Copyright © 2004 Nathan Harold Platt
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THE HYMNOLOGICAL CONTRIBUTIONS OF BASIL MANL Y JR.
TO THE CONGREGATIONAL SONG OF SOUTHERN BAPTISTS
A Dissertation
Presented to
the Faculty of
The Southern Baptist Theological Seminary
In Partial Fulfillment
of the Requirements for the Degree
Doctor of Musical Arts
by
Nathan Harold Platt
December 2004 UMI Number: 3148551
Copyright 2004 by Platt, Nathan Harold
All rights reserved.
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ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, M148106-1346 APPROVAL SHEET
THE HYMNOLOGICAL CONTRIBUTIONS OF BASIL MANLY JR.
TO THE CONGREGATIONAL SONG OF SOUTHERN BAPTISTS
Nathan Harold Platt
Read and Approved by:
I ~;J 1~~
Date__ &4~~V'_:2-,,-~-}-) ---,,-2~o_o--,-1_
MSL THESES D.M.A . . P697h 0199701886160 To Daer and Judith Platt,
the parents I honor, to Janie Jessee, the woman I love,
andtoJohnathanI~,
the son I cherish TABLE OF CONTENTS
Page
LIST OF EXAMPLES ...... viii
PREFACE...... ix
Chapter
1. PROSPECTUS FOR DISSERTATION ...... 1
Introduction ...... 1
Thesis of the Study Undertaken ...... 1
Statement of the Problem ...... 3
Historical Background ...... 5
Definitions ...... 9
Primary Sources and Scope ...... 10
Secondary Sources ...... 16
Overview of the Study ...... 21
2. BAPTIST PSALMODY (1850) ...... 24
Introduction ...... 24
Early Influence of Basil Manly Sr...... 24
Purpose of The Psalmist (1843) ...... • , 29
Publication and Reception of The Psalmist ...... 33
Predecessors to The Baptist Psalmody...... 37
Call for a "Southern Psalmist"...... 39
IV Chapter Page
Commission of the Manlys ...... 42
The Manlys' Editorial Values ...... , 44
Comparison of The Psalmist . . 45 and The Baptist Psalmody
Abridgment of Hymns . . . . . 47
Alteration of Texts ...... 50
Omission of "Southem Standards" . 53
Reception of The Baptist Psalmody ...... 60
Significance of The Baptist Psalmody ...... " 63
Conclusion ...... 65
3. BAPTIST CHORALS (1859) ...... 66
Introduction ...... 66
Historical Background...... 67
Intention of the Publication ...... 69
Promotion of a Common Repertory ...... 70
Preface on Congregational Song...... 71
Innovations of the Collection...... 75
Innovations of the Arrangement ...... 79
Contributions of A. Brooks Everett ...... 81
Everett's Preservation of Tunes ..... , ...... 84
Everett's Assignment of Tunes ...... 86
Everett's Contribution of Tunes ...... 88
Manly Jr.'s Contribution of Tunes ...... 95
v Chapter Page
Manly Ir.'s Preservation of Texts ...... 98
Conclusion ...... 103
4. MANLY'S CHOICE (1891) AND THE CHOICE (1892) ...... 105
Introduction ...... 105
Chronology of Contributions ...... 106
Influences of the Era ...... 110
Intentions for the Publication ...... 112
Contents of the Collection...... 120
Dissemination of Historic Hymn Texts ...... 123
Employment of Popular Tunes ...... 134
Conclusion ...... 148
5. SUMMARY OF CONTRIBUTIONS ...... 150
Introduction ...... 150
Denominational Service ...... 150
Pioneering Publications ...... 152
Consistent Influence ...... 154
Appendix
1. THE BAPTIST PSALMODY (1850) FIRST LINE INDEX...... 157
2. CONTRIBUTORS TO THE BAPTIST PSALMODY(1850) ...... 189
3. POPULAR SOUTHERN HYMNS RESTORED IN THE BAPTIST PSALMODY(18S0) ...... 192
vi 4. PREFACES TO BAPTIST CHORALS (1859) ...... 195
5. BAPTIST CHORALS (1859) FIRST LINE INDEX ...... 199
6. BAPTIST CHORALS (1859) TUNE INDEX ...... 210
7 . PREFACE TO THE CHOICE (1892) ...... 215
8. THE CHOICE (1982) FIRST LINE INDEX ...... " 217
9. THE CHOICE (1892) TUNE INDEX ...... 224
10. REPERTORY OF THE CHOICE (1892) RETAINED IN 20th CENTURY SOUTHERN BAPTIST HYMNALS ...... 231
11. HYMNS TEXTS OF BASIL MANLY JR...... 235
12. HYMN TUNES OF BASIL MANLY JR...... " 243
BffiLIOGRAPHY ...... 255
vu LIST OF EXAMPLES
Example Page
1. Arrangement of Baptist Chorals, TRURO/ZURICH ...... 81
2. ZURICH, A. Brooks, Everett ...... 89
3. VESPER HYMN, A. Brooks Everett ...... 91
4. EUPHRATES, A. Brooks Everett ...... 93
5. MANL Y, Anonymous ...... 94
6. BASIL, Rigdon M. McIntosh ...... 95
7. REMISSION, Basil Manly Jr...... 96
8. REALMS OF THE BLEST, Basil Manly Jr...... 97
9. GRACE, arr. by W. Howard Doane ...... " 145
to. ZINZENDORF, Basil Manly Jr...... 146
11. WORK, Basil Manly Jr...... 147
viii PREFACE
As I have had opportunity to research the contributions of Basil Manly Jr.,
I have been constantly reminded of the rich hyrnnological inheritance I have received and the blessing it has been to me in my journey with the Lord. Many of the historic hymns of the faith that Manly Jr. sought to preserve and disseminate through his hymn collections have enlightened my understanding of God's grace and empowered me to praise Him with greater fervor. I think it only appropriate to thank the Lord for the encouragement I have received from the life and ministry of Basil Manly Jr.
I am also indebted to the many professors who have contributed to my understanding of worship and the various means, aside from the dedication of daily service, through which it may be demonstrated. I am especially grateful for the theological, musical, and practical instruction of Professors Daniel 1. Block, Paul O.
Davidson, John H. Dickson, Donald P. Hustad, Lloyd L. Mims, Tom J. Nettles, and Carl
L. Starn. Dr. David L. Gregory has been exceedingly helpful to me in the investigation of primary source material for the dissertation. The initiative to undertake this study was based, in part, upon his master's thesis on Basil Manly Jr.'s principal hymn compilation,
The Baptist Psalmody (1850). Lastly, I would like to thank Dr. Esther R Crookshank, who has directed my work on this project. I am grateful to God for her scholarly supervision, steadfast encouragement, devotional example, and gracious character.
The fellowship of believers at Jeffersontown Baptist Church has been an ever present source of support and respite for me throughout my doctoral program. The
IX successful accomplishment of my academic responsibilities would not have been possible without the faithful prayers, patient endurance, and constant encouragement of my family in the faith. I am thankful for the opportunities they have afforded me to serve and teach at Southern Seminary and abroad. I am especially grateful for their provision of a home, the love they have demonstrated for my wife and son, and their willingness to ordain me for future service as a minister of the Gospel.
None of this work would be possible were it not for the gracious nurture and support of my immediate family. My father and mother have constantly encouraged my endeavors in theological education and musical performance. More significant, however, was the foundation they laid for my faith and the personal commitment to Christ they continue to model for me. My parents-in-law have extended great affection to me and richly blessed my life with the gift of their daughter. My wife, Janie, has been so patient and self-sacrificing during these years of study and ministry. The Lord has blessed me immeasurably with her musical giftedness, gracious service, and dear companionship.
She has also given me my greatest source of earthly joy-our son, Johnathan Isaac.
He is truly God's gift oflaughter to Janie and me.
Finally, I cannot adequately express my gratitude for the Lord's redemption, providence, and enduring love. I would never have considered myself worthy or capable of the service to which I have been called in Christ Jesus. I only pray that He will provide me with many more days to serve His people, seek His face, and sing His praise.
Nathan Harold Platt
Louisville, Kentucky
December 2004
x CHAPTER 1
PROSPECTUS FOR DISSERTATION
Introduction
Numerous individuals contributed to the vitality and diversity of
congregational song among Baptists in the South during the nineteenth century. Hymn
collections were compiled by prominent Baptist ministers and church musicians in almost
every region of the Southern states and almost every decade of the century. Few of these
collections had far-reaching influence on Baptists as a whole, however. Fewer still were
the compilers whose ability, influence and interests caused their hymnals to make a
lasting impact on the character as well as the quality of Southern Baptist hymnody.
Basil Manly Jr. was one such figure. His influence was consistent throughout the latter
half of the nineteenth century and his efforts contributed to nearly every aspect of
Southern Baptist congregational song.
Thesis of the Study Undertaken
The intent of this study is to document the contribution of Basil Manly Jr. to Southern Baptist hymnody. His contributions as a pioneer hymnal compiler, an
advocate of and agent in the development of congregational singing, and a preservationist of hymnody particularly significant to Southern Baptists will be examined in detaiL
Manly Jr.'s most significant contributions to Southern Baptist hymnody came in the form ofthree hymn collections. In 1849, he collaborated with his futher in the
1 2 compilation of The Baptist Psalmody (1850). It was the ftrst hymnal published specifically for the Southern Baptist Convention and remains the most comprehensive collection of hymns ever produced by Southern Baptists.l Manly Jr. wrote eight original hymn texts while he was at work on the ftnal revision of The Baptist Psalmody. Nine of his texts were included in its repertory.
Manly Jr.'s second contribution to the congregational song of Southem
Baptists was the hymn and tune book, Baptist Chorals (1859). Published and compiled in collaboration with A. Brooks Everett. it featured numerous innovations that distinguished it from other hymn and tune books of the day. As well as selecting the hymns that would be included, Manly Jr. contributed two original tunes and an insightful commentary on congregational singing in the preface to Baptist Chorals.
The final collection of Basil Manly Jr., Manly's ChOice, was compiled in 1891.
The second edition with music was published posthumously under the title The Choice
(1892). The collection represented Manly Jr.'s "choice" of the most admirable, evangelical hymns. In light of the proliferation of Sunday school and gospel hymns at the end of the nineteenth century, Manly Jr. feared that the future employment and preservation of traditional hymnody was in jeopardy. In the preface to Manly's Choice
(1891), he identified his editorial intent and the repertory he sought to preserve in this final collection.
We cannot afford to lose these old hymns. They are full of the Gospel; they breathe the deepest emotions of pious hearts in the noblest strains of poetry; they have been tested and approved by successive generations of those that loved
lpaul A. Richardson. "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists: Studies in Baptist Hymnody in America, ed. Harry Eskew et al. (Nashville: Church Street, 1994), 98. 3
the Lord; they are the surviving fittest ones from thousands of inferior productions; they are hallowed by abundant usefulness and tenderest memories.2
Basil Manly Jr. was not merely one among many Southerners who contributed to the field of Southern Baptist hymnody. His pioneering compilations, his personal contribution of texts and tunes, his promotion of hymnody from traditional as well as popular idioms, his life-long advocacy of congregational singing, and his efforts to preserve the hymns of particular significance to Southern Baptists, merit a broader acknowledgement than they have received in the history of Baptist hymnody. This dissertation will seek to demonstrate the breadth of Manly Jr.'s influence and the significance of his contribution.
Statement of the Problem
Although Basil Manly Jr. made a significant contribution to the character, content, and quality of Southern Baptist congregational song, there has been little examination of his achievements. The only detailed discussion of his work in hymnody has been provided by Paul A. Richardson in his article, "Basil Manly Jr.: Southern
Baptist Pioneer in Hymnody.,,3 Richardson identifies him as one of the key figures in the development of Southern Baptist hymnody. He provides a succinct summary of his contributions and an introduction to his three hymn collections. However, many further questions remain to be answered; specifically: How did the hymnals of Manly Jr. compare with other collections of the day? In what ways did they represent
2Basil Manly Jr., Prefuce to Manly's Choice: A New Selection ofApproved Hymns for Baptist Churches (Louisville: Baptist Book Concern, 1891), ii.
3Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," Baptist History and Heritage 27 (AprlI1992): 19-30; reprinted in its entirety in Singing Baptists, cited above. 4 advancements beyond the collections of other Southern compilers? How were his hymnals more comprehensive or more commendable in quality? Did they receive greater acceptance among Southerners than contemporaneous collections?
