CALM on the listening ear of night Celestial choirs, from courts above, C. M. D. And angels, with their sparkling lyres, 2 The answering hills of Palestine There comes a holier calm; 3 "Glory to God!" the lofty strain "Glory to God!" the sounding skies We have now the second of the two hymns by Rev. Edmund Hamilton Sears, D. D., which have received the highest praise as poetry ever bestowed upon an American writer of religious verse. The author passed his life in the communion of the Unitarian Church; but we are told since his death that " he held always to the absolute Divinity of Christ," and that "his views were rather Swedenborgian than Unitarian." This piece appeared first in the Boston Observer, 1834. The melody of the lines, as they rise and fall like Christmas chimes in the air, the exquisite gladness of the sentiment, the lofty range of imagination in the figures, are inimitably fine. HARK! the herald angels sing 2 Christ, by highest heaven adored; Hail the incarnate Deity, Pleased as man with men to dwell; Jesus, our Immanuel! 7s. D. 3 Hail the heaven-born Prince of Peace! Hail the Sun of Righteousness! Born that man no more may die: This familiar and favorite hymn from Hymns and Sacred Poems, 1739, owes something of its popularity to the splendid piece of music to which it is generally sung in America. Mendelssohn's tune is exactly adapted to carry its majestic strains of triumph; the choirs of highest training equally with the simplest children of the Sundayschools are fond of it and edified by it. It is noticeable that this is the only one of Rev. Charles Wesley's contributions to England's treasures of hymnody that was ever included in the English Book of Common Prayer; and how it came there no one can say. Just here it is worth the inquiry how it comes about that angels from a sinless heaven are interested enough in the birth of a human Redeemer to show such lively and exuberant pleasure as makes these Bethlehem hills ring with their praise unto God. And the answer cannot be difficult. We must recall the description furnished us of angels' emotions while they were compelled to wait under the awful mystery of Christ's sufferings. They are presented to us as fitly imaged in the cherubim on the mercy-seat of old: those two singular figures of gold, bending reverently forward toward each other over the ark in the Holy of Holies, with eyes cast downward, as if they were curiously listening to whatever might be spoken from out the ineffable light between them. The language is familiar; but there is in it a felicity almost lost in its rendering into ours. Which things the angels desire to look into:" this means, which things they are peering over into bending their heads down and fixing their eyes, as if a holy curiosity possessed them, as if they were investigating an awful secret which demanded closest and most earnest attention. 66 Furthermore, we must remember that the apostle Paul asserts, in a brilliant passage of the Epistle to the Ephesians, that there was once a recognized and explicit moment in eternal history when the manifold wisdom of God was made known unto the powers and principalities in heavenly places-the fellowship of the mystery hid in God from the beginning of the world. When was that? At what precise instant-at what period along the ages of human registering by days and years-did the angels first learn the meaning and the majesty of Christ's incarnation, his suffering, and his death? We can get no inspired answer; but surely there never was a more appropriate opportunity for this sublime disclosure than this now offered on the day when the incarnation became a fact. It does not seem unlikely that when the midnight Among all the morns of time, He has come from God's own heaven, This is one of the best of the lyrical pieces 322 The theme of this version of Psalm 98, as Dr. Isaac Watts announced it, is, "The Mes-siah's Coming and Kingdom." It is his Second Part, C. M., and is here in the four stanzas complete. The combination of these most spirited words with the bright arrangement of music by Dr. Lowell Mason, which he called "Antioch," is a great favorite at missionary anniversaries and large conventions for evangelical work. But it ought to be confessed that it is frightfully awkward, in the estimation of all good singers, to be obliged to repeat the syllables in the absurd way which the tune requires in the last line. It makes no trouble that needs to be noticed to say over, And heaven-and heaven-and nature sing." And it is endurable to say"Repeat-repeat the sounding joy." But we submit that "Far-ar-a-as-far-ar-a-as the curse is found" is laughable; and "A-andwo-ond-and wo-o-on-ders of his love" is ridiculous. The remedy for this is found in