Woman in sacred song...

Front matter

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UNITED STATES OF AMERICA.

Contents

Editor's Preface » v

Introduction by Miss Frances E. Willard ix

Preface to Missionary Department by Mrs. Sarah J. Rhea 365

Preface

In bringing this volume before the public, the only apology offered is that there has long been a demand for it. Not only have the Christian sisterhood, for a considerable length of time, been sending out appeals for some one to undertake the work of collecting and publishing the sacred songs of woman ; but numerous members of the devout brotherhood, recognizing and appreciating her labor in this line, for the praise and glory of the Master, have united in the demand.

Accordingly, three years ago, the task was undertaken, and it must be confessed, with but a faint realization of the vast amount of research necessary to glean from a field the broad extent of which was little imagined.

Woman in Sacked Song is designed to be chiefly a reference book for the home and library, embracing about 2,500 hymns, dating from the year 1546 to the present time, and including the sacred verse of upwards of 820 authors.

With such a wide range, this compilation will necessarily be something akin to a garland of flowers gathered from mountain, valley, prairie, roadside and conservatory. Some of the choicest blossoms may be overlooked. Thus among so many hymn-writers from the ranks of pious womankind, some of the most worthy may be inadvertently omitted, and perchance some pilgrim in search of a favorite hymn or song, may fail to find it in this collection. Another reason may be that a great number of hymns written by woman, have been published anonymously, or with the initials only, or without the prefix designating sex. Many gems of religious poetry have been purposely omitted, because positive information in regard to authorship could not be obtained, though there was every reason to believe that they belonged to woman.

Among such a multitude of authors, it will be quite remarkable if there are no errors in dates and names. The utmost care, together with an extensive inquiry, during the past three years, unite to render the work as nearly free from misstatement as possible. Should omissions or discrepancies be observed, it will be regarded a favor if notice is sent to the editor, together with information as to the omitted data, such as date of birth or death, or any item or incident of interest in connection with the author or writing of certain hymns or poems. This request is extended to all music publishers, composers and owners of copyright pieces. If anything has been included in this volume for which due credit has not been accorded to all concerned, it has been because of ignorance as to the rightful ownership, as for instance when the name of the book from which a song or hymn was taken, was not furnished to the editor of ' this compilation, by the person sending it. It has been the intention to make mention of every house publishing music to these songs of redeeming love, as well as to give the names of the composers; and any information for the correction of errors, in future editions, will be gratefully accepted. Caution as to the use of any hymn, poem or musical composition which bears the name of any book, publishing house, or composer on the margin, is recommended, as all such are copyrighted.

It is a noticeable fact that there is scarcely a hymn written by woman, that does not make frequent mention of or reference to Jesus. Is it any wonder " Has she not abundant reason ? Christ's coming to earth has resulted in her exaltation to her proper position by the side of man, where God originally placed her. What has she done In return ? Gladly do we point to the Mary who anointed Him with the perfume of gratitude ; to the Marthas who have served Him ; to the Priscillas who have taught His precious precepts ; to the Harriet Newells and Emily Judsons, and the many pupils of

PREFACE.

the sainted Mary Lyon, who, counting their lives as nothing for His sake, have gone to distant lands to spread the rich tidings of His saving love to those sitting in darkness. And now this volume is offered as a token of woman's gratitude expressed in song and verse, in praise of her Creator, Benefactor, and Redeemer.

Deep religious feeling is wont to call for a song, and inspires song; and although all will admit that some of the selections in this book rise to the height of true poetic fervor, many are yet very simple and unpretending, but none the less touching and sweet. Let us beware of prescribing too narrow limits to what may be considered hymns of a high order. Are not those which give testimony from the deepest experiences of the Christian heart, the most worthy, as being productive of the most good? Is it riot apparent that the grandest of all, are those which set forth the doctrines of grace, the compassion of Jehovah, the condescension of Christ, the power of the Holy Spirit?

In this volume will be found the ancient hymns. which have been handed down through the past 33S years; utterances of faith and trust by martyred woman (as witness that of Anne Askewe, written 1546, in the vernacular of those days, followed by those of Madame Guyon, and others), together with the portrayal of the deepest heart and soul experiences of other consecrated ones, — hymns now in general use by all evangelical churches in Christendom ; then the later productions, written especially for this work, by hymnologists of the present day, which bear just as much witness for God, and bespeak equal gratitude for the blessed way of Salvation. These lay hold of the human heart, because they are entwined with the sacred experiences of other hearts. They touch and call out all the truest and best instincts of the being, because they breathe the very spirit of the Master. This is said without any disparagement of the productions of Watts, Bonar, Wesley, Heber, and others by devout men, which have stood the test of time. The hymns of woman dwell largely upon the suffering on Calvary, and the risen Lord, thereby taking deep hold on the heart, understanding and conscience; setting forth that redemption which virtually belongs to all churches in every age and clime. It has been the constant aim, that the hymns collected for this volume shall show forth the very symbol and might of the holy religion of our Lord and Saviour. In short, it is the glory of this compilation, that it teaches the Gospel and true Theology; that its hymns point out the way of Salvation, because they testify of Christ.

Hymns are characteristic of the times in which they were written. By comparing the hymnology of to-day with that of 50, 75 or 100 years ago, it will be noticed that the style has undergone a change, although the same essential Christian doctrines are as firmly inculcated. There is an aggressive warfare expressed in these more recent hymns, that is indicative of an awakening to the necessity of reform in many directions. Truly, "while man slept the enemy sowed tares." Note the difference of sentiment expressed by the singing army of to-day, marching forth to exterminate King Alcohol and other potentates of evil with "Rescue the Perishing," etc., etc., and the hymns of those conservative days — for instance:

"My willing soul would stay in such a frame as this And sit and sing herself away, to everlasting bliss."