In addition to a detailed examination of Manly Jr.'s three hymn collections, his contribution as a hymn writer and composer of tunes will be investigated. There has been little if any detailed analysis of his published hymn texts and tunes. The fact that many of them were included in collections by editors of regional and even national note suggests that they were worthy contributions to the Baptist repertory of congregational song. Though only one of Manly Jr.'s texts, "Soldiers of Christ in truth arrayed," appears in the Baptist Hymnal (1991), several others are of equal merit and deserve consideration for reintroduction to the repertory of Southern Baptists.4
Finally, Basil Manly Jr. passionately encouraged those who employed his hymnals in public worship to invest their religious energies and spiritual discernment in the betterment of congregational song. He employed the prefaces of two of his hymnals as pulpits from which to articulate the danger of apathy in congregational singing, the spiritual capability of song, the necessity of new hymns for the growth of godly worship, and yet the need for the preservation ofhistonc hymns. Many of his letters and unpublished documents further articulate the spiritual discernment he possessed with respect to authentic Christian worship and the role of hymnody in it. The examination of these documents will challenge those charged with the leadership of worship in our day to celebrate the past, contribute to the future, and strive for excellence in all things.
4Basil Manly Jr., "Soldiers of Christ in truth arrayed," in The Baptist Hymnal, ed. Wesley L. Forbis (Nashville: Convention Press, 1991),574. 5
Histori«::sl Bs«::kgrmmd
Although his principal vocation was not that of a hymn compiler or composer,
Basil Manly Jr.'s contributions to the field were consistent throughout his lifetime.
Even the most cursory catalogue of his work in hymnody reveals that his efforts in the
compilation and promotion of congregational song exceeded those of most of his Baptist
contemporaries. He developed an appreciation for hymnody and the significance of
congregational singing from an early age. His father pastored the First Baptist Church
of Charleston, South Carolina, from 1826 to 1837. There, the spiritual foundation
of the younger Manly's faith was laid, just as his paradigm for corporate worship was
developed, in the congregational experiences in which his father led. Many of the elder
Manly's sermon manuscripts contain or refer to hymn texts he had carefully selected
to create a poignant conclusion to his sermon and the worship service.s This keen
appreciation for the association of preaching and congregational singing was carried
on in the ministry of Manly Jr. and expressed eloquently in the following words from his
preface to Baptist Chorals (1859).
Good singing is a powerful auxiliary to preaching. When burning words and living thoughts have come from the sacred desk, and impressed themselves upon the mind, how is the effect heightened if, with melody pliantly adapting itself to all the turns and graces of sentiment, kindred thoughts float upon the charmed air, and memory takes up the echo of the sounds and of the ideas, to cherish them with fond admiration! 6
During his ministry at the prominent First Baptist Church of Charleston,
SRichardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists, 95.
~asil Manly Jr., Preface to Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty10ur Tunes, Adapted to about Four Hundred Choice Hymns, compo Basil Manly Jr. and A Brooks Everett (Richmond: T.J. Starke and Company, 1859), ill. 6
Basil Manly Sr. became a celebrated pastor, preacher and Southern statesman. His appointment to the presidency of the University of Alabama in 1837 created an unusual opportunity for his young son to commence undergraduate education. In spite of his father's reluctance, Basil Jr. was pennitted to enroll in the University at the age of fourteen. Four years later he graduated as valedictorian of his class.
In 1844, Manly Jr. embarked upon graduate studies in theology at Newton
Theological Institution. Following the separation of Southern Baptists from their
Northern counterparts in 1845, he transferred to Princeton Theological Seminary. Only a short time after his graduation from Princeton in 1847, Manly Jr. demonstrated his unusual intelligence, artistic discernment, and spiritual maturity in his work on the compilation of Baptist Psalmody (1850). The latter was the first collection of hymns published by the Southern Baptist Publication Society. Although Dr. Manly Sr. served as the chief editor of Baptist Psalmody, he acknowledged that the bulk of its preparation had been accomplished by his son, to whom he entrusted its fmal revision in the summer of 1850.7
Manly Jr.'s next contribution to the field of Baptist hymnody came in 1859 with the publication of Baptist Chorals. Hymnals published in America through the mid- nineteenth century generally contained texts alone. Such had been the case with Baptist
Psalmody and The Psalmist (1843). Baptist Chorals contained tunes and was designed as a tune supplement for either The Psalmist or Baptist Psalmody, which Manly Jr.
7Basil Manly Jr., letter to W. E. Schenck, 26 December 1877; quoted by Joseph Powhatan Cox, "An Examination ofthe Life and Work of Basil Manly Jr." (Th.D. thesis, The Southern Baptist Theological Seminary, 1954),78. 7 identified as "the two books most extensively used in the Baptist churches of the United
States."g Its common repertory, gleaned from both books, made it readily adaptable to either collection. Its contents oP'about four hundred choice hymns" were almost all gleaned from the massive repertories of The Psalmist and Baptist Psaimody.9 This design not only increased the book's market appeal among Baptists nationwide, but encouraged the reconciliation of Baptist congregations in opposing regions of the country prior to the outbreak of the Civil War.
Baptist Chorals accomplished more than the solidification of a common repertory, however. The collection was unique among Southern tunebooks of the day in its presentation of tunes. Each opening offered two tunes; an old and new tune of identical meter were featured on opposing pages with one to three texts of similar sentiment set forth on each page. The texts and tunes displayed at any opening allowed for endless combinations in congregational singing. One hundred sixty-four tunes complemented over four hundred texts, allowing the collection to be used as a hymnal for congregational worship by itself. Thus, Baptist Chorals employed innovations that surpassed those of any other Southern hymnal of its era.
During the next thirty years Manly Jr. compiled no other collections but exerted significant influence on Baptist congregational song in other ways. He oversaw the publication of two songbooks for the fledgling Southern Baptist Sunday School
Board. He contributed to the consulting committee of two prominent Baptist hymnals including The Baptist Hymnal (1883), the first publication jointly compiled by Baptists
SManly Jr., Preface to Baptist Chorais, ii
'ibid. 8 of the North and South since the end of the Civil War. Manly Ir.'s hymn texts and tunes were published throughout the latter half of the nineteenth century by leading American hymnal editors such as W. H. Doane, R. M. McIntosh, and Robert Lowry. Charles
Haddon Spurgeon even included one of Manly Iro's texts in his hymnal, Our Own Hymn
Book (l866). Lastly, Manly Jr. advised the prominent English hymnologist, Henry
Burrage, in the compilation of Baptist Hymns and Hymn Writers (1888). The latter still serves as the comprehensive catalogue of Baptist contributions to hymnody in the English language.
Much of the final year, and especially the latter months, of Basil Manly
Ir.'s life were focused on the dissemination of historic hymnody to the Southern Baptist congregations he loved. In 1891, the compendium called Manly's Choice was published with the hope of abating the "rage for novelties in singing" that was "driving out of use the old, precious, standard hymns." 10 The collection featured texts Manly Jr. identified as those that had been "tested and approved by successive generations of those who loved the Lord."ll He attributed their survival to the superiority of their content, their usefulness, and their ability to evoke the deepest spiritual sentiments. It is of interest that many of these hymns have retained their popularity among Southern Baptists of the twentieth century. The Baptist Hymnal (1991) includes more than fifty of the same titles as Manly's Choice.
In 1892, Basil Manly Jr. produced a musical volume entitled, The Choice. It contained what he identified as "the best of all the old, solid, standard hymns which have
l IJlbid. 9 been proved by experience, and often consecrated by tenderest associations.,,12 Six of the tunes were of his creation. Five of them were composed specifically for inclusion in The Choice. Manly Jr. offered the following disclaimer concerning his musical contributions: "In a few cases, to meet an apparent necessity, the editor has inserted music of his own composition. for which he asks a lenientjudgment.,,13 However, his humility was unmerited, as is evidenced by the fact that numerous Baptist editors published his tunes in collections of their own. Thus, the final days of Basil Manly Jr.' s life were invested in the contribution of commendable and original hymnody to the repertory of Southern Baptist congregational song. Definitions The names of several institutional entities call for explanation here. The Southern Baptist Convention was founded in 1845, at the request of the Virginia Baptist Foreign Mission Society. Southern slaveholders had been denied sponsorship in mission work by the American Baptist Foreign Mission Society. Representatives from eight slave-holding states met in Augusta, Georgia, in May, 1845, and resolved to separate from Northern Baptists for "the express purpose of. . . the promotion of foreign and domestic missions.,,14 Basil Manly Sr. played a central role in the events that led to the convention's founding and was elected the first President of the Board of Domestic Missions of the Southern Baptist Convention. 12Basil Manly Jr., Preface to The Choice: A New Selection ofApproved Hymnsfor Baptist Churches with Music (Louisville: Baptist Book Concern, 1892), it 13Ibid., iii. 14Minutes ofthe Southern Baptist Convention, 1845; quoted by Cox, "A Study of the Life and Work of Basil Manly Jr.," 60. 10 Shortly after its founding, the convention began to organize its mission activity in the South by establishing the Southern Baptist Publication Society (1847). The primary objective of this society was to publish and distribute such books as were needed by the Baptist denomination in the South, including a hymn collection created specifically for Southern Baptist congregations.IS The publication society secured the services of Basil Manly Sr. and his son in the compilation of the first Southern Baptist hymnal, Baptist Psalmody (1850). The Southern Baptist Sunday School Board was established in 1863, due, in part, to the ambitious vision of Basil Manly Jr. He first set forth this vision in a sermon entitled, "A Sunday School in Every Baptist Church," which was delivered before the Baptist General Association of Virginia in 1852. His leadership in the Virginia Baptist Sunday School and Publication Society (established in 1853) eventually led to the coordination of educational efforts among Baptist churches in all the states of the South. He served as the first president of the Sunday School Board from 1863 to 1867. Among the resources produced under his supervision during the first year of the Board's existence were The Little Sunday School Hymn Book (1863) and The Confoderate Sunday School Hymnal (1863).16 Primary Sources and Scope The three Baptist hymnals for which Basil Manly Jr. was directly responsible 15Homer L. Grice, "Southern Baptist Publication Society (Charleston, S.C., 1847-63)," Encyclopedia ofSouthern Baptists, ed. Norman Wade Cox (Nashville: Broadman Press, 1958), 1266. 16C. J. Elford, ed., The Corifederate Sunday School Hymnal (Greenville: Sunday School Board, Southern Baptist Convention, 1863); idem, The Little Sunday School Book (Greenville: Sunday School Board, Southern Baptist Convention, 1863). 11 were Baptist Psalmody (1850), Baptist Chorals (1859), and Manly's Choice (1891) or The Choice (1892), as it was entitled in its second edition with music. This dissertation discusses each of the hymnals in varying degrees of detail. Information contained in the appendixes of this dissertation includes the complete contents of each compilation as well as analytical data related to their contents. In addition, this work examines some of Manly Jr.' s prose and poetic writings that have particular significance within the scope of Southern Baptist hymnody. The preface to Baptist Chora/s represents the first critical essay on congregational song by a Southern Baptist. The preface to Manly's Choice is also informative with respect to the compilation of commendable hymnals. Representative hymn texts and tunes of Manly Jr. are discussed in each chapter. Though a principal purpose for the compilation of Baptist Psalmody was "to supply hymns for any liturgical function and on any Scripture or topic that a preacher might address," the Manlys also sought to include in this collection hymns of significance to Southern Baptist congregations.I7 The editors of The Psalmist (1843)--the leading Baptist hymnal in the North~-had received considerable criticism for their exclusion of hymns in the folk idiom. The Manlys articulated their intent to recover for the churches this neglected repertory in an advertisement of the anticipated hymnal: "The undersigned propose to publish a Hymn Book adapted to the use of Baptist Churches in the South. We design it to contain unaltered, the old hymns, precious to the children of God by long use, and familiarized to them in many a season of perplexity and temptation 17Richardson, "Basil Manly, Jr.," 98. 