slurring the notes needed for the musical phrase and singing the syllables as a reader would speak them. 323 "All hail the morn!" HAIL the night, all hail the morn, When the Prince of Peace was born! When, amid the wakeful fold, Tidings good the angels told. Now our solemn chant we raise Duly to the Saviour's praise: 2 While resounds the joyful cry, Peace on earth, good-will to men!" 7s. D. This hymn was taken for use in Laudes Domini from the Sabbath Hymn-Book, where it was registered as "From the German." We have never been able to trace its authorship any farther than to an anonymous selection called Christmas Carols, published in London, 1837. It is interesting and useful in that it emphasizes the fact that a celestial choir came to the earth to sing at the time Jesus was born at Bethlehem. In gathering the matter for our own instruction just now, we ought to be satisfied if we can be led to remember this sweet song, and hold the rich significance of its three announcements of glory to God, peace on earth, and good-will toward men. One particular angel, we observe, seems to assume a sort of leadership to a company of others; he delivers the message, and then they, unannounced, burst forth into a strain of music. Gabriel it was who brought prophetic announcement of the Messiah to Daniel; the same messenger foretold Jesus' birth to his mother. From the beginning to the end of our Lord's earthly career do these inhabitants of heaven seem to walk alongside, just out of sight. We discover them ministering to him when in the wilderness of temptation; they are found strengthening him under the terrible agony of Gethsemane; the women saw one sitting at the head and one at the foot of the spot where the crucified Saviour had lain in the sepulcher. We are given to understand that angels are even now all the time God's messengers to the heirs of salvation. They are coming, at the last day, with Christ when he advances to judgment. And in the glory of heaven, while they sit singing praise on the mount of God, the chief burden of their happy hymns is joy over each repenting sinner. Is it not a fine thing to have such friends at court? The hymn here given is found in Dobell's collection, but there is credited to Wood's collection. It has five stanzas; and two passages of the New Testament, Matthew 1:23, and I. Timothy 3:16, are annexed to it as the foundation texts. The original publication, so Mr. Duffield says, was made in The Gospel Magazine, 1779. Very little is known of the author, Sarah Slinn. It is likely that she was an unmarried lady, this being her maiden name, and that she was connected with the Church of England. She lived a century ago, and her history is perpetuated among Christians by the force of one really good hymn. At the little upper window of that lowly cottage in Bedford, is to be seen, of an evening, a faint light, casting athwart the curtain a dark, deep shadow, as of a man in deep thought. It is Bunyan, with his Bible, and his glowing heart, and his magic pen, sequestering himself to his "beloved work of setting forth the glories of Immanuel." Night after night his studies are protracted far into the morn With the cross of the Lord before us, I WE come in the might of the Lord of Light, And we put to flight the armies of night That the sons of the day may greet him.-CHO. 2 Our sword is the Spirit of God on high, Our helmet his salvation; Our banner the cross of Calvary, Our watchword-the Incarnation.-CHO. 3 And the choir of angels with song awaits For our Captain has broken the brazen gates, The tune which carries these words has made the piece more popular than it is useful. It is what is called a "processional," and for that purpose it is well designed. It was first published in The Church Times (English), August 19, 1865. From the Episcopal denomination it has been transferred, through its employment in the Sunday-schools, to a place in the congregations of other names. The tune, called "Incarnation" by some, and "Greatheart" by others, was composed by Joseph Barnby, and is spirited, bright, and characteristic; the hymn is full of rhythm, beating time for itself with every stroke of a How free to the faithful he offers salvation! CHO.-Shout the glad tidings, etc. 3 Mortals, your homage be gratefully bringing, And sweet let the gladsome hosanna arise; Ye angels, the full hallelujah be singing; One chorus resound through the earth and the skies. CHO.