violin, which he had with him, he played the melody, and in a few minutes more he had filled in the counterpoint and made a complete hymn-tune. By that time two other friends, who could sing, had come in and the quartette tested the music on the spot. Here different accounts divide widely as to the immediate sequel of the new-born song. A Western paper in telling its story a year or two ago, stated that Webster took the "Sweet By and By" (in sheet-music form), with a batch of other pieces, to Chicago, and that it was the only song of the lot that Root and Cady would not buy; and finally, after he had tried in vain to sell it, Lyon and Healy took it "out of pity," and paid him twenty dollars. They sold eight or ten copies (the story continued) and stowed it away with dead goods, and it was not till apparently a long time after, when a Sunday-school hymn-book reprinted it, and began to sell rapidly on its account, that the "Sweet By and By" started on its career round the world. This seems circumstantial enough, and the author of the hymn in his own story of it might have chosen to omit some early particulars, but, untrustworthy as the chronology of mere memory is, he would hardly record immediate popularity of a song that lay in obscurity for years. Dr. Bennett's words are, "I think it was used in public shortly after [its production], for within two weeks children on the street were singing it.' The explanation may be partly the different method and order of the statements, partly lapses of memory (after thirty years) and partly in collateral facts. The Sunday-school hymn-book was evidently The Signet Ring, which Bennett and Webster were at work upon and into which first went the "Sweet By and By"-whatever efforts may have been made to dispose of it elsewhere or whatever copyright arrangement could have warranted Mr. Healy in purchasing a song already printed. The Signet Ring did not begin to profit by the song until the next year, after a copy of it appeared in the publishers' circulars, and started a demand; so that the immediate popularity implied in Doctor Bennett's account was limited to the children of Elkhorn village. The piece had its run, but with no exceptional result as to its hold on the public, until in 1873 Ira D. Sankey took it up as one of his working hymns. Modified from its first form in the "Signet Ring" with pianoforte accompaniment and chorus, it appeared that year in Winnowed Hymns as arranged by Hubert P. Main, and it has so been sung ever since. Sanford Filmore Bennett, born in 1836, appears to have been a native of the West, or, at least, removed there when a young man. In 1861 he settled in Elkhorn to practice his profession. Died Oct., 1898. Joseph Philbrick Webster was born in Manchester, N. H. March 22, 1819. He was an active member of the Handel and Haydn Society, and various other musical associations. Removed to Madison, Ind. 1851, Racine, Wis. 1856, and Elkhorn, Wis., 1857, where he died Jan. 18, 1875His Signet Ring was published in 1868. CHORUS There's a land that is fairer than day, And by faith I can see it afar In the sweet by and by We shall meet on that beautiful shore. We shall sing on that beautiful shore "SUNSET AND EVENING STAR." Was it only a poet's imagination that made Alfred Tennyson approach perhaps nearest of all great Protestants to a sense of the real "Presence, every time he took the Holy Communion at the altar? Whatever the feeling was, it characterized all his maturer life, so far as its spiritual side was known. His remark to a niece expressed it, while walking with her one day on the seashore, "God is with us now, on this down, just as truly as Jesus was with his two diciples on the way to Emmaus. Such a man's faith would make no room for dying terrors. Sunset and evening star, And one clear call for me, And may there be no moaning of the bar When I put out to sea, But such a tide as, moving, seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home. Twilight and evening bell, And after that the dark, And may there be no sadness of farewell When I embark. For though from out our bourne of time and place The flood may bear me far, I hope to see my Pilot face to face When I have crossed the bar. Born Tennyson lived three years after penning this sublime But it was his swan-song. prayer. at Somersby, Lincolnshire, Aug. 6, 1809, dying at Farringford, Oct. 6, 1892, he filled out the measure of a good old age. And his prayer was answered, for his death was serene and dreadless. His unseer Pilot guided him gently "across the bar❞—and then he saw Him. THE TUNE. Joseph Barnby's "Crossing the Bar" has supplied a noble choral to this poem. It will go far to make it an accepted tone in church worship, among the more lyrical strains of verse that sing hope and euthanasia. "SAFE IN THE ARMS OF JESUS." If Tennyson had the mistaken feeling (as Dr. Benson intimates) "that hymns were expected to be commonplace," it was owing both to his mental breeding and his mental stature. Genius in a colossal frame cannot otherwise than walk in strides. What is technically a hymn he never wrote, but it is significant that as he neared the Shoreless Sea, and looked into the Infinite, his sense of the Divine presence instilled something of the hymn spirit into his last verses. Between Alfred Tennyson singing trustfully of his Pilot and Fanny Crosby singing "Safe in the Arms of Jesus," is only the width of the choir. The organ tone and the flute-note breathe the same song. The stately poem and the sweet one, the masculine and the feminine, both have wings, but while the one is lifted in anthem and solemn chant in the great sanctuaries, the other is echoing Isaiah's tender text* in prayer meeting and Sunday-school and murmuring it at the humble firesides like a mother's lullaby. *isa. 40: 11. Safe in the arms of Jesus, Safe on His gentle breast, Borne in a song to me |