12 as well as spiritualjoy.,,18 This study identifies and discusses some of the hymns that had been altered in or omitted from The Psalmist. With regard to the comprehensive content of Baptist Psalmody, three appendixes are included in this dissertation. Appendix 1 contains the index of first lines including author attributions. Appendix 2 tabulates the contributions of leading hymn text writers such as Watts, Wesley. and Newton with particular attention given to Baptist contributors including Benjamin Beddome, Anne Steele, and Basil Manly Jr. himself. Appendix 3 lists the hymns omitted from The Psalmist and included in The Baptist Psalmody that were regionally favored among Southern Baptists. This list of hymns was compiled through comparative analysis of the contents of the six most significant Southern hymn collections published prior to 1850. The analysis also identified more than two dozen hymns that were so widely published in Baptist hymn collections they may be recognized as "standards" in the mid-nineteenth century repertory of Southern Baptist hymnody. These hymns are identified in Appendix 3. Baptist Chorals (1859) featured a number of innovations in hymnal design each of which will be discussed in detail in Chapter 3. Manly Jr.'s second collection will also be examined with particular attention to its textual content. It appears that his interest in the preservation of popular Southern hymnody remained of central significance in the compilation of Baptist Chorals. In a letter to his parents dated April, 1857, Manly Jr. wrote, "How would it answer to gather up out rot] old collecs. rot] ch. ISB. Manly and B. Manly, Jr., "A New Hymn Book," The Alabama Baptist, October 31,1849, p. 2; reprinted. by Donald Clark Measels, "A Catalog of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Source Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986), 152-53. 13 music the best of our old favorites and publish them with such a title as this 'Good Old Tunes--a Collection ofSaOfed Masie [sic] the favorites melodies [sic] of our fathers; selected & arranged by B. M. Jr. ",19 Appendix 4 features the introduction and musical preface to Baptist Chorals. Two additional appendixes present data pertinent to the analysis of the collection. Appendix 5 contains a complete list of the contents of Baptist Chorals, featuring first lines of hymn texts, references to their location in The Psalmist (1843) and The Baptist Psalmody (1850), and author attributions. Appendix 6 identifies , the tune assignments as well as the composer or source of their origin. Basil Manly Jr.'s passion for the dissemination of historic evangelical hymnody culminated in the compilation of Manly's Choice (1891) just prior to his death in January of 1892. He feared that the popularity and proliferation of gospel songs in the late nineteenth century might lead to the exclusion of historic hymnody among the Southern Baptist generations to come. Manly Jr. set forth his concerns in the preface to his final collection The following passage is representative. For some years it has been apparent that the rage for novelties in singing, especially in our Sunday-schools, has been driving out of use the old, precious, standard hymns. They are not memorized as of old. They are scarcely sung at all. They are not even contained in the undenominational [sic] sontbooks which in many churches have usurped the place of our old hymn books. This dissertation answers a number of questions with respect to the final compilation of Basil Manly Jr. What were the hymnals of greatest significance prior to the publication of Manly's Choice (1891) and its musical edition, The Choice (1892)7 I~asil Manly Jr., letter to Basil Manly Sr. and Sarah Manly, 10 April 1857 (press Books, Manly Papers, Southern Baptist Historical Library and Archives); quoted by Richardson, "Basil Manly, Jr.," 101. 20Manly Jr., Preface to Manly '8 Choice, iL 14 What effect did the gospel song movement have upon the congregational singing of Southern Baptists in the late nineteenth century? How did the contents of Manly Jr.'s fmal collections compare with the hymnals of his day? Do their contents contain what Basil Manly Jr. believed to be the essential repertory of historic evangelical hymnody? Appendix 7 features the preface to The Choice. Appendix 8 catalogues the contents of The Choice, including an index of first lines, references to the hymns' location in The Baptist Psalmody (1850) and Baptist Chorals (1859), and author attributions. Appendix 9 lists the tunes contained in The Choice and the composer or source to which Manly Jr. attributed them. Appendix 10 identifies the hymn texts and tunes contained in The Choice that were retained in the repertories of the most recent denominational hymnals: The Broadman Hymnal (1940) and The Baptist Hymnal (1956), The Baptist Hymnal (1972), and The Baptist Hymnal (1991). In addition to examining the three collections of hymns produced by Basil Manly Jr. this dissertation will discuss his critical essays on congregational song. The preface to Baptist Chorals provides an appraisal of congregational singing among Southern Baptists in the mid-nineteenth century. It also outlines principles that must be employed if the practice of congregational singing in worship is to succeed. The preface to The Choice sets forth Manly Jr. 's philosophy for the compilation of commendable hymnals. The final category of contribution to be considered in this dissertation is that of original hymn texts and tunes. Nearly half of Manly Jr. 's known hymn texts were included in Baptist Psalmody. Five additional texts that have never been published, were written while Manly Jr. was engaged in the fmal revisions of the first Southern 15 Baptist hymnal. They, and four of the nine included in the hymnal, are contained in "Fmgments of Thought, No. 19"-journal entries from Iune 5 & 10, 1850,21 A few other texts of Manly Ir. were published independently in various hymnals throughout the latter half of the nineteenth century. One text not featured in a Southern Baptist hymnal until 1975 was "Soldiers of Christ in Truth Arrayed." Written for the first commencement service of The Southern Baptist Theological Seminary. "Soldiers of Christ in truth arrayed" has been sung at every commencement service since 1860.22 Manly Ir.'s most widely published text, "Work for the Day Is Coming," was produced near the end ofrus lengthy tenure at Southern Seminary, and first published by Robert Lowry and W. H. Doane in The Glad Refrain/or Sunday &hool (1886).23 The latter two texts, the texts contained in The Baptist Psalmody, and one unpublished text by Basil Manly Jr. have been transcribed below and are featured in Appendix 11. With respect to hymn tunes, Basil Manly Jr. composed two specifically for the inclusion in Baptist Chorals. Two tunes composed by others in his honor were also featured in the collection. Each of these tunes is discussed in Chapter 3 of the dissertation. In 1863 Manly Jr. became the first president of the Southern Baptist Sunday School Board. Toward the end ofrus tenure as president, the Sunday School Board published Kind Words (1871). It contained four of Manly Jr. tunes and a single text 21Basil Manly Jr., "Fragments of Thought" (Manly Papers, South Carolina Baptist Historical Society, n. p., 1850). 22Cox, "An Examination of the Life and Work of Basil Manly Jr.," 174. 23Robert Lowry and W. Howard Doane, The Glad Refrain for Sunday School: A New Collection ofSongs for Worship (New York Bigelow & Main, 1886). 16 that Paul A. Richardson suggests could be his.24 Two of Manly Jr.' s tunes were written in 1871 and 1881, respectively. and set to texts of Frances Ridley Havergal. Six original compositions were featured in his final compilation, The Choice (1892). The tunes that were published in Baptist Chorals and The Choice are presented below in Appendix 12 of the dissertation. Secondary Sources Baptist Hymn Writers and Their Hymns. by Henry S. Burrage, remains the authoritative text on historical Baptist hymnody in spite of its early publication (1888).25 In addition to its brief biographical entry on Basil Manly Jr., the work is significant in that Manly Jr. advised the author in its compilation. A letter from Burrage to Manly Jr.'s life-long friend and colleague at Southern Seminary, John A. Broadus, relates the assistance Manly Jr. afforded the author in his research.26 Joseph Powhatan Cox's Th.D. thesis from The Southern Baptist Theological Seminary entitled "A Study of the Life and Work of Basil Manly Jr." (1954) is the only comprehensive biography of Manly Jr. Cox was a pioneer in the acquisition and examination of original documents relating to Basil Manly Jr. His dissertation provides a wealth of interesting information that is critical to an understanding of Manly 2"The unattributed text "We are going home" is set to Manly's tune, THE LAND WHERE JESUS DWELLS. Manly's authorship is suggested due to the repetition of the tune title throughout the text. Richardson, "Basil Manly, Jr.," 110 n. 53. 2SHemy S. Burrage, Baptist Hymn Writers and Their Hymns (portland, ME: Brown Thurston & Company, 1888). 4Iemy S. Burrage, letter to John A. Broadus, 25 October 1886 (John A. Broadus Papers, The Southern Baptist Theological Seminary, Louisville, KY). 17 Jr.'s motivations in life and miniStry.27 The master's thesis entitled "American Baptist Hymnody from 1640 to 1850," written at The Southern Baptist Theological Seminary in 1948 by Jessee Howard Cates, provides a detailed discussion of the hymn collections that preceded the publication of The Baptist Psalmody. 28 Though the first Southern Baptist hymnal is only mentioned at the end of the dissertation, a comprehensive knowledge of its predecessors makes possible a historically-informed assessment of the significance of The Baptist Psalmody in comparison to other Southern Baptist collections of the era. David L. Gregory's substantial thesis, "Psalmody in the Mid-Nineteenth Century Southern Baptist Tradition" (1987) from The Southern Baptist Theological Seminary also describes the hymn collections that preceded The Baptist Psalmody.29 Its fundamental interest however, is in the identification and analysis of the various kinds of psalmody within this extensive collection. Gregory's study provides general historical information on both Basil Manly Jr. and his father. It also features a detailed discussion of The Psalmist--including criticism it received from hymn scholars and Southerners alike--as well as a chronology of the events that led to the publication of The Baptist Psalmody. Finally, the thesis contains information regarding the acceptance and distribution of the Manlys' compilation among Southern Baptists. Volume 2 of Donald Clark Measels' n.M.A. dissertation of 1986 from 27Joseph Powhatan Cox, "A Study of the Life and Work of Basil Manly Jr." (Th.D. thesis, The Southern Baptist Theological Seminary, 1954). 28Jessee Howard Cates, "American Baptist Hymnody from 1640 to 1850" (M.S.M. thesis, The Southern Baptist Theological Seminary, 1948). 2'navid Louis Gregory, "Psalmody in the Mid-Nineteenth Century Southern Baptist Tradition" (M.C.M. thesis, The Southern Baptist Theological Seminary, 1987). 18 The Southern Baptist Theological Seminary, "A Catalog of Source Readings in Southern Baptist Church Music 1828-1890," contains transcriptions of letters and editorials that were first printed in Baptist state publications.3o Many of these commentaries clearly articulate the dissatisfaction that was apparent among Baptists of the South prior to the publication of Baptist Psalmody. Some entries identify the insufficiencies of regional collections such as Mercer's Cluster, Dossey's The Choice, and The Baptist Hymn Book by William C. Buck. A substantial number of letters and editorials are included that relate to both The Psalmist and Baptist Psalmody. Most significantly, the inquiries in the Alabama Baptist that eventually led to the publication of the first Southern Baptist hymnal have been transcribed in their entirety. Irvin H. Murrell's dissertation from New Orleans Baptist Theological Seminary of 1994, entitled "An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks," provides a wealth of information on the worship practices of early American Baptists in the South.31 In particular, his work seeks to identify the hymn texts and tunes of greatest popularity among first-generation Southern Baptists. The comprehensive nature of his work as a comparative study of hymnals surpasses the scope of this work. However, the Southern hymnals examined in this dissertation figure prominently in his study. Moreover, many of the hymn texts and tunes this dissertation identifies as "standards" in the earliest Southern Baptist repertory of congregational song are also identified by Murren as ''valid indicators of the congregational repertories 3000nald Clark Measels, "A Catalog of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols. (D.M.A. diss., The Southern Baptist Theological Seminary, 1986). 3iIrvin H. Murrell, Jr., "An Examination of Southern Ante-Bellum Baptist Hymnals and Tunesbooks as Indicators of the Congregational Hymn and Tune Repertories of the Period with an Analysis of Representative Tunes" (D.M.A. diss., New Orleans Theological Seminary, 1994), 19 of the period... 32 Richard Wayne Rose's dissertation (1991) from Southwestern Baptist Thoological Seminary on The Psalmist is the most comprehensive study to date of the historic hymnaL33 Every aspect of the compilation is examined in detail. Rose's inclusion of numerous excerpts from the preface of The Psalmist, as well as reviews it received in both the North and South, greatly facilitated the comparison of that hymnal with The Baptist Psalmody in this dissertation. Rose's detailed analysis of contents-- including the identification of authors, sources, and specific texts included in The Psalmist and its Supplement by Fuller and Jeter--was especially helpful in the examination of The Baptist Psalmody and its repertory of hymns. Several articles in Baptist History and Heritage contain valuable information on the history of Southem Baptist hymnody and the role of Basil Manly Jr. in particular. "Use and Influence of Hymnals in Southern Baptist Churches Up to 1915," by Harry Eskew, provides a concise yet comprehensive chronology of the events, individuals and specific hymn collections that shaped the congregational song of early Southern Baptists.34 Eskew was the first hymnologist to address the consistent influence of Basil Manly Jr. on the early history of Southern Baptist hymnody. "Baptist Hymnody in America" by William 1. Reynolds provides a succinct overview of the contributions of Baptists to the history and repertory of American 32Murrell, "An Examination of Southern Ante-Bellum Baptist Hymnals and Tl.Illebooks," 2. 33Ricbard Wayne Rose, "The Psalmist: A Significant Hymnal for Baptists in America during the Nineteenth Century" (D.MA diss., Southwestern Baptist Theological Seminary, 1991). 34Hany Eskew, "Use and Influence of Hymnals in Southern Baptist Churches Up to 1915," Baptist History and Heritage 21 (July 1986): 21-30. 20 hymnody.35 His discussion includes the events, hymnals, and men whose interaction and influence led to the publication of The Baptist Psalmody. It also mentions Manly Jr.' s final contribution, The Choice, and the era of gospel hymnody in which he hoped it would make a preservational impact. Reynold's article affords as infonnative an introduction to American Baptist hymnody as any that has been written and it is one of the first to give reasonable attention to the contributions of Basil Manly Jr. Paul A. Richardson has been the only other Baptist hymnologist to acknowledge the significance of Basil Manly Jr. for Southern Baptist hymnody. His article "Basil Manly. Jr.: Southern Baptist Pioneer in Hymnody" in Baptist History and Heritage, is remarkably comprehensive in its discussion of Manly Jr.'s hymnological contributions. 