in so rough a life, find expression in hymns of a very tender and subdued type.

William Cowper, who co-operated with John Newton in the production of the "Olney Hymns," brought to his task the pathos and delicacy of touch of the true poet, although most of his hymns were written before his poetic power had reached its full development. Most of them are full of the characteristics of that sensitive and retiring poet, and enshrine his varying, though, for the most part, despondent moods. "Hark! my soul, it is

the Lord"-Mr. Gladstone has made a fine translation of this hymn into Italian-and "O, for a closer walk with God," are in his more tender style; whilst " Jesus, where'er Thy people meet," written in a season of unusual joy, and "God moves in a mysterious way," said to have been written, though the evidence is not forthcoming, after a marvellous deliverance from purposed selfdestruction, sound a bolder note. "Ere God had built the mountains," is, perhaps, his grandest hymn. "There is a fountain filled with blood" is, in certain quarters, greatly prized, but we cannot help regarding it as going far beyond Scriptural usage in its imagery, and not in harmony with Scripture fact in its reference to the dying thief. The retiring spirit of the poet finds very full expression in the hymn, "Far from the world, O Lord, I flee." From the little volume of "Olney Hymns" the Church has drawn a far larger number of hymns, and these greatly prized, than from many more voluminous. collections. Its somewhat narrow theology is softened by the reality and tenderness of the religious experience of its authors, of both of whom it may be said, "They learnt in suffering what they taught in song."

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CHAPTER XIII.

DIDACTIC HYMNISTS.

VASTLY different from the "Olney Hymns" in merit are most of the compositions of their contemporaries and immediate successors, in whom the didactic tone is very marked. Still, here and there a lyric note is heard.

William Mason, M.A. (1725-1797), vicar of Aston, and one of the chaplains of George the Third, was the author of some few hymns, one of which, "Again returns the day of holy rest," is of great merit.

Thomas Olivers (1725-1799), one of John Wesley's travelling preachers, who had but the scantiest education in youth, is represented in hymnals by one hymn in which there are verses of remarkable power, "The God of Abraham praise." The same may be said of Edward Perronett (died 1752), whose "All hail the power of Jesu's name "is one of the most striking hymns in the

language.

Dr. Samuel Stennett (1727-1795) and Bishop Horne (1730-1792) are amongst the hymnists whose productions are vanishing from hymnals.

Thomas Haweis, LL.B., M.D. (1732-1820), one of the chaplains of Lady Huntingdon, and rector of All Saints,'

Aldwinkle, in Northamptonshire, was the author of "Carmina Christo," containing two hundred and fifty-six hymns. Three of his hymns are of considerable merit, and still retain a place in the song of the Church, "Enthroned on high, Almighty Lord," "O Thou from whom all goodness flows," which has a touch of genuine pathos in it, and "The happy morn is come," an Easter Hymn.

James Newton, M.A. (1733-1790), and Benjamin Francis (1734-1799), both ministers of the Baptist body, belong to the class of mediocrities whose hymns are fast fading from memory and use in the Church.

James Allen (1734-1804), a partial follower of the views of Glas and Sandeman, which, with some modifications, he preached in a chapel on his estate at Gayle, the editor and chief contributor to the "Kendal Hymn Book," was the author of "Glory to God on high," a hymn of great force and merit, and of "Sweet the moments, rich in blessing," a hymn very frequently used in earlier times at the Communion Service. It is, however, lacking in healthiness of feeling, and expressive of a rather sentimental and languishing type of devotion. This hymn was afterwards altered to its present form by W. W. Shirley, the brother-in-law of the Countess of Huntingdon, who edited the 1780 edition of her collection.

Robert Robinson (1735 1790), the vigorous but eccentric Baptist minister at Cambridge, was the author of "Mighty God, while angels bless Thee," one of the most vigorous and distinctive hymns in the English tongue; and also (although doubts have been expressed as to his authorship), of "Come, Thou fount of every

blessing," a noteworthy hymn, but marred by its doctrinal representation of the work of Christ.

Samuel Medley (1738 - 1799), minister of Baptist churches, first at Watford, and afterwards at Byrom Street, Liverpool, issued a considerable number of hymns on broadsides, which were afterwards collected into a volume. They are of no special merit, save two which are of great spirit and much lyric force, "Mortals, awake, with angels join," and "Awake, my soul, in joyful lays."

John Fawcett, D.D. (1739-1817), minister of the Baptist Church at Wainsgate, and afterwards at Hebden Bridge, published a collection of his hymns as a supplement to Dr. Watts's "Psalms and Hymns." They are of little worth, and even those which have passed into collections are fast going out of use. We may, however, except "Blest be the tie that binds," and "Thus far my God hath led me on," which have considerable merit.

Augustus Montague Toplady (1740-1778), vicar of Broad Hembury, Devonshire, is the author of "Rock of Ages, cleft for me," which is perhaps the most popular hymn in the language; at all events, it contests this honour with Bishop Ken's Evening Hymn. It was inserted in the Gospel Magazine for March, 1776, under the title, "A Living and Dying Prayer for the Holiest Believer in the World." The immediate purpose of the author in writing it was to protest against the possibility of entire sanctification in this life as he understood it to

be taught by the Wesleys. This polemical purpose probably led Toplady to express, in the strongest possible forms, the doctrine which he opposed to that held, or which he supposed to be held, by the early Methodists.

The hymn is full of solemnity and pathos, and exerts a very wonderful power over the worshipper. Judged by a strictly literary standard, it is not equal to many a hymn which could be named, since its imagery is somewhat confused;* but judged by what is a true standard-its power to solemnise and move the heart-it takes a high place. Although Toplady wrote one hundred and thirty-three poems and hymns, this is the only one which has attained to great popularity. After this, perhaps his best hymns are: "Deathless principle arise," and "Your harps, ye trembling saints." "Jesus, at Thy command," is often attributed to him, but is probably by De Courcey.

Anna Laetitia Barbauld (1743-1825), sister of the celebrated Dr. Aikin, whom she helped in his wellknown work, "Evenings at Home," the authoress of many important works, and editor of the "British Novelists," and some of the English poets, belongs to a very different school to those we have considered, all of

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*Since this paragraph was written, I notice that the Rev. John Hudson, in an article on "Church Hymns" in The National Review for August, 1888, writes of this hymn:-" It seems a medley of confused images, and accumulated, if not misapplied, metaphors' cleft rock,'' riven side,' to Thy cross I cling,' to the fountain fly.' What is the precise meaning of double cure?' Is the curative agent or the thing cured double? i.e., does it refer to water and blood,' or guilt and power' of sin? And surely, to cleanse' from power is an odd expression! The hymn itself does not make clear to the reader whence the writer took his idea Rock of Ages' is generally supposed to be taken from the marginal reading of Isaiah xxvi. 4, rendered by the Revisers, In the Lord Jehovah is an Everlasting Rock,' the idea being stability. But the second line, 'Let me hide myself in Thee,' would seem to be suggested by some such verse as Isaiah xxxii. 2, The shadow of a great rock in a weary land,' or by the incident in Moses' life recorded in Exodus xxxii. 22, I will put thee in a cleft of the rock, and will cover thee with My hand.' Whereas, again, the heading of the hymn, That rock was Christ,' would seem to imply an allusion to the history of the Israelites described in Exodus xvii. 6, Numbers xx. 11, and referred to in 1 Corinthians x. 4."

K