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I heard the voice of Jesus say
Author: Horatius Bonar, 1808 - 89 Appears in 1,226 hymnals Topics: The Life in Christ Repentance and Faith Lyrics: 1 I heard the voice of Jesus say,
'Come unto me and rest;
Lay down, thou weary one, lay down
Thy head upon my breast.'
I came to Jesus as I was,
Weary, and worn, and sad;
I found in him a resting place,
And he has made me glad.
2 I heard the voice of Jesus say,
'Behold, I freely give
The living water, thirsty one,
Stoop down, and drink, and live.'
I came to Jesus and I drank
Of that life-giving stream;
My thirst was quenched, my soul revived,
And now I live in him.
3 I heard the voice of Jesus say,
'I am this dark world's light;
Look unto me, thy morn shall rise,
And all thy day be bright.'
I looked to Jesus, and I found
In him my star, my sun;
And in that light of life I'll walk
Till traveling days are done. Used With Tune: THIRD MODE MELODY
I heard the voice of Jesus say
Just as I am, without one plea
Author: Charlotte Elliott, 1789 - 1871 Appears in 2,115 hymnals Topics: The Life in Christ Repentance and Faith Lyrics: 1 Just as I am, without one plea,
But that thy Blood was shed for me,
And that thou bidd'st me come to thee,
O Lamb of God, I come, I come.
2 Just as I am, and waiting not
To rid my soul of one dark blot,
To thee, whose Blood can cleanse each spot,
O Lamb of God, I come, I come.
3 Just as I am, though tossed about
With many a conflict, many a doubt,
Fightings and fears within, without,
O Lamb of God, I come.
4 Just as I am, poor, wretched, blind;
Sight, riches, healing of the mind,
Yea, all I need, in thee to find,
O Lamb of God, I come.
5 Just as I am, thou wilt receive,
Wilt welcome, pardon, cleanse, relieve;
Because thy promise I believe,
O Lamb of God, I come.
6 Just as I am; thy love unknown
Has broken every barrier down.
Now to be thine, yea, thine alone,
O Lamb of God, I come. Used With Tune: WOODWORTH
Just as I am, without one plea
There's a wideness in God's mercy
Author: Frederick William Faber, 1814 - 63 Appears in 900 hymnals Topics: The Life in Christ Repentance and Faith Lyrics: 1 There's a wideness in God's mercy,
Like the wideness of the sea;
There's a kindness in his justice,
Which is more than liberty.
There is no place where earth's sorrows
Are more felt than up in heaven;
There is no p'ace where earth's failings
Have such kindly judgment given.
2 There is welcome for the sinner,
And more graces for the good;
There is mercy with the Saviour;
There is healing in his Blood,
There is grace enough for thousands
Of new worlds as great as this;
There is room for fresh creations
In that upper home of bliss.
3 For the love of God is broader
Than the measures of man's mind,
And the heart of the Eternal
Is most wonderfully kind.
There is plentiful redemption
In the Blood that has been shed;
There is joy for all the members
In the sorrows of the Head.
4 'Tis not all we owe to Jesus;
It is something more than all;
Greater good because of evil,
Larger mercy through the fall.
If our love were but more simple,
We should take Him at his word;
And our lives would be all sunshine
In the sweetness of our Lord. Used With Tune: ARMSTRONG
There's a wideness in God's mercy
ST. BERNARD
Appears in 154 hymnals Composer and/or Arranger: John Richardson, 1816 - 79 Topics: The Life in Christ Repentance and Faith Tune Sources: Tochter Sion, Cologne, 1741 Tune Key: E Flat Major Incipit: 51232 14325 36445 Used With Text: I bow my forehead to the dust
ST. BERNARD
The Backslider restored; or, Repentance and Faith in the Blood of Christ
Hymnal: Doctor Watts's imitation of the Psalms of David, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (3rd ed.) #94b (1786) Topics: Repentance and faith in the blood of Christ; Repentance and faith in the blood of Christ First Line: O thou that hear'st when sinners cry Lyrics: 1 O thou that hear'st when sinners cry,
Though all my crimes before thee lie,
Behold them not with angry look,
But blot their memory from thy book.
2 Create my nature pure within,
And form my soul averse to sin:
Let thy good spirit ne'er depart,
Nor hide thy presence from my heart.