36 Moreover, its bibliographic notes are replete with references to original source material. The catalogue of Manly Ir.'s contributions in this dissertation has been based in large part upon Richardson's article. Esther R. Crookshank's article "'The Minister and His Hymn-Book': John A. Broadus as Hymnologist," acknowledges the important, indirect influence of Basil Manly Jr. in the development ofhymnological studies at The Southern Baptist Theological Seminary.37 Broadus's inclusion of hymnology in his course on homiletics 3SWiUiam J. Reynolds, "Baptist Hymnody in America," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992),30-54. 36paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," Baptist History and Heritage 27 (April 1992): 19-30. 37Esther R. Crookshank, "'The Minister and His Hymn-book': John A. Broadus as Hymnoiogist," in We Praise Thee with Our Minds, ed. Michael J. Raley and Deborah Loftis (forthcoming). 21 was the first course offering of its kind in any American theological institution. In his syllabus for the course, he commended Manly Jr.' s final hymn compilation, defending its preservationist aim and accomplishment. The common interests and collegial friendship of Broadus and Manly Jr. helped to lay the foundation for future studies in church music at The Southern Baptist Theological Seminary. Finally, Singing Baptists: Studies in Baptist Hymnody in America by leading Baptist hymnologists Paul A. Richardson, Harry Eskew, and David W. Music provides a broad understanding of the cultural milieu of which Basil Manly Jr. was an integral part. 38 A revised version of Paul Richardson's article on Manly Jr. in Baptist History and Heritage is featured in Singing Baptists. Harry Eskew's article, "Use and Influence of Hymnals in Southern Baptist Churches Up to 1915" of July 1986, appears in Singing Baptists in its original form. Overview of the Study Chapter 1 serves as an introduction to the dissertation. The three hymn compilations of Basil Manly Jr. are then provided with individual consideration. Chapter 2 begins with a brief biographical sketch of Basil Manly Jr.'s childhood and education. Particular attention is given to the spiritual influence of Basil Manly Sr. on his son and to the intellectual capabilities of Manly Jr. The remainder of the chapter focuses on The Baptist Psalmody. Its immediate predecessor, The Psalmist, and the events that led to its publication are discussed. The purpose for the latter discussion is to clarify the sentiment among Southern Baptists that a hymnal appropriate to their own cultural identity was 38Harry Eskew, David W. Music, and Paul A. Richardson, Singing Baptists: Studies in Baptist Hymnody in America (Nashville: Church Street Press, 1994). 22 required. The Baptist Psalmody was commissioned and compiled in response to prevailing Southern sentiment. Its arrangement, contents, and acceptance among Southern Baptists are all analyzed with the intent of determining its significance in the history of American Baptist hymnody. Chapter 3 addresses Baptist Chorals and Manly Ir.'s collaboration with A. Brooks Everett. Detailed attention is given to Manly Jr. 's vision and intention for the compilation. Its arrangement and innovations are examined in detail. Its contents of 424 texts and 164 tunes are compared with other collections of the day. Selections from among its contents are examined with greater specificity. In particular, the texts and tunes of Basil Manly Jr. as well as the musical contributions of A. Brooks Everett are afforded considerable discussion. The fmal compilation of Basil Manly Jr. is discussed in Chapter 4. The chapter begins with a chronological outline of Manly Jr.'s contributions to Southern Baptist hymnody in the years that preceded his compilation of Manly's Choice. The hymnals of greatest significance to Southern Baptist hymnody in the late nineteenth century and the far-reaching effects of the gospel hymn movement are briefly discussed. The remainder of the chapter focuses on Manly Jr.' s final compilation. Personal correspondence contained in the Press Books of his letters sheds light on his zeal for this final endeavor.39 The preface of The Choice is analyzed with respect to Basil Manly Jr. 's philosophy for hymnal compilation. The contents of the collection are discussed in detail and particular attention is given to Manly Jr.'s preservation of historic evangelical 3~asil Manly Jr., Press Books (Manly Papers, The Southern Baptist Theological Seminary Archives). 23 hymnody for its dissemination among subsequent generations of Southern Baptists. The final chapter of the dissertation presents a brief historical overview of the life and contributions of Basil Manly Jr. and the conclusions of the study. It seeks to substantiate the central thesis of this dissertation that Manly Jr.'s influence on Southern Baptist hymnody--both at its inception and throughout his lifetime--surpassed that of the majority of his contemporaries. He deserves greater historical recognition than he has received. Southern Baptists of the present day will certainly benefit from the reintroduction of his texts and tunes as well as the wisdom of his writings on excellence in congregational song. CHAPTER 2 BAPTIST PSALMODY (1850) Introduction Basil Manly Jr. was born on December 19, 1825 to Basil Manly Sr. and Sarah Mary Rudolph in Edgefield County, North Carolina. His father, a Baptist pastor, had been serving in the region since 1822. Shortly after the birth of their first son, the family moved to Charleston, South Carolina where Manly Sr. assumed the pastorate of the historic First Baptist Church. Basil Jr.'s childhood was spent in Charleston, where he benefited from the sole attention of his parents. He was the only child bom to Basil Manly Sr. and Sarah that survived during a period of nearly twelve years. l As a result, a deep bond of devotion developed between him and his parents that was retained throughout their lifetimes. Basil Manly Sr. spent his final years at the home of his son in Greenville, South Carolina, where he died in December of 1868. Early Influence of BasH Manly Sr. Basil Jr. received his elementary education in Charleston at the Sabbath School of the First Baptist Church. Apart from his early fonnal education in Charleston, Manly Jr. benefited from the personal tutelage of his father. According to his biographer. Joseph IJoseph Powhatan Cox, "A Study of the Life and Work of BasH Manly Jr." (Th.D. thesis, The Southern Baptist Theological Seminary, 1954), 22. 24 25 Powhatan Cox, "the vigilant shepherding and eloquent preaching of his father made an endwing impression upon [his] fresh, young life.',2 The early impact of his father can be identified in at least three ways. With respect to his father's influence on his cognitive development, Manly Jr. wrote later, I can remember how he [Basil Manly Sr.] used to accustom me, in my boyhood, to give an account of sennons and lectures that I had heard--to do this off-hand and with as much fullness and detail as was practicable. The expectation of having to do this aided to form the habit of listening to a speaker in such a way as to co ordinate his thoughts while he was proceeding, so as to recall them readily in their connection and to appreciate their bearing on the main point which was to be proved or impressed.3 Secondly, the sermons of Basil Manly Sr. contributed to his son's appreciation for the complementary association of preaching and hymnody. Manly's sermon manuscripts refer to hymns he thought appropriate for congregational response at the conclusion of corporate worship. Thus, the early worship experiences in which Basil Jr. took part, demonstrated a thoughtful approach to hymn selection.4 Finally, the sennons of Manly Sr. undoubtedly laid the spiritual foundation upon which Basil Jr. made his own profession of faith in Christ at the age of fourteen. The preaching ministry of Basil Manly Sr. also made an impact upon Baptists of the South at large. His reputation among South Carolinians was such that he was considered as a candidate for the presidency of the University of South Carolina in 1835. Though the opportunity to serve his alma mater did not come to fruition, only two years 2Ibid.,25. 3Louise Manly. The Manly Family: An Account ofthe Descendants ofCaptain Basil Manly ofthe Revolution and Related Families (Greenville, SC: Keys Printing Co., 1930),84-85. 4Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," Baptist History and Heritage 28 (April 1992); 20. 26 passed before he was elected as the president of the University of Alabama. The Manly family moved to Tuscaloosa in 1837 where Basil Jr. completed his secondary education at the age ofthirteen. Despite his youth, the Manlys' eldest son demonstrated unusual promise for pursuing an undergraduate education at the university. Dr. Joshua H. Foster, a Baptist minister and academic colleague of Basil Manly Sr. described the intellectual prowess and personal maturity of Basil Jr. in the following testimony. When I first saw Basil Manly Jr.--in his thirteenth year-he possessed as many of the elements of an young gentleman as can generally be claimed at the age of twenty. Intelligent, unobtrusive, calm and self possessed in any company, he knew when to be silent, when to speak, what to say, and how to say it, better than many ofhis superiors in age and stature.5 Basil Manly Sr. considered retaining his son in a year of private study with the intent of allowing him to enter the university at a more advanced age. Reluctantly, however, he deferred to the desires of his son, and prayed with respect to the boy's educational advancement, "May God preserve and succeed him.,,6 Manly Jr. enrolled at the University of Alabama in the fall of 1839 and proved himself to be exemplary among his peers. He received high marks throughout the four-year curriculum which entailed extensive study in English composition, French. Greek, and Latin, as well as course work in history, rhetoric, the natural sciences, natural and moral philosophy - the latter two subjects being taught by his father. Basil Jr. completed the requisites of his program and graduated as valedictorian of his class in 1843 at the age of eighteen. 5Joshua H. Foster, "Dr. Manly as a Young Man," The Seminary Magazine 5, no. 6 (March 1892): 316-17; quoted by Cox, "A Study of the Life and Work of Basil Manly Jr.," 31. "Diary of Basil Manly Sr., (1834-1846), January 8, 1840, 173; quoted by Cox, "A Study ofthe Life and Work of Basil Manly Jr.," 32. 27 Wanting to embark immediately upon a graduate education in theology, the young scholar entrusted his future to the discernment of his father. Manly Sr. consulted with long-time friend and chairman of theology at Mercer University, Dr. John L. Dagg. The two men detennined that Basil Jr. should attend Newton Theological Institution near Boston "to provide him with the best preparation available--none comparable being available in the South."7 Newton had existed as a theological extension of Columbian College in Washington, D. C. since 1825.8 Transplanted to Newton Centre, Massachusetts, at the request of the Massachusetts Baptist Educational Society, it became the first American Baptist educational institution to be devoted exclusively to a three-year curriculum for college graduates. 9 Basil Manly Jr. "loved his home with an intense affection."l0 So it was with considerable mental anguish that he left the comfort of his parents' company and set out for Newton in the summer of 1844. He planned his journey to Massachusetts such that he could visit relatives in North Carolina along the way and thereby quell his longing for home. He also exercised his recently-acquired license as a minister of the gospel in preaching "wherever opportunity was offered."ll After two months of travel on 7Jonathan A. Lindsey, "Basil Manly: Nineteenth Century Protean Man," Baptist History and Heritage 8 (July 1973): 137. 8Basil Manly Sr.'s influence in the South is evident in the fact that he was instrumental in the founding and development of numerous academic institutions including Furman University, Mercer University, Judson College, Columbian College, as wen as the University of Alabama. See Lindsey, "Basil Manly," 138. 9Cox, "A Study ofthe Life and Work of Basil Manly Jr.," 45. lOJoshua H. Foster, "Dr. Manly as a Young Man," quoted by Cox, "A Study of the Life and Work of Basil Manly Jr.," 31. !lIbid.,42. 28 horseback, during which he gained a broader perspective on the world beyond his sheltered home, and developed a greater sense of self-assurance, Basil Manly Jr. arrived in Newton Centre in September, 1844. Though he was now distanced from the immediate counsel of Manly Sr., the young ministerial student corresponded regularly with his father. The reality of his father's continuing influence is readily apparent in their many letters. Moreover. their relationship began to reflect a more collegial tone. In his article on the multi-faceted life and ministry of Basil Manly Sr., Jonathan A. Lindsey writes, "For his first son, Basil Jr., there was an affection and a degree of parental pride not clearly reflected for his other children." Upon his departure from what had been a closely knit, familial environment, "the correspondence is between two men whose minds are interwoven." 12 One subject for which the father and son shared similar sentiments was music. Though there is no information available with respect to Basil Manly Sr,'s education or competency in music, there has been some explanation of Basil Jr.'s musical accomplishments in a variety of sources. Louise Manly, the youngest sister of Basil Manly Sr. noted in her history of the Manly family that Manly Jr. was proficient on the violin. 13 Manly Sr. inquired in his son's first semester at Newton if he desired to have his instrument sent to him and frequently encouraged Basil Jr. to maintain his skills in music. In a letter from his second semester at Newton, the father specifically stated, "1 think you should cultivate music. If it would not be against the rules of the Institution, you might hire a piano by the year; or possibly you might get the use of a chamber organ, in a cheap 12Lindsey, "Basil Manly," 142. 13Louise Manly, The Manly Family, 198. 