and he did grind in the prison-house." A sentence in the course of the doctor's sermon, “The bird with a broken pinion never soars as high again," was caught up by the listening author, and became the refrain of his impressive song. Rev. Frank M. Lamb, the tuneful evangelist, found it in print, and wrote a tune to it, and in his voice and the voices of other singers the little monitor has since told its story in revival meetings, and mission and gospel services throughout the land.

I walked through the woodland meadows

Where sweet the thrushes sing,
And found on a bed of mosses

A bird with a broken wing.
I healed its wound, and each morning

It sang its old sweet strain,
But the bird with a broken pinion

Never soared as high again.
I found a young life broken

By sin's seductive art;
And, touched with a Christ-like pity,

I took him to my heart.
He lived—with a noble purpose,

And struggled not in vain;
But the life that sin had stricken

Never soared as high again.
But the bird with a broken pinion

Kept another from the snare,
And the life that sin had stricken

Saved another from despair.
Each loss has its compensation,

There is healing for every pain
But the bird with a broken pinion

Never soars as high again.

In the tune an extra stanza is added—as if something conventional were needed to make the poem a hymn. But the professional tone of the appended stanza, virtually all in its two lines

Then come to the dear Redeemer,

He will cleanse you from every strain, -is forced into its connection. The poem told the truth, and stopped there; and should be left to fasten its own impression. There never was a more solemn warning uttered than in this little apologue. It promises “compensation” and “healing,” but not perfect rehabilitation. Sin will leave its scars. Even He who "became sin for us” bore them in His resurrection body.

Rev. Frank M. Lamb, composer and singer of the hymn-tune, was born in Poland, Me., 1860, and educated in the schools of Poland and Auburn. He was licensed to preach in 1888, and ordained the same year, and has since held pastorates in Maine, New York, and Massachusetts.

Besides his tune, very pleasing and appropriate music has been written to the little ballad of the broken wing by Geo. C. Stebbins.

In the cantata, "Under the Palms” (“Captive Judah in Babylon”)—the joint production of George F. Root* and Hezekiah Butterworth, several

*See page 316.

of the latter's songs detached themselves, with their music, from the main work, and lingered in choral or solo service in places where the sacred operetta was presented, both in America and England. One of these is an effective solo in deep contralto, with a suggestion of recitative and chant

By the dark Euphrates' stream,
By the Tigris, sad and lone

I wandered, a captive maid;

And the cruel Assyrian said,
"Awake your harp's sweet tone!”

I had heard of my fathers' glory from the lips of holy men, And I thought of the land of my fathers; I thought of my

fathers' land then.

Another is

O church of Christl our blest abode,

Celestial grace is thine.
Thou art the dwelling-place of God,

The gate of joy divine.
Whene'er I come to thee in joy,

Whene'er I come in tears,
Still at the Gate called Beautiful

My risen Lord appears. -with the chorus

Where'er for me the sun may set,

Wherever I may dwell,
My heart shall nevermore forget

Thy courts, Immanuell