3 I cannot live without thy light,
Cast out and banish'd from thy sight:
Thine holy joys, my God, restore,
And guard me, that I fall no more.
4 Though I have griev'd thy spirit, Lord,
His help and comfort still afford,
And let a wretch come near thy throne,
To plead the merits of thy Son.
5 A broken heart, my God, my King,
Is all the sacrifice I bring;
The God of grace will ne'er despise
A broken heart for sacrifice.
6 My soul lies humbled in the dust,
And owns thy dreadful sentence just;
Look down, O Lord, with pitying eye,
And save the soul condemn'd to die.
7 Then will I teach the world thy ways;
Sinners shall learn thy sovereign grace;
I'll lead them to my Saviour's blood,
And they shall praise a pardoning God.
8 O may thy love inspire my tongue!
Salvation shall be all my song;
And all my powers shall join to bless
The Lord my strength and righteousness. Scripture: Psalm 51 Languages: English
The Backslider restored; or, Repentance and Faith in the Blood of Christ
The Backslider restored; or, Repentance and Faith in the Blood of Christ
Hymnal: Doctor Watts's Imitation of the Psalms of David #94b (1790) Topics: Repentance and faith in the blood of Christ; Repentance and faith in the blood of Christ First Line: O thou that hear'st when sinners cry Lyrics: 1 O thou that hear'st when sinners cry,
Though all my crimes before thee lie,
Behold them not with angry look,
But blot their memory from thy book.
2 Create my nature pure within,
And form my soul averse to sin;
Let thy good spirit ne'er depart,
Nor hide thy presence from my heart.
3 I cannot live without thy light,
Cast out and banish'd from thy sight:
Thine holy joys, my God, restore,
And guard me, that I fall no more.
4 Though I have griev'd thy spirit, Lord,
His help and comfort still afford,
And let a wretch come near thy throne,
To plead the merits of thy Son.
5 A broken heart, my God, my King,
Is all the sacrifice I bring;
The God of grace will ne'er despise
A broken heart for sacrifice.
6 My soul lies humbled in the dust,
And owns thy dreadful sentence just;
Look down, O Lord, with pitying eye,
And save the soul condemn'd to die.
7 Then will I teach the world thy ways;
Sinners shall learn thy sovereign grace;
I'll lead them to my Saviour's blood,
And they shall praise a pardoning God.
8 O may thy love inspire my tongue!
Salvation shall be all my song;
And all my powers shall join to bless
The Lord my strength and righteousness. Scripture: Psalm 51 Languages: English
The Backslider restored; or, Repentance and Faith in the Blood of Christ
Repentance and Faith in the Blood of Christ
Hymnal: Doctor Watts's imitation of the Psalms of David, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (3rd ed.) #96 (1786) Topics: Repentance and faith in the blood of Christ; Repentance and faith in the blood of Christ First Line: O God of mercy, hear my call Lyrics: 1 O God of mercy, hear my call,
My loads of guilt remove,
Break down this separating wall
That bars me from thy love.
2 Give me the presence of thy grace,
Then my rejoicing tongue
Shall speak aloud thy righteousness,
And make thy praise my song.
3 No blood of goats nor heifer slain
For sin could e'er attone;
The death of Christ shall still remain
Sufficient and alone.
