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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,
A bird with a broken wing.
It sang its old sweet strain,
Never soared as high again.
By sin's seductive art;
I took him to my heart.
And struggled not in vain;
Never soared as high again.
Kept another from the snare,
Saved another from despair.
There is healing for every pain
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,
I wandered, a captive maid;
And the cruel Assyrian said,
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.
O church of Christl our blest abode,
Celestial grace is thine.
The gate of joy divine.
Whene'er I come in tears,
My risen Lord appears. -with the chorus
Where'er for me the sun may set,
Wherever I may dwell,
Thy courts, Immanuell