His home was for some time in Newberry, Vt., but he subsequently lived at Rochester and at Hancock in the same state. Among the traditions of him is this anecdote of the origin of his famous tune "Northfield," which may indicate something of his temper and religious habit. During his travels as a singing-school teacher he stopped at a tavern in the town of Northfield and ordered his dinner. It was very slow in coming, but the inevitable "how long?" that formulated itself in his hungry thoughts, instead of sharpening into profane complaint, fell into the rhythm of Watts' sacred line-and the tune came with it. To call it "Northfield" was natural enough; the place where its melody first beguiled him from his bodily wants to a dream of the final Fruition Day. Ingalls died in Hancock, Vt., April 6, 1828. CHAPTER XIV. HYMNS OF HOPE AND CON SOLATION. “JERUSALEM THE GOLDEN.” Urbs Sion Aurea. "The Seven Great Hymns" of the Latin Church are: Laus Patriae Coelestis, (Praise of the Heavenly Country). Veni, Creator Spiritus,-(Come, Creator Spirit) Dies Irae, (The Day of Wrath) Stabat Mater, (The Mother Stood By) Mater Speciosa,-(The Fair Mother.) Vexilla Regis. (The Banner of the King.) Chief of these is the first named, though that is but part of a religious poem of three thousand lines, which the author, Bernard of Cluny, named "De Contemptu Mundi" (Concerning Disdain of the World.) Bernard was of English parentage, though born at Morlaix, a seaport town in the north of France. The exact date of his birth is unknown, though it was probably about A. D. 1100. He is called Bernard of Cluny because he lived and wrote at that place, a French town on the Grone where he was abbot of a famous monastery, and also to distinguish him from Bernard of Clairvaux. His great poem is rarely spoken of as a whole, but in three portions, as if each were a complete work. The first is the long exordium, exhausting the pessimistic title (contempt of the world), and passing on to the second, where begins the real "Laus Patriae Coelestis." This being cut in two, making a third portion, has enriched the Christian world with two of its best hymns, "For Thee, O Dear, Dear Country, "and "Jerusalem the Golden." Bernard wrote the medieval or church Latin in its prime of literary refinement, and its accent is so obvious and its rhythm so musical that even one ignorant of the language could pronounce it, and catch its rhymes. The "Contemptu Mundi" begins with these two lines, in a hexameter impossible to copy in translation: Hora novissima; tempora pessima sunt; Vigilemus! Ecce minaciter imminet Arbiter, Ille Supremus! 'Tis the last hour; the times are at their worst; Watch; lo the Judge Supreme stands threat'ning nigh! Or, as Dr. Neale paraphrases and softens it,— The World is very evil, The times are waxing late, -and, after the poet's long, dark diorama of the world's wicked condition, follows the "Praise of the Heavenly Fatherland," when a tender glory dawns upon the scene till it breaks into sunrise with the vision of the Golden City. All that an opulent and devout imagination can picture of the beauty and bounty of heaven, and all that faith can construct from the glimpses in the Revelation of its glory and happiness is poured forth in the lavish poetry of the inspired monk of Cluny Urbs Sion aurea, patria lactea, cive decora, Jerusalem, the golden; With milk and honey blest; What joys await us there, With bliss beyond compare, They stand, those halls of Zion, The daylight is serene; The pastures of the blessed Are decked in glorious sheen. *In first editions, "conjubilant with song." O sweet and blessed country, The home of God's elect! That eager hearts expect! To that dear land of rest, Who art, with God the Father, And Spirit, ever blest. Dr. John Mason Neale, the translator, was obliged to condense Bernard's exuberant verse, and he has done so with unsurpassable grace and melody. He made his translation while "inhibited" from his priestly functions in the Church of England for his high ritualistic views and practice, and so poor that he wrote stories for children to earn his living. His poverty added to the wealth of Christendom. THE TUNE. The music of "Jerusalem the Golden" used in most churches is the composition of Alexander Ewing, a paymaster in the English army. He was born in Aberdeen, Scotland, Jan. 3d, 1830, and educated there at Marischal College. The tune bears his name, and this honor, and its general favor with the public, are so much testimony to its merit. It is a stately harmony in D major with sonorous and impressive chords. Ewing died in 1895. "WHY SHOULD WE START AND FEAR TO DIE?" Probably it is an embarrassment of riches and despair of space that have crowded this hymn |