4 A soul opprest with sin's desert
My God will ne'er despise;
A humble groan, a broken heart,
Is our best sacrifice. Scripture: Psalm 51:14-17 Languages: English
Repentance and Faith in the Blood of Christ
S. J. Stone
1839 - 1900 Person Name: Samuel John Stone, 1839 - 1900 Topics: The Life in Christ Repentance and Faith Author of "Weary of earth, and laden with my sin" in Service Book and Hymnal of the Lutheran Church in America Stone, Samuel John, a clergyman of the Church of England, the son of Rev. William Stone, was born at Whitmore, Staffordshire, April 25, 1839. He was educated at Pembroke College, Oxford, where he was graduated B.A. in 1862. Later he took orders and served various Churches. He succeeded his father at St. Paul's, Haggerstown, in 1874. He was the author of many original hymns and translations, which were collected and published in 1886. His hymns are hopeful in spirit and skillfully constructed. He published several poetic volumes. He died November 19, 1900
--Hymn Writers of the Church, 1915 (Charles Nutter)
============================
Stone, Samuel John, M.A., son of the Rev. William Stone, M.A., was born at Whitmore, Staffordshire, April 25, 1839, and educated at the Charterhouse; and at Pembroke College, Oxford, B.A. 1862; and M.A. 1872. On taking Holy Orders he became Curate of Windsor in 1862, and of St. Paul's, Haggerston, 1870. In 1874 he succeeded his father, at St. Paul's, Haggerston. Mr. Stone's poetical works are (1) Lyra Fidelium, 1866; (2) The Knight of Intercession and Other Poems, 1872, 6th edition, 1887; (3) Sonnets of the Christian Year, first printed in the Leisure Hour, and then published by the R. T. Society, 1875; (4) Hymns, a collection of his original pieces and translations, 1886. He has also published Order of The Consecutive Church Service for Children, with Original Hymns, 1883. Mr. Stone's hymns, most of which are in common use, and several of which have a wide popularity, include:—
1. A sower went to sow his seed. The Sower. In his Hymns, 1886, the author says this hymn was ”Written specially in allusion to the sixteen years' work of the first Vicar [his Father] of St. Paul's, Haggerston, to whom the Parish was given in 1858, without Church, or School, or "Vicarage, or Endowment."
2. Bear the troubles of thy life. Patience. A translation of Thomas a Kempis's “Ad versa mundi tolera" (p. 23, ii.) made for the Rev. S. Kettlewell's Thomas á Kempis, 1882.
3. By Paul at war in Gentile lands. St. Mark. Written at Windsor in 1870, and published in his Knight of Intercession, 1872.
4. By Shepherds first was heard. Carol. Written in 1885, and published in the Parochial Magazine, 1885.
5. By Thy love which shone for aye. Litany of the Love of God. Written at Haggerston in 1883, and printed in the Monthly Packet, 1884.
6. Christ the Wisdom and the Power. For Church Workers. Written for the Church Society of St. Paul's, Haggerston in 1812, and published in The Knight of Intercession, 1872.
7. Dark is the sky that overhangs my soul. Sorrow succeeded by Joy. Written at Windsor in 1869 for the Monthly Packet, and printed therein 1869. Published in The Knight of Intercession, 1872, under the title of "Light at Eventide."
8. Deeply dark and deeply still. The Transfiguration. Written in 1871 and published in The Knight of Intercession, 1872.
9. Eastward, ever eastward. Processional for Sunday Morning. Written at Haggerston in 1876, and published in the Monthly Packet, 1884.
10. Faith, who sees beyond the portal. Faith, Hope, and Charity. Written at Windsor in 1869, and published in the Monthly Packet, 1869, and The Knight of Intercession, 1872.
11. Far off our brethren's voices. Missions. Written for the First Day of Intercession for Foreign Missions, 1871, and published in The Knight of Intercession, 1872. "For Colonial Missions."
12. Give the word, Eternal King. Missions. Written for the First Day of Intercession for Foreign Missions, 1871.
13. Glory in heaven to God. Christmas Carol. Written in 1882 for G. H. Leslie's Cantata The First Christmas Morn, 1882.
14. God the Father, All, and One. For Unity. Written in 1883 for Canon G. Venables's Service for Unity, and appeared in the Monthly Packet, 1884.
15. God the Father's Only Son. Offices of Christ. Published in his Lyra Fidelium, 1866, on Article ii.of the Apostles' Creed, "And in Jesus Christ His Only Son our Lord."
16. God the Spirit, we adore Thee. The Holy Ghost. Published in his Lyra Fidelium, 1866, or) Article viii. of the Apostles' Creed, "I believe in the Holy Ghost."
17. Great Captain of God's armies. For Purity. Written in 1884 for the Church of England Purity Society, and printed in Church Bells, April 10, 1885.
18. Homeward we pass in peace. Close of Divine Service. Written in 1884 at Haggerston; and included in the author's Hymns, 1886, as a "Hymn after Benediction."
19. How can we praise Thee, Father? For the Fatherless. Written by request for "The Church of England Central Home for Waifs and Strays," 1882, and printed in the Monthly Packet, 1884.
20. Is there no hope for those who lie? Missions. Written in 1870 for the Monthly Packet; and also included in The Knight of Intercession, 1872.
