 4 Devizes. ACKNOWLEDGED AND ADORED. 07 HYMN 80. L. M. Jl 1 Infinite God, thy glorious name Let earth and heaven with joy proclaim ; Angels and men, Join in the strain, Chanting aloud the rapturous theme. g 2 God over all, thy sovereign sway The sun, and moon, and stars obey. Strong is thy hand ; Sure thy command ; Millions of worlds thy power display. 3 Wisdom belongs to thee alone. To whom our every thought is known. Ill Holy and just, Thou art our trust ; a Mercy for ever gilds thy throne. 4 Infinite God, thy gracious name Let earth and heaven with joy proclaim ; Angels and men, Join in the strain. Chanting aloud the rapturous theme. 7 Blcndon. HYMN 81. c. M. 1 The glories. Lord, thy works proclaim, Our pious wonder raise ; Thy word still more reveals thy name. And more exalts thy praise. 2 The numerous worlds thy hands have made, Thy power almighty teach ; The plans thy forming wisdom laid, Through endless ages reach. 3 Thy righteousness maintains its throne, Though mountains sink to dust ; Thy judgments, though a deep unknown. Are always wise and just. 68 THE PERFECTIONS OF GOD, fcc. 4 Thy mercies far beyond the round Of earth and heaven extend ; Thy truth outlives the narrow bounds, Where time and nature end. 5 May love divine our souls excite, To keep thy holy ways ; A And all our noblest powers unite, To celebrate thy praise. 1 Christmas, Howards. HYMN 82. c. M. g 1 Tfiy kingdom, Lord, forever stands. While earthly thrones decay ; And time submits to thy commands, While ages roll away. a 2 Thy sovereign bounty freely gives Its unexhausted store ; And universal nature lives On thy sustaining power. 3 How just and true are all thy ways! Thy goodness how divine ! In all thy works immortal rays Of power and mercy shine. 4 Thy praise, O God, delightful theme. Shall fill my heart and tongue ; g Let all creation bless thy name In one eternal song. 1 St Ann's. HYMN 83. L. M. a 1 Ye sons of men, in sacred lays. Attempt the great Creator's praise : g But who an equal song can frame ? What verse can reach the lofty theme ? GOD ETERNAL AND UNCHANGEABLE. 09 Gr 2 He sits enthroned amid the spheres, And robes of light and glory wears ; While boundless wisdom, power, and grace, Command our awe, invite our praise. 3 'T is he, who bids the tempest rise, And rolls the thunder through the skies ; His voice the elements obey ; O'er worlds unknown extends his sway. a 4 In every work and way divine. Omnipotence and wisdom shine ; And goodness fixes still the end. To which they all unvarying tend. 5 His powder we trace on every side ; May heavenly wisdom be our guide ; And while we live, and w^hen we die, May his almighty love be nigh. 1 Proctor, Brentford. HYMN 84. c. M. G 1 Great God, how infinite art thou ! What feeble dust are we ! Let all thy noblest creatures bow. And pay their praise to thee. 2 Eternity, with all its years. Stands present in thy view ; To thee there 's nothing old appears. Great God, there 's nothing new. i 3 Our lives through various scenes are drawn. And vexed with trifling cares ; g While thine eternal thoughts move on Thine undisturbed affairs. 70 GOD ETERNAL G 4 Great, God how iafinito art thou ! t What feeble dust are we ! m Let men and angels humbly bow, And pay then- praise to thee. 1 Nottingham, St Ann's. HYMN 85. c. M. ^ 1 Rise, rise, my soul, and leave the ground, Stretch all thy thoughts abroad, And rouse up every tuneful sound, To praise the eternal God. G 2 His boundless years can ne'er decrease, But still maintain their prime ; Eternity 's his dwelHng place, And ever is his time. m 3 While like a tide our minutes flow. And years are quickly passed, ^ He fills his own immortal now, And sees our ages waste. S 4 Sun, moon, and stars shall fade away, And darkness veil the skies ; G But God shall live an endless day, When old creation dies. Kendall. HYMN 86. s. M. t 1 The earth may perish. Lord, The mountains be dissolved ; The sun and moon their lustre lose. In death's dark shades involved : G 2 But thou shalt still endure. From age to age the same ; Immensity thy dwelling place. And Life thy glorious name. AND UNCHANGEABLE. 