While it is a happy reflection that many have enjoyed their religion, it cannot be denied that there has been entirely too much of the "At ease in Zion" spirit. Our adorable Redeemer, while on earth, set the example of going about doing good, seeking the lost, casting the money-changers from the Temple ; and his parting commission to his disciples was— "Go Ye." While heartily uniting with the grand chorus of singers in "Working will not save me," we are inclined to settle down into a narrow groove of thought and action. By faith in Christ alone, and not by works, are we redeemed. Works are the results of our having been saved. The fruit of laboring in the vineyard is borne spontaneously, because Christ is in us and working through us.

WOMAN AS A MUSICAL COMPOSER.

It was not until a late date that it was decided to include music in this volume. Music was sent with the request that it accompany the words, and after due consideration it has been so arranged. But the 130 or more pieces by these composers, must not be regarded as fully representing woman's work in this field. A few weeks have been entirely inadequate to obtain the addresses of our musical writers, and as many well-known pieces are copyrighted by various publishing houses, some of them cannot appear in this collection. Still, no one will be ashamed of the 130 productions of about fifty composers represented. That which has been accomplished by woman in this direction has been without the stimulus of encouragement, but with an irresistible impulse to place upon paper the melodies and harmonies in her

WOMAN IK SACRED SONG.

heart and soul, and this too, oftentimes, amid a multiplicity of domestic cares. Madame Schumann took up the golden thread of song that had been dropped by her husband, and has carried it on, weaving and interweaving, until his grand work has been supplemented by wonderful, rich, harmonious strains, pronounced, by the most eminent critics, fully equal to his in excellency. Miss Spindler, author of the famous hymn for piano, "St. Agnes Eve," and other works, has also proven that woman can write music. Madame Carreno. who is at present commanding much attention and admiration by her heaven-born voice, is a pronounced advocate, and herself a living example, of woman's ability to compose music of a high order. For years she has written much which is said to rank with that of Beethoven and Mozart. Apropos! — It is asserted that last Spring she was in the company of an eminent doctor of music, who remarked, "There have been women who were fine writers, poets, painters, and sculptors, but composers not one; and why, if woman possesses the genius you say?" "Ah, doctor," responded the artist, "if your assertion were true, one reason would be because, where a brother and sister begin to compose, everybody discourages the one and encourages the other. The girl is advised to keep to fancy work, more suitable to her sex." Seating herself at the piano, under the pretense of offering him a South American composition, she played a hymn, one of those touching, sacred songs without words, always so tender and devotional in spirit.

Her listener was much pleased. "That is not South American!" exclaimed lie. " It might have been composed by any of the best German musicians of the present day! It is an inspiration ! Who wrore it?" Turning to him, Madame Carreno replied: "I wrote it." Our authority says she has many others in manuscript, just as good. Some day the world may hear them. It is with pride that we can point to our own Mrs. Gen. W. S. Hancock, author and editor of the " Church Service and Tune Book," than whom no one writes finer or more acceptable music for the Episcopalian service; to Mrs. Clara H. Scott, author of the " Boyal Anthem Book;" to Mrs. J. F. Knapp, of Brooklyn, author of the Cantata, " Prince of Peace,'" a lady of wealth, culture and position, who sings beautifully, writes much music simply by inspiration, because she must give expression to the melody that rises a grateful incense within her; to Miss Hattie E. Sneed. of St Louis (Kirkwood Seminary), whose instrumental arrangement of "0/(2 Hundred," "Nearer, My God, to Thee," etc., etc., are so much admired. Her setting to music of Tennyson's "Break! Break! Sea!" is pronounced the most fitting melody yet applied to that grand poem. The same is said of Lady Carew's matchless music to " The Bridge." Then there is Lady Scott, Mrs. T. J. Cook, Emma Pitt, author and publisher of "Gospel Light," Helen Douglas, Sophia C. Hall, and Miss Lindsay (Mrs. J. W. Bliss), author of "Far Away," and many popular songs.

Vienna Demorest, and Virginia Gabriel, author of "Cleansing Fire*," also occupy high rank as composers. And so the list might be extended. If a few weeks of research has brought to light the compositions, that are available, of fifty or more ladies, how many more there yet must be at present timidly writing under some nom-de-plume, or using their initials only, and many not publishing at all. The next few years, I venture to prophesy, will bring a revelation, showing that woman has already done much more in musical composition than is generally supposed, and concerning which this volume will give but a faint idea; a dim foreshadowing of what shall be achieved in the future, when she receives the stimulus, born of encouragement, which is her meed. As a late writer has beautifully expressed the same idea: — " The triumph of woman in sacred song, is but the prelude to the triumph that awaits her."

IN" CONCLUSION

it is hoped that this book will be received as the uttered desire of a multitude of women to bear witness for Christ, "in psalms and hymns and spiritual songs."

Thanks are hereby extended to the various publishers and owners of copyrights, for their kind and generous courtesy in granting permission to use the same.

A tribute of affection is tendered my devoted sister, Mrs. E. M. McGaughey, for substantial aid and sympathy, during all the progress of this work; to Miss Margaret E. Brooks, my faithful Secretary, to whose intelligent perception much is due; and to the hundreds of my Christian sisters who have written especially for this collection, and for whose co-operation and words of cheer, they will be held in grateful remembrance here and in eternity.

EVA MUNSON SMITH, (Mrs. G. C. SO

MISS FRANCES E. WILLARD.