21. Jesu, to my heart most precious. Jesus, All in All. A translation of Thomas á Kempis's "De dulcedine Jesu," made for the Rev. S. Kettlewell's Thomas á Kempis, 1882.
22. Lo! They were, and they are, and shall be. St. Michael and All Angels. Written in 1875 for The Scottish Guardian, in which it was given in 1875.
23. Lord Christ, my Master dear. For Church Workers. Written for the Sunday School Teachers of St. Paul's, Haggerston, 1885, and given in his Hymns, 1886.
24. Lord of the harvest, it is right and meet. Missions, Thanksgiving. Written for the Second Day of Intercession for Foreign Missions, 1871, and published in The Knight of Intercession, 1872. In the 1889 Appendix to Hymns Ancient & Modern it is somewhat altered.
25. Most true, most High; O Trinity. Holy Trinity. A translation of Thomas á Kempis's "O vera summa Trinitas" made for the Rev. S. Kettlewell's Thomas á Kempis, 1882.
26. My Saviour! I behold Thy life. Passiontide. Published in his Lyra Fidelium, 1866, on Article iv. of the Apostles' Creed, "Suffered under Pontius Pilate, was Crucified, Dead, and Buried."
27. Need hath the golden city none. Evening. Written at Windsor in 1869, and was published in the Monthly Packet in 1870. Also in The Knight of Intercession, 1872.
28. None else but Thee for evermore. God the Father. The opening hymn of his Lyra Fidelium, 1866, on Article i. of the Apostles' Creed, "I believe in God the Father Almighty, Maker of Heaven and Earth."
29. 0 joy, the purest, noblest. Evening. A translation in two parts of Thomas á Kempis's "O qualis quantaque laetitia" made for the Rev. S. Kettlewell's Thomas á Kempis, 1882. Pt. ii. begins "State of divinest splendour!"
30. 0 Thou by Whom the saints abide. Litany of the Holy Spirit. Written for a Confirmation at Haggerston, 1875, and included in the 3rd edition of The Knight of Intercession, 1875.
31. 0 Thou Whose love paternal. Holy Matrimony. Written at Windsor in 1863.
32. On Olivet a little band. Ascension. Published in his Lyra Fidelium, 1866, on Article vi. of the Apostles’ Creed, “He ascended into Heaven," &c.
33. Peace: legacy of mystic power. Peace . Written in 1882 for The Society of St. Katharine for Invalids, and published in the Monthly Packet, 1884.
34. Remember Me, show forth My death. Holy Communion. Written at Windsor for the Monthly Packet, in 1870; and included in The Knight of Intercession, 1872.
35. The Son forsook the Father's home. Christmas. Published in his Lyra Fidelium, 1866, on Art. iii. of the Apostles' Creed, “Who was conceived by the Holy Ghost, Born of the Virgin Mary."
36. The old year's long campaign is o'er. The New Year. Written at Windsor in 1868, and published in The Knight of Intercession, 1872.
37. The whole creation groans and cries. Travail of the Creation. Written at Windsor for the Monthly Packet, 1869, and included in The Knight of Intercession, 1872.
38. The world is sad with hopes that die. Everlasting Life. Published in his Lyra Fidelium, 1866, on Art. xii. of the Apostles' Creed, "The Life Everlasting."
39. Their names are names of Kings. Saints Days. Written at Windsor for the Monthly Packet in 1869, and included in The Knight of Intercession, 1872.
40. There is an ancient river. The Spiritual River. Written at Windsor for the Monthly Packet, in 1870; and given in The Knight of Intercession, 1872.
41. Thou Who hast charged Thine elder sons. For School Teachers. Written in 1881 for St. Katharine's Training College for Mistresses; and subsequently adapted for use by teachers of both sexes.
42. Thou Who didst love us when our woes began. Temperance. Written for the Church of England Temperance Society Magazine, 1866.
43. Through midnight gloom from Macedon. Missions. Written for the First Day of Intercession for Foreign Missions, 1871.
44. Unchanging God, hear from eternal heaven. On behalf of the Jews. Written for the East London Mission to the Jews, 1885. It is included in an abridged form in the 1889 Appendix to Hymns Ancient & Modern.
45. While the Shepherds kept their vigil. Christmas Carol. Written at Windsor in 1868.
46. Winter in his heart of gloom. The Resurrection of the Body. Published in his Lyra Fidelium, 1866, on Article xi. of the Apostles' Creed, "The Resurrection of the Body."