29 way, to keep in your room and practice on.,,14 The correspondence of the two men with regard to hymnody is highly specific. Manly Sr. sent the poetic texts of two hymns that had greatly impressed him to his son in a letter dated Christmas day, 1844. He even included the tunes to which the hymns had been sung, demonstrating his own proficiency in reading and notating music. Basil Manly Jr. demonstrated an equally developed understanding of music, and hymnody in particular, in a letter from following spring. In it he described the state of hymnody among Baptists in the South and encouraged his father to pursue the compilation of a hymnal the latter had been considering for some time. Manly Jr. wrote, "When you set about compiling that hymn book . . . it would be well to look over some of Toplady's pieces that do not appear in any of the Hymn Books. Though of inferior merit to Rock of Ages & Oh thou that hear'st the prayer of faith, &c. they would some of them have a powerful effect, and that, as you remark, is the criterion.,,15 Purpose of The Psalmist (1843) The conviction that good hymns are evocative and produce a "powerful effect," was not shared or, at least, understood in the same way by some Baptists with whom Manly Jr. had contact in the North. Basil Manly Jr. regularly attended the worship services of Baptist churches in the vicinity of Boston. In particular, he frequented the First Baptist Church, Newton Centre, Massachusetts, where Samuel F. Smith was pastor. 14Manly Sr., letter to Manly Jr., 22 November 1844 (Manly papers, University of Alabama, Tuscaloosa, At); quoted by Paul A. Richardson, "Basil Manly, Jr.," in Singing Baptists (Nashville: Church Street, 1(94),96. lSBasil Manly Jr., letter to B. Manly Sr., 9 May 1845 (Manly papers, Southern Baptist Historical Library and Archives, Nashville, TN); quoted by Paul A. Richardson, "Basil Manly, Jr.," in Singing Baptists (Nashville: Church Street, 19(4), 96. 30 Coxno'teS, Basil Jr. expressed some dissatisfaction with the religious state of Baptists in Boston and the vicinity. He felt that there was too much emphasis upon fonn and ceremony.... The youth earmarked Dr. S. F. Smith ... as being an embodiment of the general trend of the North against any expression of emotionalism. 16 Though it is likely Samuel F. Smith would not have concurred with Basil Manly Jr.'s assessment, it is obvious from Smith's own statements about worship that the he believed the expression of emotion, while necessary, should result in elevated spiritual contemplation rather than mere emotionalism. Smith wrote, Worship is not designed to communicate illumination to the intellect ofrum who offers it, nor information to the omniscient Being to whom it is offered. If it be confined to the understanding, and thus become a merely intellectual exercise, it departs from its proper aim. Worship is prompted by emotion. Its first object is praise; after this, the expression of emotions of penitence, joy, humility, hope, love, or dependence, in such a manner as to involve an acknowledgement of God, and thus to whatever feeling it takes its rise, it tends toward God. Ifit begins in our own misery, it elevates the soul to the contemplation of divine mercy. It is, in truth, the utterance of the spirit of man, aspiring upward to its Creator. 17 The latter statement appeared in the "Preface" to The Psalmist (1843), a monumental hymnal compiled by Baron Stow and Samuel F. Smith under the supervision of the American Baptist Publication Society. The society's intention to produce a new Baptist hymnal was stated at its annual meeting in 1841: "Resolved, that it is desirable that our whole denomination should use, in the praises of the sanctuary, the same Psalms t~asil Manly Jr., letter to Basil Manly Sr., 5 November 1845; quoted by Cox, "A Study of the Life and WOJk of Basil Manly Jr.," 48-49. 17Baron Stow and S. F. Smith, Preface to The Psalmist: A New Collection ofHymns for the Use a/the Baptist Churches. cd. Baron Stow and S. F. Smith. (Boston: Gould. Kendall. and Lincoln, 1843),5. 31 and Hymns and Spiritual SongS.,,18 In addition to this aspiration, Stow and Smith stated their hope for the hymnal in its preface saying, "If it shall tend to the elevation of evangelical taste~ the interest of worship. the diffusion of more fervent piety and the glory of God, their [the compilers] aims will be accomplished." 19 The means by which the compilers intended to encourage the elevation of evangelical taste were various. First, they outlined the criteria by which they sought to identify a "good hymn." The criteria included the hymn's singularity of subject matter, its cohesion and flow, "raising the soul to the highest conception of the theme," its simplicity and brevity, its rhythmic consistency and fmally, its lyrical nature.20 Fundamentally, Stow and Smith sought to retain what they considered to be the best of evangelical hymnody with attention being given to the inclusion of English Baptists such as Benjamin Beddome, John Fawcett, John Needham, Samuel Stennett, and Anne Steele. New hymns were also introduced "whose decided merit and high spiritual tone qualified them for inclusion in the hymnal. ,,21 Secondly, the book's compilers took editorial license with many hymns. Their principal concern, as stated in the preface, was to maintain regularity of rhythmic accent. In their own words, "The changes were mainly such as were demanded in consequence of the faulty accentuation of the original . . . the inconvenience which is felt by choirs, 18J, Newton Browne, History ofthe American Baptist Publication Society, from Its Origin in 1824, to Its Thirty-Second Anniversary in 1856 (philadelphia: American Baptist Publication Society, 1856), 128. 19Stowand Smith. Preface to The Psalmist, 8. 2°Ibid.,6. 21Richard Wayne Rose, "The Psalmist: A Significant Hymnal for Baptists in America During the Nineteenth Century" (D.M.A. diss., Southwestern Baptist Theological Seminary, 1991),45. 32 resulting from the misplacement of the accented syllables in aline.,,22 In several instances, however, the alteration oftext resulted in a change of the first line and, thereby, the identity of the hymn. Regardless of where the adjustment occurred, it often resulted in an alteration of the author's imagery or even the intent of the phrase. Finally, the editors severely abridged numerous hymns in The Psalmist. Some of the most familiar hymns had been reduced to merely three or four stanzas. The reasons for abbreviation, as articulated by the publishers, were to aid the preacher in hymn selection, to facilitate memorization by congregants, to free the finest stanzas of lengthy hymns from superfluous content, to make room for the inclusion of more hymns, and to limit the bulk of the hymnbook. The following statement is representative of the publisher's sentiments: "There are some hymns very common as a whole, which may have some 3 to 4 very good stanzas; and all that would ever be sung, if the whole were there; and if there, might prevent any of them being sung. Why then lumber up the book with useless hymns or verses, while there are so many good ones?,,23 One additional aspect of The Psalmist intended by its compilers to facilitate "the elevation of evangelical taste" and "the diffusion of more fervent piety" was the inclusion of fifty-three scriptural and poetic selections for chanting. According to Richard Wayne Rose in his dissertation on The Psalmist, this collection was the first American Baptist hymnal to contain material of this kind.24 An explanation of its 22Stowand Smith, Preface to The Psalmist, 8. 23Gould, Kendall, and Lincoln, "Mr. W. Sands," ReligiOUS Herald, September 21,1843, p. 1; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vots., vol. 2, "Selected. Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986),42-44. 24Rose, "The Psalmist," 88. 33 inclusion in The Psalmist appeared prior to the chants themselves. The desi~ in appending to this Collection of Hymns a compilation of Chants, and Selections for Chanting, is to furnish to congregations the means ofjoining in this most devotional style of sacred music; . . . It is believed . . . that its occasional use will not only be highly interesting and salutary in itself, but that it will heighten, by contrast, the effect of the sacred melodies and harmonies now so generally used in connection with metrical psalmody.,,25 PublicatilOn and ReceptilOn IOf The Psalmist When the American Baptist Publication Society originally determined to produce "a denominational Hymn Book," they were unaware that the Boston publishing firm of Gould, Kendall, and Lincoln had already employed the services of Stow and Smith in an identical venture. Though the publication society had appointed its own committee of eight distinguished Baptists to "prepare and superintend the proposed selection," it determined to relinquish the task to Stow and Smith because of their high regard for the Massachusetts ministers. 26 The services of the committee were retained, however, with the intent that its emendation and approval of the compilers' selection would lend to The Psalmist's acceptance among Baptists as a whole. In spite of the radical editorial license that had been taken by Stow and Smith, all the members of the committee, five of whom were prominent Southern statesmen, signed their approval to the compilation in the following statement, The undersigned, having been requested, by the Board of Directors of the American Baptist Publication and Sunday School Society, to examine the proof-sheets of The Psalmist, edited by the Rev. B. Stow and Rev. S. F. Smith, and to suggest such emendations as might seem expedient to render the work more acceptable to the churches throughout our country, hereby certify that they have performed the 2SStowand Smith, The Psalmist, 627, quoted by Rose, "The Psalmist," 85. 26Rose, "The Psalmist," 38. 34 service assigned them, and unite in recommending the work as one well adapted to the purpose for which it was designed.,,27 Less than a year after its publication The Psalmist had been widely distributed and was receiving commendations in both the North and the South. At its annual meeting in 1844, the American Baptist Publication Society reported that it had produced 6,000 copies of the hymnal in addition to the 25,000 copies already sold by Gould, Kendall, and Lincoln. The report added that "the book was received with general approbation as the standard Baptist Hymn Book.,,28 The following year, the society reported that 15,000 copies had been issued by the Boston publishing house, bringing the total distribution to more than 50,000 copies. Apart from merely reporting its successful distribution, the American Baptist Publication Society and The Christian Review, of which Smith was the editor, issued statements of praise that exceeded the limit of propriety. The latter was so bold as to identify The Psalmist as "the best collection . . . ever published in the English language. ,,29 The American Baptist Publication Society claimed that "It has already done more to produce uniformity in the use of hymn-books, and correct the taste of the churches, than its projectors even anticipated. ,,30 27Certificate to The Psalmist, undersigned by editorial committee of the American Baptist Publication Society, The Psalmist: A New Collection ofHymns for the Use ofthe Baptist Churches, ed. Baron Stow and S. F. Smith (Boston: Gould, Kendall, and Lincoln, 1843). 28Rose, "The Psalmist," 43. 29Samuel F. Smith, ed., The Christian Review (September 1843): 450; quoted by Louis F. Benson, The English Hymn: Its Development and Use in Worship (philadelphia: The Presbyterian Board of Publication, 1915),364-65. 3~emuel Call Barnes, Mary Clark Barnes, and Edward M. Stephenson, Pioneers ofLight: The First Century ofthe American Baptist Publication Society 1824-1924 (philadelphia: The American Baptist Publication Society, 1924),41; quoted by Rose, "The Psalmist," 43-44. 35 Northern assessments of The Psalmist's superiority over its predecessors met with suspicion in the South. Yet, Northern presumption was only one among many reasons why The Psalmist was not successful as a hymnal for the denomination at large. While identifying it as "a decided advance" and "the best selection of hymns the Baptists had ever had," Lows F. Benson articulated numerous reasons why The Psalmist deserved criticism from a hymnological perspective. 31 His reasons included its alteration and systematic abbreviation of familiar texts, wrongful attribution of numerous Wesleyan hymns, and a surprising omission of many authors from the English evangelical tradition including Cennick, Cowper, Newton, and Wesley. While these deficiencies are significant, they do not address the fundamental reason why The Psalmist was particularly unsuccessful in the South. The compilers of "the frrst Baptist hymnal in the country to be published by a denominational publishing house" excluded the hymns of greatest popularity among a significant portion of their constituency.32 The predominant genre of congregational song in the South was that of the "spiritual song"; according to Jessee Howard Cates, "spiritual songs" represented the very "warp and woof' of Southern religious expression. 33 The folk idiom of which spiritual songs are a part afforded Southerners the freedom to convey their religious emotions, experiences and aspirations with great fervency. Their omission by Stow and Smith, in favor of hymns of "a correct and elevated taste," resulted in a general rejection 3lBenson, The English Hymn, 364. 32Hugh T. McElrath, "Turning Points in the Story of Baptist Church Music," Baptist History and Heritage 19 (January 1984): 10. 33Jessee Howard Cates, "American Baptist Hymnody from 1640 to 1850" (M.S.M. thesis, The Southern Baptist Theological Seminary, 1948), 70-71. 36 of The Psalmist among Baptists in the South.34 A carefully-reasoned critique of The Psalmist appeared in the Virginia Baptist publication the Religious Herald on August 10, 1843.35 In it the abridgments and alterations of Stow and Smith were addressed as inappropriate and even ethically questionable, The omission of favorite Southern hymns, however, was the offense the author identified as critically iIijurious to The Psalmist's success in the South: Our first examination of the work was directed rather to what was inserted than to what was omitted. On looking over the index in addition to the two [hymns previously] specified [namely, "Hark my soul, it is the Lord" and "Awake my soul in joyful lays"], we fmd other hymns constantly and continually used in our protracted and social prayer meetings omitted; "How finn the [sic] foundation, ye saints of the Lord;" "Begone unbeliefmy Saviour is near;" "How tedious and tasteless the hours;" "Amazing grace, how sweet the sound," These hymns we deem highly evangelical and practical; they are sung and will be, and the omission 36 will injure, we fear, the popularity of the work amongst US. In light of The Psalmist's omissions, Southern Baptist pastors Richard Fuller and J. B. Jeter compiled a supplement to be appended and published with the original hymnal. The new edition of The Psalmist . . . with the Supplement was published in 1847 by Gould and Lincoln. It was Fuller and Jeter's hope that their addition would encourage Southern acceptance of what they deemed "a copious supply of excellent 34Srow and Smith, Preface to The Psalmist, 7. 