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Pride and Death; or, The Vanity of Life and Riches
Appears in 44 hymnals Topics: Life and Riches their Vanity; Riches Their Vanity; Life and Riches their Vanity; Riches Their Vanity First Line: Why doth the man of riches grow Lyrics: 1 Why doth the man of riches grow
To insolence and pride,
To see his wealth and honours flow
With every rising tide.
2 [Why doth he treat the poor with scorn,
Made of the self-same clay,
And boast as though his flesh was born
Of better dust than they?]
3 Not all his treasures can procure
His soul a short reprieve,
Redeem from death one guilty hour,
Or make his brother live.
4 Eternal life can ne'er be sold,
The ransom is too high;
Justice will ne'er be brib'd with gold,
That man may never die.
5 He sees the brutish and the wise,
The timorous and the brave,
Quit their possessions, close their eyes,
And hasten to the grave.
6 Yet 'tis his inward thought and pride,
"My house shall ever stand;
"And that my name may long abide,
"I'll give it to my land."
7 Vain are his thoughts, his hopes are lost,
How soon his memory dies!
His name is written in the dust,
Where his own body lies.
Pause.
8 This is the folly of their way
And yet their sons as vain
Approve the words their fathers say,
And act their works again.
9 Men void of wisdom and of grace,
Tho' honour raise them high,
Live like the beast, a thoughtless race,
And like the beast they die.
10 [Laid in the grave like silly sheep,
Death triumphs o'er them there,
Till the last trumpet breaks their sleep,
And wakes them in despair.] Scripture: Psalm 49:6-14
Pride and Death; or, The Vanity of Life and Riches
Vanity of the world
Meter: 8.8.8.8 Appears in 3 hymnals Topics: World Vanity of First Line: Wealth is a blessing only lent Lyrics: 1 Wealth is a blessing only lent,
To be repaid by deeds of love;
God gives his bounties to be spent,
To hoard them will his anger move.
2 The world's esteem is but a bribe;
To buy its peace we sell our own,
Enslav'd by an applauding tribe,
Who hate us while they make us known.
3 The joy that vain amusements give,
To him who thoughtless sports and sings,
Is like the honey of a hive,
When guarded by a thousand stings.
4 'Tis thus the world rewards the fools
Thank live upon her treach'rous smiles;
She leads them, blindfold by here rules,
And ruins all whom she beguiles.
5 'Tis thus that thousands hasten down
From pleasure, into endless woe;
And with a long despairing groan,
Blaspheme their Maker as they go.
6 Warn'd by their woes, may we be wise,
Delighting in a Saviour's charms;
Then God will take us to the skies,
Embrac'd in everlasting arms.
Vanity of the world
O God! our help in ages past
Meter: 8.6.8.6 Appears in 1,239 hymnals Topics: The Vanity of Human Life; Vanity and brevity of life Scripture: Psalm 19:1-5
O God! our help in ages past
LONGFELLOW
Meter: 8.6.8.6.8.8 Appears in 8 hymnals Composer and/or Arranger: Frederic F. Bullard, 1864-1904 Topics: Vanity Of Riches Tune Key: E Flat Major Incipit: 33244 33353 1235 Used With Text: Lord, Hear the Right
LONGFELLOW
HERALD ANGELS
Meter: 7.7.7.7 Appears in 627 hymnals Composer and/or Arranger: Mendelssohn Topics: Vanity Of Sinners Tune Key: G Major Incipit: 51171 33255 54323 Used With Text: The Kingship of Jesus Christ
HERALD ANGELS
The Vanity of Man as mortal
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.) #70b (1786) Topics: Man his vanity as mortal; Vanity of man as mortal; Man his vanity as mortal; Vanity of man as mortal First Line: Teach me the measure of my days Lyrics: 1 Teach me the measure of my days,
Thou maker of my frame;
I would survey life's narrow space,
And learn how frail I am.
2 A span is all that we can boast,
An inch or two of time:
Man is but vanity and dust
In all his flower and prime.
3 See the vain race of mortals move
Like shadows o'er the plain;
They rage and strive, desire and love,
But all the noise is vain.
4 Some walk in honour's gaudy show,
Some dig for golden ore,
They toil for heirs, they know not who,
And strait are seen no more.
5 What should I wish or wait for then
From creatures, earth and dust?
They make our expectations vain,
And disappoint our trust.