47. Wistful are our waiting eyes. The Judgment. Published in his Lyra Fidelium, 1866, on Art. vii. of the Apostles' Creed, "From thence He shall come to judge the quick and the dead."
48. Ye faithful few of Israel's captive days. Holy Scriptures. Written at Windsor for the Monthly Packet, in 1869.
Some of Mr. Stone's finer hymns, including "Round the Sacred City gather;" "The Church's One Foundation;" "Weary of earth and laden with my sin," and others, are annotated under their respective first lines. These, together with the 48 above, are given in his Hymns, 1886, some of the translations being recast. Additional translations from Thomas á Kempis are also noted under his name.
Another hymn, inseparably associated with Mr. Stone's name is:—
49. Lord of our Soul's salvation. National Thanksgiving. This was ordered by command of Her Majesty the Queen to be sung at the Thanksgiving for the recovery of H. R. H. The Prince of Wales, on Feb. 27, 1872. In its original form it was in 7 stanzas of 8 lines, and was thus sung throughout the country. Owing however to the necessary restrictions as to time in the Cathedral service, a selection of four verses only--the First, a combination of the 2nd and 4th, the 6th, and the 7th--was adapted by the author for use in St. Paul's." The full text was included in The Knight of Intercession, 1872.
Mr. Stone's hymns vary considerably in metre and subject, and thus present a pleasing variety not always found in the compositions of popular hymnwriters. His best hymns are well designed and clearly expressed. The tone is essentially dogmatic and hopeful. The absence of rich poetic thought and graceful fancy is more than atoned for by a masterly condensation of Scripture facts and of Church teaching given tersely and with great vigour. His changes and antitheses are frequently abrupt, in many instances too much so for congregational purposes, and his vocabulary is somewhat limited. His rhythm, except where broken either by long or by compound words, is rarely at fault, and his rhyme is usually perfect. A few of his hymns are plaintive and pathetic, as the tender "Weary of earth and laden with my sin;" others are richly musical, as "Lord of the harvest! it is right and meet:" but the greater part are strongly outspoken utterances of a manly faith, where dogma, prayer, and praise are interwoven with much skill. Usually the keynote of his song is Hope. He died Nov. 19, 1900.
-- John Julian, Dictionary of Hymnology (1907)
=====================
Stone, S. J. , p. 1095, i. Of his hymns noted there the following appeared in Mission Life, 1872, vol. iii., pt. ii., pp. 685-88. No. 11, "Far off our brethren's voices," for Church Missionary Hymn Book, Colonial Missions, and No. 12, "Give the word, Eternal King," and No. 43, "Through midnight gloom from Macedon," for "Foreign Missions." In addition the following are also in common use:—
1. Awake, 0 Lord, the zeal of those who stand. Intercession for the Clergy. In the Church Missionary Hymn Book, 1899.
2. England, by thine own Saint Alban. St. Alban. In C. W. A. Brooke's Additional Hymns, 1903.
3. Our God of love Who reigns above. For Children. Appeared in the Church Monthly, July 1899, and Hymns Ancient & Modern, 1904.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
S. J. Stone
Orlando Gibbons
1583 - 1625 Topics: Repentance and Faith Composer of "CANTERBURY" in Hymns to the Living God Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
Thomas Moore
1779 - 1852 Person Name: Thomas Moore, 1779 - 1852 Topics: The Life in Christ Repentance and Faith Author, St. 1 & 2 of "Come, ye disconsolate, where'er ye languish" in Service Book and Hymnal of the Lutheran Church in America Thomas Moore United Kingdom 1779-1852. Born at Dublin, Ireland, the son of a grocer, he showed an early interest in music and acting. He was educated at a private school and Trinity College, Dublin. He read at the Middle Temple for the Bar. Moore did not profess religious piety. His translations of ‘Anacreon’ (celebrating wine, women, and song) were published in 1800, with a dedication to the Prince of Wales. He also wrote a comic opera, “the gypsy prince”, staged that year. In 1801 he published a collection of his own verse, “Poetical works of the late Thomas Little Esq”. A Catholic patriot, he defended the Church of Ireland, especially in later politics. In 1803 he held a post under the Government in Bermuda as registrar of the Admiralty Prize Court. He was bored of it within six months and appointed a deputy to take his place while he left for a tour of North America. He secured high society introductions and even met with President, Thomas