35The anonymously published critique of The Psalmist was written by W. Sands. The publishers of The Psalmist, Gould, Kendall, and Lincoln, responded to him in a letter that they did not intend to be published. Sands took the liberty, however, of including their curt response in a rebuttal of his own. It was printed in the Religious Herald, September 21, 1843. All three editorials appear in Measels, "Selected Readings," 38-48. 36"The Psalmist," Religious Herald, August 10, 1843, p. 127; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986), 38~42. 37 hymns for the pulpit.~· 37 The 53 chants of the fust edition were replaced with 106 hymns that were "best known, most valued, and most frequently sung in the South.,,38 Approximately one quarter of the authors represented in the Supplement were Baptists of either English or American citizenship. The prominent Southern Baptist, Andrew Broaddus was represented with four original hymns from his Virginia Selection (1839). Numerous hymns representative of the Southern folk idiom were included. "Awake, my soul, in joyful lays," "Come humble sinner in whose breast," "How firm a foundation ye saints of the Lord," and "Jerusalem, my happy home" were among them. The original hymnal's deficiency in Wesleyan hymnody was addressed with the inclusion of seven hymns. The collection of Olney Hymns, which had been poorly represented in The Psalmist, provided twenty-one hymns, including "Amazing grace, how sweet the sound" and "How tedious and tasteless the hours." In spite of the additions by Fuller and Jeter, however, scholars such as David L. Gregory maintain that "The Psalmist never achieved wide acceptance as a denominational hymnal in the South. ,,39 Predecessors to The Baptist Psalmody It is significant to note that none of the hymnals produced by Southerners met with wide acceptance among Southern Baptists either. At least six collections have been 37rucbard Fuller and J. B. Jeter, Preface to The Psalmist with the Supplement by Richard Fuller and J B. Jeter (Boston: Gou.ld and Lincoln, 1847), 1. 3~avid L. Gregory, "Psalmody in the Mid-Nineteenth Baptist Tradition" (M.C.M. thesis, The Southern Baptist Theological Seminary, 1987),35. 38 acknowledged by various hymnologists for their regional significance.4O William C. Buck's Baptist Hymnal (1842) received the broadest distribution and demonstrated what Richardson identified as a "sensitivity to the tastes of the South and West.,,41 Mercer's Cluster o/Spiritual Songs, Divine Hymns and Sacred Poems (Augusta, 1810), was popular in several states but mainly favored in Georgia. Andrew Broaddus' compilations, The Virginia Selection (1836) and its predecessor, The Dover Selection (1828) were dominant in the state of their origin. William DOssey's The Choice (1820) was embraced by the Baptists of South Carolina as was Baptist Harmony (1834), compiled by Staunton Burdett. The latter enjoyed a slightly broader distribution due to the inclusion of many of its texts in Southern Harmony--the favored tunebook of Southerners prior to the Civil War. 42 Apart from their regional distribution, these six hymnals were limited in the scope of their repertories as well. Buck's Baptist Hymnal was the most comprehensive. Its contents of 868 "hymns" and 211 "songs" were "built around the now traditional core of standard ('cultivated') hymnody.,,43 Louis F. Benson was quick to note however. that it did little to further the "best interests of Baptist Hymnody." 44 The Dover Selection (1828) had been "principally intended for popular use" and its contents of predominantly ~umerous scholarly articles by imminent Baptist hymnologists including Hugh T. McElrath, Harry Eskew, William J. Reynolds, and Paul A. Richardson reiterate the particular significance of these six hymnals among Baptists in the South prior to the publication of The Baptist Psalmody in 1850. 41Paul A. Richardson, "The Resources: American Baptist Hymnals," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992), 68. 42Harry Eskew, "Use and Influence of Hymnals in Southern Baptist Churches up to 1915," Baptist History and Heritage 21 (July 1986): 22. 43Richardson, "The Resources," 68. 44Benson, The English Hymn, 365. 39 "spiritual songs" reflect this intent. Though Andrew Broaddus designed his next compilatio~ The Virginia Selection, "for popular as well as pulpit use," its contents still did not meet the needs of Southerners at large.45 Scholars generally agree that the same could be said for the hymnals of Burdett, Dossey and Mercer. Though these compilations included some standards from the broad repertory of evangelical hymnody, they were all predominately collections of popular Southern "spiritual songs." Call for a "Sou.thern Psalmist" Dissatisfaction with these regional hymnals began to find expression in Baptist state publications. The first call for a "Southern Hymn Book" was sounded forth in 1844 from the state of Alabama. A request appeared in The Alabama Baptist for a hymn book "more suited to our wants than anyone now in circulation." The author indirectly suggested that The Psalmist was not suited to the needs of Southerners due to its omission of "the spiritual songs, which so enliven our devotions in this section" of the country.46 By 1845, the discussion had broadened to the extent that it garnered the attention and criticism of Baptists in the North.. An article in The Christian Index from March of that year defends the aspiration of "getting up a hymn book in the South. ,,47 45 Paul A. Richardson provides a detailed discussion of both The Dover Selection and The Virginia Selection including quotes from their prefaces in "Andrew Broaddus and Hymnody," in Singing Baptists: Studies in Baptist Hymnody in America (Nashville: Church Street, 1994),51-65. 46 Author unknown., ''Southern Hymn Book," The Alabama Baptist, November 11, 1844, p. 3; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986), 22. 47 Author unknown., "Hymn Book for Southern Churches," Christian Index, March 28, 1845, p. 3; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vois., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986),23. 40 Donald Clark Measels suggests that the dispute over The Psalmist and the subsequent call for a Southern Baptist hymnal was so significant that it "may have added to the groundsweU that brought on the withdrawal of Southern churches from the Triennial Convention and the formation of the Southern Baptist Convention.,,48 It is unlikely that the call for a "Southern Psalmist" figured significantly into the rationale for Southern separation from the Triennial Convention of the American Baptist denomination. As in the case of the national conflict to come, the contention between North and South was fundamentally related to slavery. It is interesting to note, however, that Basil Manly Sr. was at the center of both controversies. In 1843, James E. Reeve, a Georgia slaveholder, was rejected by the American Baptist Home Mission Society for appointment as a missionary to the Cherokee Indians. In response, the vice-president of the American Baptist Triennial Convention, a slave holding statesmen from Alabama, drafted the "Alabama Resolutions." The document demanded equal consideration of slave-holders and non-slaveholders with respect to Baptist mission appointment and alluded to the imminence of schism between Baptists in the North and South. The author of the document was none other than Basil Manly Sr.49 When the Alabama Resolutions were rejected jointly by the American Baptist Home Mission Society and the Board of Foreign Missions, the leading Baptists of the South responded with a call for formal separation from their Northern counterparts. Representatives from eight slave-holding states met in Augusta, Georgia in May, 1845 and the Southern Baptist Convention was established. Basil Manly Sr. was 48Measels, "A Catalogue of Source Readings in Southern Baptist Church Music," 1: 131. 49Cox. "A Study of the Life and Work of Basil Manly Jr.," 54. 41 central to the whole process of secession and was elected though he did not serve as the president of the convention's Domestic Mission Board. Manly Sr. was also involved in the compilation of the first hymnal for the fledgling denomination. A letter from Basil Manly Jr. to his father suggests that the two men had been considering the compilation of a Southern hymnbook for some time. Ironically, the letter was written the day after the Southern Baptist Convention was established in Augusta. Manly Jr. wrote, Do not we Southern folks need a Hymn Book "better suited to the wants of the denomination" than The Psalmist itself? Shall Dossey and Mercer still continue to be the sole ornament of Baptist Lyrical Literature at the South? The Psalmist don't [sic] suit us, that is clear.... Sears thinks the Psalmist preferable to Winchell's Watts-& so do l. But he says the Psalmist is a beautifully got up collection of tasteful, & elegant sacred poetry, but thinks it lacks fervor-point energy--that which makes a thing stick & take hold. 50 The letter alludes to the Southern rationale for a new hymnbook. Manly lr.'s reference to unpublished hymns by Toplady suggests their sparse inclusion in Southern collections. Examination of the six most popular hymnals in the South reveals that Toplady is merely representative of numerous Evangelical authors whose texts were relatively unknown to Southerners. Manly lr.'s disparaging reference to Dossey's Choice and Mercer's Cluster addresses their lack of sophistication in his view, and acknowledges his awareness of their limited repertories. Manly Jr. was not alone, however, in his discontent with the principal hymn collections of the South. The fonowing request to the newly formed publication society of the Southern Baptist Convention is representative of many that were printed in Baptist 50 Basil Manly Jr., letter to B. Manly Sr., 9 May 1845; quoted by Richardson, "Basil Manly. Jr.," 96. 42 state papers prior to 1850. We had hoped that Baptists had at last agreed to use a common Hymn Book, when The Psalmist appeared, but the unfortunate division between Baptists in the South from those in the North, has blighted that hope. Our churches are now looking for a suitable Hymn Book. The Virginia selection [sic] can never come in general use. Bro. Dossey's "Choice" is used but partially in three states, and Bro. Buck's Baptist Hymn Book will never be adopted in the Atlantic States. In this extremity our eyes tum to the new Publication Society, recently organized in Georgia, for succor. Will not the executive Board ofiliat Society . . . set about the compilation of a "Southern Psalmist?',s 1 Commission of the Manlys In spite of frequent requests from Southerners, the Publication Society was not the flrst to take action toward the compilation of a "Southern Psalmist." The Tuscaloosa Association of Alabama approached the Manlys in the summer of 1849 with the request to compile "a suitable collection of hymns adapted to the wants of our country churches.',s2 The Manlys agreed and in October, 1849, they published the fIrst advertisement for the anticipated collection in The Alabama Baptist. In accordance with a request of the Tuscaloosa Assocation, at its late session, the undersigned propose to publish a Hymn Book adapted to the use of Baptist Churches in the South. We design it to contain unaltered, the old hymns, precious to the children of God by long use, and familiarized to them in many a season of perplexity and temptation as well as spiritual joy. We shall also add such other hymns of more recent date as seem worthy to be associated with the former, in order to make a complete Hymn Book for public and private worhip [sic]. The work is in course of preparation, and will be published as soon as is consistent with its due and satisfactory completion. We shall spare neither pains nor expense to make a book suited to the wants of the churches, and if our labors Sl"Hymn Book Needed," Biblical Recorder, July 10, 1847, p. 2; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986), 144. 52COx, "A Study of the Life and Work of Basil Manly Jr.," 77. 43 shall aid in making singing. that delightful part of public worship, more attractive and elevating, we shall be amply rewarded. - B. Manly, B. Manly, Jun. [sic]"S3 Though the advertisement credits both Manlys with the compilation of The Baptist Psalmody, Manly Sr. willingly admitted that the bulk of the work was accomplished by his son 54 Manly Jr. had returned to Tuscaloosa in 1847 following the completion of his theological studies at Newton Theological Institute and Princeton Theological Seminary. Shortly after his homecoming, he was ordained by the First Baptist Church of Tuscaloosa and embarked upon an ambitious circuit ministry to multiple rural churches in Western Alabama. The harmful effects of such a strenuous service resulted in forfeiture of the circuit within a year. He returned home where the immediate editorial counsel of his father and his freedom from ministerial responsibility facilitated the expedient completion of The Baptist Psalmody. When the secretary of the Publication Society, Abram M. Poindexter, learned that Basil Manly Sr. and son had undertaken the compilation of a hymnal for Baptists of the South, he enthusiastically offered the cooperation of the society in the pUblication of a hymnal for the Southern Baptist denomination as a whole. He expressed the urgency of its expedient compilation to Basil Manly Jr. in a letter on December 17, 1849. "The urgent solicitations of friends seem to render it imperative upon us to get out a Hymn 53"A New Hymn Book," The Alabama Baptist, October 31, 1849, p. 2; reprinted in Donald Clark Measels, «A Catalogue ofSouree Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2. "Selected Readings" (D. M.A. OOs., The Southern Baptist Theological Seminary, 1986), 152-53. ~wo letters acknowledge the role of BasH Manly Sr. as principally adviSOry. Basil Manly Sr. to J. L. Reynolds, 15 November 1849, quoted by Reynolds in the Christian Index and South-Western Baptist, May 6, 1869; and Basil Manly Jr. to W. E. Schenk, 26 December 1877, quoted by Cox, "A Study of the Life and Work of Basil Manly Jr.," 77-78. 