-Shout the giad tidings, etc. REV. WILLIAM AUGUSTUS MUHLENBERG, D. D. The Rev. William Augustus Muhlenberg, D. D., was born in Philadelphia, September 16, 1796; he was graduated at the University of Pennsylvania in 1814, and ultimately was ordained to the ministry in the Protestant Episcopal Church in 1820. After a successful career as the rector of St. James' Church in Lancaster, Pa., and then as principal of St. Paul's College at Flushing, L. I., he became rector of the Episcopal Church of the Holy Communion in New York city, for which an edifice had been erected by his sister. His most notable public work was the founding of St. Luke's Hospital in 1859. During the five long and serious years of waiting and working needed for the establishment and endowment of that institution, it was the zeal of Dr. Mühlenberg which kept the project alive; and at the opening of the building he took the whole interests in hand. He was its first pastor and superintendent, and he held the offices until his death, April 8, 1877. Sometimes this piece is made to begin with the first line of the opening stanza: Zion, the marvelous story be telling;" but it properly introduces its sentiment with the chorus, which is repeated with the verses in turn at the commencement and the close. It resembles Thomas Moore's lyric, "Sound the loud timbrel o'er Egypt's dark sea," which long ago used to be sung to much the same music. Dr. William A. Mühlenberg permitted it to be appended to the American Episcopal Book of Common Prayer in 1826. It answers well for a Christmas anthem. 327 "The child Jesus." ONCE in royal David's city In a manger for his bed: Mary was that mother mild, 8s, 75, 75. 2 He came down to earth from heaven And his shelter was a stable, And his cradle was a stall; The picture of the nativity of Jesus offered in this hymn is one of the highest tenderness and beauty. For once the mother of our Lord comes into notice. The traditions respecting Mary are numerous. She is said to have been the daughter of Joachim, a prosperous owner of sheep and cattle, and of Anna, a daughter of the priest Matthan (mentioned in Matthew 1:15), the grandfather of Joseph and Mary; born when both her parents were old, and baptized by Peter and John. It is also stated that she lived with John till her death at the age of fifty-nine (in the fifth year of Claudius), at Ephesus, whither she had followed her guardian. Her appearance and character are thus described: She was more given to prayer than any round her, brighter in the knowledge of God's laws, and perfectly humble; delighted to sing the psalms of David with a melodious voice, and all loved her for her kindness and modesty. She was in all things earnest; spoke little and only what was to the purpose; was very gentle, and showed respect and honor to all. She was of middle height, though some say she was rather above it. She spoke to all with a prudent frankness, soberly, without confusion, and always pleasantly. She had a fair complexion, blonde hair, and bright hazel eyes. Her eyebrows were arched and dark, her nose well-proportioned, her lips ruddy, and full of kindness when she spoke. Her face was long rather than round, and her hands and fingers were finely shaped. She had no pride, but was simple and wholly free from deceit. Without effeminacy, she was far from forwardness. In her clothes, which she herself made, she was content with the natural colors." The Romish dogma of her immaculate conception is contrary to both reason and Scripture. If immaculate, it must must have been by special miracle. Her reply to the angel (Luke 1:34) shows that she was aware of her own natural lineage, and that she expected offspring in no other way than that common to Adam's race. Her Mrs. Cecil Frances Alexander is the wife words: "My spirit doth rejoice in God my of Rev. Dr. William Alexander, the present Saviour," are decisive. Only sinners need a Bishop of Derry, Ireland. She was born in Saviour; Mary proclaimed herself a sinner. 1823; her father was Major Humphries, of Our Lord on various occasions rebuked her Strabane. Her Hymns for Little Children, indiscreet zeal. Slowness to believe, and her published in 1848, endeared her to many imperfect conceptions, prove that she was onhearts; this hymn is to be found in that vol- ly on a level with his other disciples. A most ume, where it appears with six verses. It highly favored child of God, chosen to be the does an excellent work wherever it goes, and mother of the world's Redeemer, blessed in is welcome to mature as well as to infantile herself, and the means of blessing to myriads; minds. All of her pieces are characterized yet like other human beings, and subject to by a winning simplicity equaled by no writer the same conditions and laws; ever to be since the days of Watts and Jane Taylor. honored, but never to be adored. The With the lowly, poor, and mean, 3 And, through all his wondrous childhood, Love, and watch the lowly maiden 4 Oh, our eyes at last shall see him, 5 Not in that poor lowly stable, We shall see him; but in heaven, |