Jefferson. Returning to England in 1804, he published “Epistles, Odes, & other poems” in 1806. Moore criticized American slavery and was accused of licentious writings, veiled as refinement. Francis Jeffrey denounced Moore’s writings in the ‘Edinburgh Review’, and Moore challenged him to a duel, but it never happened, and they became friends. Between 1808-1810 he was found acting in various plays, favoring comic roles. He met the sister of one of the actresses and, in 1811, they married. Elizabeth ‘Bessy’ Dyke, was an actress. She had no dowry, and Moore kept their marriage secret from his parents for some time, as his wife was Protestant. Bessie shrank from fashionable society, but those who met her held her in high regard. They had five children, but none survived to adulthood. Three girls died young, and both sons lost their lives as young men. One son, Tom, died in some disgrace in the French Foreign Legion in Algeria. Despite these losses, their marriage was said to be a happy one. He also had political trouble. The man he appointed as his replacement in Bermuda was found to have embezzled 6000 pounds sterling, a large sum, for which Moore was liable. He left for France in 1819 to escape debtor’s prison. He also met Lord Byron in Venice and was entrusted with a manuscript of his memoirs, which he promised to have published after Byron’s death. Moore’s wife and children joined him in Paris, where he learned that some of the debt was repaid with help from Lord Lansdowne, whom Moore had given a draft of money from payment by his publisher. The family returned to England a year later. To support his family Moore entered the field of ‘squib writing’ on behalf of his Whig friends. This resulted in years of political debate about Catholics and Protestants in government. Nearly persuaded to forego his Catholic allegiance in favor of Protestantism, he finally concluded that Protestants did not make a sound case for their faith, as they denounced Catholics so vociferously for erroneous teaching. From 1835 -1846 Moore published a four volume “History of Ireland”, which was basically an indictment of English rule over Ireland. He was primarily a writer, poet, entertainer, and composer, considered politically as a writer for the aristocratic Whigs. His “Sacred songs” (32) were published in 1816, and again, in his “collected works” in 1866. His “Memoirs, Journal, and Correspondence” were published by Lord John Russell in 1855. Moore is essentially remembered for his highly-praised lyrics written for Irish melodies, as requested by his publishers, and his memoirs of Lord Byron, his friend. He died at Bromham, Wilshire, England.
John Perry
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Moore, Thomas, son of John Moore, a small tradesman at Dublin, was born in that city, May 28, 1779, educated at a private school and Trinity College, Dublin; read at the Middle Temple for the Bar; held a post under the Government in Bermuda for a short time, and died Feb. 26, 1852. His Memoirs, Journal, and Correspondence were published by Lord John Russell in 1855. In that work every detail concerning himself and his numerous publications, most of them of high poetical merit, will be found. His connection with hymnody is confined to his Sacred Songs, which were published in 1816, and again in his Collected Works, 1866. These Songs were 32 in all, and were written to popular airs of various nations. Of these Songs the following have passed into a few hymnbooks, mainly in America:—
1. As down in the sunless retreats of the ocean. Private Prayer.
2. But who shall see the glorious day. The Final Bliss of Man.
3. Come, ye disconsolate, where'er you languish. Belief in Prayer. In American hymnbooks the text is sometimes as in T. Hastings and Lowell Mason's Spiritual Songs, 1831. This may be distinguished from the original by the third stanza, which reads, "Here see the Bread of life; see waters flowing," &c.
4. Fallen is thy throne, O Israel. Israel in Exile.
5. Like morning when her early breeze. Power of Divine Grace.
6. O Thou Who driest the mourner's tear. Lent.
7. Since first Thy word [grace] awaked my heart. God All and in All.
8. Sound the loud timbrel o'er Egypt's dark sea. Deliverance of Israel.
9. The bird [dove] let loose in eastern skies. Prayer for Constancy.
10. The turf shall be my fragrant shrine. The Temple of Nature. From this "There's nothing bright above, below" is taken.
11. Thou art, O God, the Life and Light. God, the Light and Life of Men.
12. Were not the sinful Mary's tears? Lent.
Of these hymns No. 11 has attained the greatest popularity.
--John Julian, Dictionary of Hymnology (1907)
Thomas Moore