44 Book.',55 The Manlys were happy to gain the assistance of the society and, in January of 1850. Manly Jr. replied to Poindexter's request. He projected the completion of the work for the spring and informed the secretary that great pains were being expended in "'the arrangement of the hymns in a systematic textual order & in the provision of complete indexes both of subjects & Scriptures, especially the latter."s6 The Manlys' Editorial Values The great pains taken by the Manlys in the compilation of The Baptist Psalmody are evident in its accuracy, enormity, and the specificity of its indexes. The ordering of content. as displayed in the "Syllabus of Arrangement," expresses, to some extent, the editors' understanding of authentic Christian worship. Worship, as reflected in the organization of The Baptist Psalmody, begins with the recognition ofthe multifarious "Attributes and Acts of God." These attributes and acts of God have been quintessentially displayed in the character and accomplishments of his Son. Nearly ninety hymns are devoted to the person and work of Christ. Divine activity did not cease, however, with the ascension ofthe Lord Jesus. All who pursue Him in worship are compelled and empowered to gain a greater understanding of His achievements through the perpetual work of "the Holy Spirit'; Believers are both equipped and encouraged in their investigation through "the Scriptures.~' The progression of human response to divine revelation is then examined 55 Abram M. Poindexter, letter to Basil Manly, Jr., 17 December 1849; quoted by Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists (Nashville: Church Street Press, 1994),98. 56Basil Manly, Jr., letter to Abram M. Poindexter, 21 January 1850, quoted by Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists (Nashville: Church Street Press, 1994),98. 45 with attention given to "Man's natural state," "The Gospel," "Conversion," and the abundance of "Christian Experiences and Privileges" resulting from redemption. "The Church and Its Ordinances" are afforded thorough consideration. "Particular Classes" within the Body of Christ are admonished and exhorted. Various occasions of the calendar are committed to worship, such as "Morning and Evening," "the Seasons," "Thanksgiving," and '~ew Year." Finally the Church is called to consider the brevity of "Time" and the imminence of "Etemity," and to join the heavenly hosts in anticipatory "Doxology. " The Manlys were not only concerned with the appropriate order of Christian worship. They were also committed to the provision of a comprehensive repertory of hymnody with which to worship. The Baptist Psalmody, "the largest hymnbook ever produced by Southern Baptists," was compiled with "the intent that it supply hymns for any liturgical function and on any Scripture or topic that a preacher might address."S7 To aid the expositor in hymn selection, the Manlys included a fourteen-page scriptural index. More remarkable than the sheer scope of this supplement is the specificity with which it identifies scriptural references in popular hymns of the day. Comparison of The Psalmist and The Baptist Psalmody The Baptist Psalmody is comprised of 1,295 hymns, 9 single-stanza texts for the celebration of baptism, and 16 benedictory doxologies. The Psalmist contained 1,180 hymns and 55 texts for chanting. Compared to The Psalmist's identification of 161 authors and 50 collections, The Baptist Psalmody includes the texts of 178 authors and 55 S7RichardsoD, "Basil Manly, Jr.," 98. 46 collections. Though they are not named, many additional collections are represented by the authors whose work they contain. For instance, the texts of Cowper and Newton as contained in Olney Hymns (1779) are more favorably represented in The Baptist Psalmody than in any Baptist hymnal published prior to 1850. The Psalmist contained only 17 texts from Olney Hymns compared to 43 texts by John Newton and 18 texts by William Cowper in The Baptist Psalmody. Numerous hymnbooks that had been denied representation in The Psalmist were featured in The Baptist Psalmody. They include the collections of Anderson, Hawke, Howe, Pope, the Baptist Harp, the Beethoven Collection, the Christian Lyre, the Christian Melodist, Songs in the Night, and Spiritual Songs. While the texts of John Cennick and Samuel Davies had been entirely excluded from The Psalmist, a half dozen of each appeared in The Baptist Psalmody. The Manlys' collection featured more texts by leading evangelical authors as well. In addition to those previously mentioned, Benjamin Beddome, Philip Doddridge, Augustus Toplady, and Isaac Watts were all given greater representation in the Manlys' compilation for Southern Baptist congregations. 58 It is not surprising that Isaac Watts, "whose hymns and paraphrased psalms had formed the core of Baptist hymnody for more than a century" in Richardson's words, was honored with the most entries in The Baptist Psalmody.59 Three hundred nineteen hymns, nearly one-quarter of the texts in its repertory, were by Watts.60 S8See Appendix 2 for a list of the most significant contributors to The Baptist Psalmody. 59Richardson, "Basil Manly, Jr.," 99. 6OCOX erroneously stated in his brief discussion of The Baptist Psalmody that "there were almost as many hymns from Isaac Watts as from aU the other hymnists combined." "A Study of the Life and Work of Basil Manly Jr.," 79. Richardson may have been relying on Cox's testimony when he attributed Watts with half of the texts in The Baptist Psalmody. 47 The Wesleys, whose collections contain a repertory as commendable as that of Isaac Watts, were represented by the inclusion of 58 hymns in the contents of The Baptist Psalmody. The inclusion of so many Wesleyan hymns was significant for two reasons. First, it added to the ecumenical character of The Baptist Psalmody. In addition to nearly 200 hymns written by Baptists, the texts of Congregationalists, Episcopalians, Independents, Lutherans, and Presbyterians, as well as Anglicans, such as the Wesleys, were included in the content of The Baptist Psalmody. Although the hymnal was specifically intended for Southern Baptists, the Manlys made clear their appreciation for the contribution of other denominations to the repertory of congregational song. Secondly. the Wesleyan repertory, and the work of Charles Wesley in particular, was properly identified in The Baptist Psalmody. One of the principal criticisms of The Psalmist was its careless treatment of Wesleyan hymnody. As Louis F. Benson wrote of Stow and Smith, "their ignorance of the Wesleyan Hymns and their handling of them [was] surely inexcusable at so late a day.,,61 Though The Psalmist contained forty-four hymns by Charles Wesley, only twenty were correctly attributed to him.62 The Baptist Psalmody rightly acknowledged the Wesleys in every inclusion of their texts with the exception of "Christ, the Lord, is risen today." This text was attributed to Cudworth in both The Psalmist and The Baptist Psalmody. Abridgment of Hymns The accuracy employed in authorial attribution was one of many ways in 61Benson, The English Hymn, 364. 62Rose, "The Psalmist," 80. 48 which The Baptist Psalmody qualitatively surpassed its predecessor in the North. As has been previously noted., the editors of The Psalmist employed considerable editorial license in their treatment of many hymns. The critique of the hymnal in The Religious Herald of August 10, 1843. not only addressed the omission of Southern favorites, it presented specific examples of The Psalmist's editorial inaccuracies. The critic first addressed the abridgement of hymns as follows: So in hymns, when the name of the author is affixed, we suppose it is what he wrote, sent forth to the world, to be read as tending to edification. But where the system of abridgment is used, it may be only a portion of the hymn, and the train of reasoning interrupted, and injustice be done to the writer. For instance, hymn 708, "Your harps, ye trembling saints," is not the hymn which Toplady gave to the world, but only half thereof. A person acquainted with the fact, might naturally suppose that the three verses were all he deemed necessary to illustrate the topic on which he wrote.63 While such criticism may seem extreme to the modem reader, a comparison of Toplady's text as it appears in The Baptist Psalmody and The Psalmist, clarifies the liberality of Stow and Smith's editorial licence. The editors omitted the climactic stanzas of Toplady's text and altered the third verse of stanza one such that "love divine" receives the praise that Toplady intended for the person of "Christ." Note these discrepancies in the comparison below. The Psalmist Baptist Psalmody 1. Your harps, ye trembling saints 1. Your harps, ye trembling saints Down from the willows take; Down from the willows take; Loud to the praise of love divine, Loud to the praise of Christ, our Lord, Bid every string awake. Bid every string awake. 2. Though in a foreign land, 2. Though in a foreign land, We are not far from home; We are not far from home; And nearer to our house above And nearer to our house above We every moment come. We every moment come. 63"The Psalmist," Religious Herald; reprinted in Measels; "Selected Readings," 40. 49 3. His grace will to the end 3. His grace shall to the end Stronger and brighter shine; Stronger and brighter shine; Nor present things, nor things to come Nor present things, nor things to come Shall quench the spark divine. Shall quench the spark divine. 4. Omitted 4. The time of love will come, When we shall clearly see, Not only that He shed his blood~ But each shall say, "for me." 5. Omitted 5. Blest is the man, 0 God, That stays himself on thee! Who waits for thy salvation, Lord, Shall Thy salvation see.64 Another hymn that seems to suffer from undue abridgment in The Psalmist is Joseph Stennett's "Lord at Thy table we behold." This vivid communion hymn by one of the earliest English Baptist hymn writers leads the worshiper in a remarkable progression from penitence to praise. Its effect is weakened in the drastically abbreviated version of Stow and Smith. Besides being truncated, it is radically altered, as is reflected in the italicized word phrases of the parallel comparison below. The Psalmist The Baptist Psalmody 1. Lord, at thy table we behold 1. Lord, at thy table I behold The wonders of thy grace, The wonders of thy grace; But most of all admire that we But most of all admire that I Should fmd a welcome place; Should find a welcome place. 2. We, who are all defiled with sin, 2. I, that am all defiled with sin And rebels to our God; A rebel to my God: We, who have crucified thy Son, I. that have crucified his Son And trampled on his blood. And trampled on his blood. 64 Augustus Toplady, "Your harps, ye trembling saints," in The Psalmist: A New Collection ofHymns for the Use ofthe Baptist Churches, ed. Baron Stow and Samuel F. Smith (Boston: Gould, Kendall, and Lincoln; Philadelphia: American Baptist Publication and Sabbath School Society, 1843), 708; "Your harps, ye trembling saints," in The Baptist Psalmody: A Selection ofHymns for the Worship o/God, ed. B. Manly and Basil Manly Jr. (Charleston: Southern Baptist Publication Society, 1850),827. 50 3. What strange, surprising grace is this, 3. What strange, surprising grace is this, That we, so lost, have room! That such a soul has room! Jesus our weary souls invites, My Saviour takes me by the hand, Andfreely bids us come. My Jesus bids me come. Omitted 4. "Eat, 0 my friends," the Saviour cries "The feast was made for you; For you I groaned, and bled, and died, And rose, and triumphed too." Omitted 5. With trembling faith, and bleeding hearts Lord, we accept thy love: 'Tis a rich banquet we have had - What will it be above! 4. Ye saints below, and hosts of heaven, 6. Ye saints below, and hosts of heaven Join all your sacred powers: Join all your praiSing powers; No theme is like redeeming love; No theme is like redeeming love, No Saviour is like ours. No Saviour is like ours. Omitted 7. Had I ten thousand hearts, dear Lord, I'd give them all to thee: Had I ten thousand tongues, they all Should join the harmony.65 The Psalmist's general tendency toward abridgment prompted the well-reasoned but harsh criticism printed in The Religious Herald. The anonymous reviewer acknowledged the rationale with which Stow and Smith exercised such license, only to expose the flaws in their reasoning. He then turned his attention to the alteration of texts. Alteration of Texts While the writer of the critique in the Religious Herald referred to "the great length to which the process of alteration had been carried," he did not cite examples as 6SJoseph Stennett, "Lord, at thy table we behold," in The Psalmist: A New Collection ofHymns for the Use ofthe Baptist Churches, ed. Baron Stow and Samuel F. Smith (Boston: Gould, Kendall, and Lincoln; Philadelphia: American Baptist Publication and Sabbath School Society, 1843), 839; "Lord, at thy table we behold," in The Baptist Psalmody: A Selection ofHymns/or the Worship of God, ed. B. Manly and Basil Manly Jr. (Charleston: Southern Baptist Publication Society, 1850),939. 51 significant as those that appear in the hymn above.66 The two alterations he chose to address entailed the substitution of a single word. He argued, however, that even a small alteration changes the author's intent. One of the hymns he cited was Thomas Ken's "Awake my soul, and with the sun." The full text of stanza one reads: Awake my soul, and with the sun Thy daily stage of duty run; Shake off dull sloth, and joyfol rise, To pay thy morning sacrifice. Ken's original wording in line three of stanza one was "Shake off dull sloth, and early rise." Ken defmed the time. The word substitution in The Psalmist defined a condition or state ofmind.67 To such a change, the Herald critic noted, "We ought always to be careful in amending not to modify the meaning or convey other ideas than the original gives.,,68 The alteration was preserved in The Baptist Psalmody. However, there are more significant examples of textual alteration made by Stow and Smith that were not perpetuated in The Baptist Psalmody. The first line of "Hark! from the tombs a warning sound!" is restored in The Baptist Psalmody to Watts' original, "Hark! From the tomb a dolefol sound!" Likewise, the opening line of "Long have I heard the joyful sound," was returned to "Long have I sat beneath the sound" The Baptist Psalmody preserved the specific implications of each incipit. While the Manlys were generally more fastidious in their preservation of texts than Stow and Smith had been, it should be noted that they occasionally took considerable editorial license. According to Julian's Dictionary ofHymnology, 66.'The Psalmist," Religious Herald; reprinted in Measels, "Selected Readings," 41. 68lbid., 42. 