71 3 Thy power can ne'er decay ; Thy wisdom never fail ; Thy mighty arm shall triumph still, Whatever foes assail. ^ 4 In all cm* changes, Lord, In thee we still would trust ; Let mercy guard us, while we hve, And keep our slumbering dust. 1 Shirland, St Thomas'. HYMN 87. c. M. 1 Thou didst, O mighty God, exist, Ere time began its race ; Before the ample elements Filled up the void of space. 4 Before the bright, harmonious spheres Their constant round begun ; Before the shining roads of heaven Were measured by the sun ; ) 5 Ere men adored, or angels knew, ) Or praised thy glorious name. Thy bliss, O sacred Spring of life, Thy glory was the sanie. 6 And when the sun shall cease to shine. And earth and heaven shall quake, When all the starry orbs on high Their ancient course forsake ; > 7 Forever permanent and fixed, ) From agitation free, Unchanged in everlasting years, Shall thy existence be. St Ann's 4t 72 GOD OMNISCIENT HYMN 88. L. M. s 1 Thou, Lord, by strictest search hast known My rising up and lying down ; My secret thoughts are known to thee, Known long before conceived by me. 2 Within thy circling power I stand ; On every side I find thy hand ; Awake, asleep, at home, abroad, I am surrounded still with God. ^ 3 Amazing knowledge ! vast and great ! What large extent ! What lofty height ! My soul, wuth all the powers 1 boast. In this unbounded theme is lost. 5 4 May thoughts, like these, possess my breast, Where'er I rove, where'er I rest; Nor let my weaker passions dare Consent to sin, for God is there. 1 Old Hundred. HYMN 89. c. M. s 1 God is a spirit, just and wise, He sees our inmost mind ; In vain to heaven we raise our eyes, And leave our souls behind. 2 Nothing but truth before his throne With honor can appear : The formal hypocrites are known, Whate'ei disguise they wear. 4 Search us, O God, and try our ways. And make our souls sincere ; That we may stand before thy face. And find acceptance there. 1 Dedham, Nazareth, B. GOD OMNISCIENT. 7S HYMN 90. c. M. 6" 1 Omniscient God, thy searching eye Can pierce the shades of night 5 All our must secret actions lie Unveiled before thy sight. /S 2 There 's not a sin that we commit, Nor thoughtless word we say, But in thy dreadful book 'tis writ Against the judgment day. 3 Before thy throne, O God, we lie, And still for mercy look ; i O from our follies turn thine eye, And blot them from thy book. 3 Barby, Newton. HYMN 91. L. M. jS 1 TiiY boundless presence, heavenly King, Thy dread omniscience. Lord, we sing. Vouchsafe to hear our humble lays. And tune the trembling voice to praise. 2 In every scene thy works appear ; To every creature thou art near. While earth proclaims a present God, The highest heavens are thine abode. 3 Although from mortal view concealed, To thee our ways are all revealed ; Thine eye can pierce the shades of night, And bring the dark intent to light. 4 Omniscient Judge of quick and dead, May thoughts like these awake our dread. From every sin preserve us free, c And give us peace and hope in thee. 1 Portugal, Monmouth. 74 DIVINE wrsDOM. HYMN 92. L. M. 1 Now to the Lord, our God, we raise Anthems of glory, shouts of praise ; Wisdom, and truth, and power unknown. With beams of hght invest his throne. 2 Wisdom arrayed the worlds on high. Balanced the planets, spread the sky ; Taught them to move in endless rounds, And gave revolving years their bounds. 3 Wisdom designed my living frame, Moulded and fashioned all I am ; Made me to see, and hear, and move, And speak, and think, and fear, and love. t 4 Prone as we are to go astray, c Wisdom unerring guides our way ; a Points to a world of endless joys, And still the hand and soul employs. 5 Lord, thou art God, the only wise ; O, may thy wonders charm our eyes : Help us to learn and do thy will, Secure in thee from every ill. 5 Psalm 97. HYMN 93. s. M. a 1 Source of all life and light, To thee our praise we pay. Our souls admire thy glory, Lord^ Which heaven and earth display^ niVINK MAJESTY AND POWER. 75 g 2 Thou art the King of kings, Of lords tlie sovereign Lord. The sons of light, in choral songs, Thy wondrous deeds record. 3 All ihy perfections, Lord, Conspire to make thee blessed ; Complete within thyself alone. Of every joy possessed.