6 Now I forbid my carnal hope,
My fond desires recal;
I give my mortal interest up,
And make my God my all. Scripture: Psalm 39:4-7 Languages: English
The Vanity of Man as mortal
The Vanity of Man as Mortal
Hymnal: Doctor Watts's Imitation of the Psalms of David #70b (1790) Topics: Man his vanity as mortal; Vanity of man as mortal; Man his vanity as mortal; Vanity of man as mortal First Line: Teach me the measure of my days Lyrics: 1 Teach me the measure of my days,
Thou maker of my frame;
I would survey life's narrow space,
And learn how frail I am.
2 A span is all that we can boast,
An inch or two of time:
Man is but vanity and dust
In all his flower and prime.
3 See the vain race of mortals move
Like shadows o'er the plain;
They rage and strive, desire and love,
But all the noise is vain.
4 Some walk in honour's gaudy show,
Some dig for golden ore,
They toil for heirs, they know not who,
And strait are seen no more.
5 What should I wish or wait for then
From creatures earth and dust?
They make our expectations vain,
And disappoint our trust.
6 Now I forbid my carnal hope,
My fond desires recall;
I give my mortal interest up,
And make my God my all. Scripture: Psalm 39:4-7 Languages: English
The Vanity of Man as Mortal
The Vanity of Man as mortal
Hymnal: Doctor Watts's Imitation of the Psalms of David, corrected and enlarged, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (2nd ed.) #76b (1786) Topics: Man his vanity as mortal; Vanity of man as mortal; Man his vanity as mortal; Vanity of man as mortal First Line: Teach me the measure of my days Lyrics: 1 Teach me the measure of my days,
Thou maker of my frame;
I would survey life's narrow space,
And learn how frail I am.
2 A span is all that we can boast,
An inch or two of time;
Man is but vanity and dust
In all his flower and prime.
3 See the vain race of mortals move
Like shadows o'er the plain;
They rage and strive, desire and love,
But all the noise is vain.
4 Some walk in honour's gaudy show,
Some dig for golden ore,
They toil for heirs, they know not who,
And strait are seen no more.
5 What should I wish or wait for then
From creatures, earth and dust?
They make our expectations vain,
And disappoint our trust.
6 Now I forbid my carnal hope,
My fond desires recal;
I give my mortal interest up,
And make my God my all. Scripture: Psalm 39:4-7 Languages: English
The Vanity of Man as mortal
Felix Mendelssohn-Bartholdy
1809 - 1847 Person Name: Mendelssohn Topics: Vanity Of Sinners Composer of "HERALD ANGELS" in The Psalter Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes.
Bert Polman
Felix Mendelssohn-Bartholdy
John H. Stockton
1813 - 1877 Person Name: J. H. Stockton Topics: Vanity Of Men and Riches Composer of "[Jehovah hear thee in the day]" in Bible Songs Stockton, John Hart, a Methodist minister, was born in 1813, and died in 1877. He was a member of the New Jersey Annual Conference of the Methodist Episcopal Church, and the successive pastoral charges that he filled as a member of that Conference are found in the Conference Journal. He was not only a preacher, but a musician and composer of tunes, as well as hymn writer. He published two gospel song books: Salvation Melodies, 1874, and Precious Songs, 1875.
Hymn Writers of the Church by Charles Nutter, 1911
===============
Stockton, John Hart, b. April 19, 1813, and d. March 25, 1877, was the author of "Come, every soul by sin oppressed" (Invitation), in I.D. Sankey's Sacred Songs and Solos, 1878, and of "The Cross, the Cross, the blood¬stained Cross" (Good Friday) in the same collection.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
===============
Stockton, John Hart. (New Hope, Pennsylvania, April 19, 1813--March 25, 1877). Born of Presbyterian parents, he was converted at a Methodist camp meeting in 1838, being received into full membership in the New Jersey Conference in 1857. Because of ill health he twice took the "supernumerary relations." He withdrew from actual pastoral work in 1874 and engaged in compiling and publishing gospel hymn books, issuing Salvation Melodies that year and Precious Songs in 1875, writing both words and music for a number of the songs. He died suddenly after attending a Sunday morning service at Arch Street Church, Philadelphia. Our Hymnody, McCutchan, has, perhaps, the fullest account of him readily available.
--Robert G. McCutchan, DNAH Archives
John H. Stockton
Lowell Mason
1792 - 1872 Person Name: Dr. L. Mason Topics: Vanity Of Men and Riches Composer of "[My soul with expectation doth]" in Bible Songs Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