52 Toplady's hymn "Deathless principle arise" was often entitled "Deathless spirit, now arise" in early American collections. Some collections began their setting of the hymn with the first phrase of its fifth stanza, "Burst thy shackles! drop thy c1ay!,,69 The Manlys chose to create an entirely new title by combining portions of the incipits already in print. Their new incipit became "Deathless spirit. drop thy clay!" Its derivation from "Deathless principle, arise" was further obscured through the combination of phrases from the second and fifth stanzas of Toplady's original. This is a rare instance in which The Psalmist preserved the author's original text in its entirety. The Psalmist Baptist Psalmody 1. Deathless spirit, now arise 1. Deathless spirit, drop thy clay Soar, thou native ofthe skies Sweetly breathe thyselfaway Pearl of price, by Jesus bought Go to shine before the throne To his glorious likeness wrought Deck the Mediator's crown 2. Go to shine before the throne (Interpolated into Stanza One) Deck the Mediator's crown Go, his triumphs to adorn Made for God, to God return 3. Lo! He beckons from on high 2. Lo, he beckons from on high Fearless to his presence fly Fearless to his presence fly Thine the merit of his blood Thine the merit ofhis blood Thine the righteousness of God Thine the righteousness of God 4. Angels, joyful to attend Omitted Hovering round thy pillow bend, Wait to catch the signal given, And convey thee quick to heaven. S. Burst thy shackles; drop thy clay (Interpolated into Stanza One) Sweetly breathe thyselfaway Singing, to thy crown remove Swift of wing, and fired with love. 6910nn Julian, ed., Dictionary ofHymnology: Origin and History ofChristian Hymns and Hymnwriters ofAll Ages and Nations, 2 vols. (London: J. Murray, 1907; reprint, Grand Rapids: Kregel, 1985), 1: 285. 53 6. Shudder not to pass the stream 3. Shudder not to pass the stream Venture all thy care on Him Venture all thy care on him Him, whose dying love and power Him whose dying love and power Stilled its tossing, hushed its roar Stilled its tossing, hushed its roar 7. Safe is the expanded wave 4. Safe is the expanded wave Gentle as a summer's eve Gentle as a summer's eve Not one object of his care Not one object of his care Ever suffered shipwreck there Ever suffered shipwreck there. 8. See the haven full in view Omitted Love divine shall bear thee through Trust to that propitious gale; Weigh thy anchor, spread thy sail. 9. Saints in glory, perfect made Omitted Wait thy passage through the shade; Swiftly to their wish be given; Kindle higher joy in heaven. 70 Omission of "Southern Standards" The last comparison to be drawn between The Psalmist and The Baptist Psalmody is in the inclusion of "favorite" Southern hymns. W. Sands' criticism of The Psalmist in the Religious Herald had to do with a limited number of hymns. He described the significance of their omission as follows: We looked in vain for some hymns, which being generally sung, and ordinarily found in all our selections, we supposed would not be set aside. We know that taste differs, that hymns which are favorites here. may not be so at the East. As far as we are conversant with facts, there is a concurrence in views in the middle, southern, and most of the western states; and judging from the selections, a difference in choice in our New England brethren. In the latter metrical excellence appears in many cases to be chosen in preference to evangelical sentiment, when clothed in a 70 Augustus Toplady. "Deathless spirit, now arise," in The Psalmist: A New Collection ofHymns for the Use ofthe Baptist Churches, ed. Baron Stow and Samuel F. Smith (Boston: Gould, Kendall, and Lincoln; Philadelphia: American Baptist Publication and Sabbath School Society, 1843), 839; "Deathless spirit, drop thy clay," in The Baptist Psalmody; A Selection ofHymns for the Worship ofGod. ed. B. Manly and Basil Manly Jr. (Charleston: Southern Baptist Publication Society, 1850), 1194. 54 less attractive garb. It is to this difference of taste, that we must ascribe the exclusion of hymns, which have always been favorites in the South.7l The hymns specifically cited by Sands were "Hark my soul, it is the Lord" by Cowper, "Awake my soul, in joyful lays" by Medley, "How firm a foundation, ye saints of the Lord" [Kirkham], and "Begone unbelief, my Saviour is near," "How tedious and tasteless the hours," and "Amazing grace, how sweet the sound" by Newton. In his response to the rebuttal by Gould, Kendall and Lincoln, Sands reiterated the popularity of these hymns and added to the list "What various hindrances we meet" by Cowper and "Come humble sinner in whose breast" by American Baptist hymnwriter Edmund Jones. Of this nucleus of Southern hymnody he wrote, Nearly all of those [hymns] we specified are in every selection we have seen; . . . Most of them are found in all the New England selections we have seen; in Winchell, Dobell, Nettleton. Linsley and Davis. They are to be found in Episcopal, Presbyterian and Methodist selections. Public taste in every Christian land, in every denomination, has decided the question of their worth and fitness for public worship. Their rejection is not a decision in conformity with public taste, but in opposition to it, and it is certainly a question of the churches to decide, whether or not their predilections must be set aside to gratify the taste of two brethren. But the publishers of The Psalmist intimate. that the improvement of the public taste, and its probable future improvement, justify the omission of those hymns. 72 In comparison to Stow and Smith, the Manlys believed the seal of public approval to be fundamental in the identification of indispensable hymnody. Prior to the pUblication of The Baptist Psalmody, they set forth their philosophy for hymn selection in The Alabama Baptist. The Manlys not only addressed the snobbery that many 71"The Psalmist," Religious Herald; reprinted in Measels, "Selected Readings," 39-40. 72Gould, Kendall, and Lincoln, "Mr. Sands," Religious Herald; reprinted in Measels, "Selected Readings," 45. 55 Southerners believed was at the core of The Psalmist's compilation, they also alluded to the sentimentality that had influenced the compilation of so many Southern hymnals. Some of the books in use among us appear to have been framed with principal regard to the elegance and beauty ofthe composition; and the compiler's taste is made the test of admission or exclusion. Others on the other hand, were formed apparently by gathering from every quarter whatever expressed warm. and lively emotion, whether poetical, grammatical, and in accordance with good taste and sound doctrine, or not; and thus the compiler's feelings have been made the standard. It has appeared to us that a Hymn Book ought to be made, in which the standard should be neither the private taste nor the personal feelings of the compiler, but the taste and fellings [sic] of the well-informed religious public; and that such hymns should be admitted as have received the broad seal of this approbation, whether they answered to some arbitrary standard of a particular individual, or not. If a hymn, which is sound in doctrine, should be generally circulated and widely admired, and seen moreover to be useful in numerous and diversified regions--that is a good hymn, no matter what some fastidiously sensitive critic may say of it. Such hymns as "Jesus my all to heaven is gone," "Oh, when shall I see Jesus," "How firm a foundation, ye saints of the Lord," "Jesus, thou art the sinner's friend," "Awake my soul in joyful lays," "Saviour, visit thy plantation," "Amazing grace, how sweet the sound," "Children of the Heavenly King," &c., &c., may be critized [sic], and perhaps with some justice, and yet we can neither amend them, nor do without them. In these strains have the people of God long poured forth feelings almost too deep for utterance, and with them our earliest and dearest religious associations are inseparably connected. 73 The Manlys obviously had The Psalmist in mind when they included this paragraph in the first advertisement for their forthcoming collection of hymns. They alluded to W. Sands's critique of Stow and Smith when they admonished "fastidiously sensitive" critics. It was their identification of favorite Southern hymns, however, that denoted the most significant point of comparison between The Baptist Psalmody and The Psalmist. With the exception of"Oh when shall I see Jesus," every hymn identified by the Manlys in their advertisement was included in The Baptist Psalmody. Those not mentioned by them but specified as Southern "favorites" by Sands in the Religious 73B. Manly and B. Manly Jr., "A New Hymn Book," Alabama Baptist; reprinted in Measels, "Selected Readings," 152. 56 Herald. were included as well. It may be a struggle for the modern-day Baptist to grasp the significance of omitting a dozen hymns from a collection of nearly 1.200. Southern criticism of The Psalmist on the issue of omission may seem extreme until the collection's entire contents are compared with that of The Baptist Psalmody. Of the 1,295 hymns contained in the Manlys' compilation, 472 did not appear in The Psalmist. Southern affinity for many of these hymns was evident in the fact that 70 of them were included in the Supplement (1847) to The Psalmist published by Southern Baptist pastors Richard Fuller and J. B. Jeter. However, there are even more specific means of ascertaining the Southern significance of these 70 hymns and others in the repertory of The Baptist Psalmody that were omitted from The Psalmist. As has been previously stated, at least six Southern hymnals benefited from regional distribution and use in the first half of the nineteenth century. Two tune books were predominantly popular as well. A comparison of the contents of these collections with the texts that were omitted from The Psalmist resulted in the identification of regionally significant hymns. Those that appeared in a majority of the collections may be categorized as "standards" in the Southern repertory of congregational song. The specific means of hymnal comparison and hymn categorization are explained below. The following eight collections were examined with respect to the 472 hymns that were excluded from The Psalmist: Broaddus's Dover Selection (1828) and Virginia Selection (1836), Buck's Baptist Hymnal (1842), Burdett's Baptist Harmony (1834), Dossey's The Choice (1820). Mercer's Cluster (1810), Walker's The Southern Harmony (1835). and White's The Sacred Harp (1844). Fuller and Jeter's Supplement (1847) 57 to The Psalmist served as the ninth collection for the purpose of comparison with The Baptist Psalmody (1850). Those hymns excluded from The Psalmist that appeared in three or more Southern collections. not including The Supplement, were recognized as regional favorites among Southern Baptists. Hymns that appeared in five or more of all the collections examined were regarded as "standards" in the repertory of Southern Baptist congregational song. Of the 472 hymns excluded from The Psalmist, 73 appeared in three or more Southern collections making them regional favorites. The Supplement to The Psalmist contained 28 of these regional favorites. According to my research, 27 of the 73 hymns appeared in five or more of the Southern collections examined. These hymns may be defined as "standards" in the Southern Baptist repertory of congregational song. They are listed below. Those that did not appear in either The Psalmist or its Supplement are listed first. "Approach, my soul, the mercy seat" John Newton "Come, humble sinner in whose breast" Edmund Jones "How happy is the pilgrim's lot" John Wesley "Jerusalem, my happy home" Anonymous "The day is past and gone" Anonymous "Vam, delusive world, adieu" Charles Wesley "Where two or three in one accord" Samuel Stennett "Southern standards" that were added in the Supplement to The Psalmist include: "Affiictions, though they seem severe" John Newton "Amazing grace, how sweet the sound" John Newton "And let this feeble body fail" Charles Wesley "As on the cross the Saviour hung" Samuel Stennett "Awake, my soul, in joyful lays" Samuel Medley "Begone, unbeliefl my Saviour is near" John Newton "Brethren, while we sojourn here" Joseph Swain "Children of the heavenly King" John Cennick "Do not I love thee, 0 my Lord" Philip Doddridge "Earth has engrossed my love too long'; Isaac Watts 58 "Hark, my soul! it is the Lord" William Cowper "How firm a foundation, ye saints of the Lord" [Kirkham] "How happy's every child of grace" Charles Wesley "How sweet the name of Jesus sounds" John Newton "How tedious and tasteless the hours" John Newton "Jesus, thou art the sinner's friend" Anonymous "Mortals, awake with angels" Samuel Medley "Saviour, visit thy plantation" John Newton "The chariot! The chariot!" Milman "Ye dying sons of men" J. Boden The identification of these hymns as "standards" in the Southern repertory seems to be confirmed by the fact that 10 of them are included in a list of Southern Baptist hymnody compiled by Irvin H. Murrell. Murrell's doctoral dissertation, "An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks," identifies hymns that could be considered representative of the early Southern Baptist repertory.74 Murrell based his study on the analysis of 81 Southern hymn and tune books published prior to 1860. The contents of these collections were examined to determine those hymns and tunes used most prolifically in the South. A hymn that appeared in two-thirds of the hymnals examined was identified as a "valid representative of the hymn and tune repertories of the period.,,75 Though numerous hymns fell just short of the necessary representation in 54 of the 81 hymnals, Murrell identified 27 that could be considered representatives of the hymn repertory of Southern ante-bellum Baptist churches. 76 The twenty-seven hymns Murrell identified are listed below. An asterisk identifies hymns that were shown by both this study and the work of Murrell to be 74Irvin H. Murrell, "An Examination of Southern Ante-Bellum Hymnals and Tunebooks as Indicators of the Congregational Hymn and Tune Repertories ofthe Period with an Analysis of Representative Tunes" (D.M.A. diss., New Orleans Baptist Theological Seminary, 1984). 75Murrel1, "An Examination of Southern Ante-Bellum Hymnals and Tunebooks," 16. 16Ibid., 61. 59 standard among Southern Baptists. The abbreviations that precede the authorial attribution of each hymn designate those hymns that appeared in The Psalmist (1843) by Stow and Smith (PS), Fuller and Jeter's Supplement (1847) to The Psalmist (SPS), and those included in The Baptist Psalmody (BP). "Alas and did my Savior bleed" PS,BP Watts "All hail the power of Jesus' name" PS,BP Duncan "Amazing grace! how sweet the sound"'" SPS,BP Newton "Am I a soldier of the cross" PS,BP Watts "Awake, my soul, in joyful lays"'" BP Medley "Blow ye the trumpet~ blow" PS,BP Wesley "Children of the heavenly King"'" BP Cennick "Come, humble sinner, in whose breast"'" BP Jones "Come, Thou Fount of every blessing" PS,BP Robinson "Come, we that love the Lord" PS,BP Watts "Come, ye sinners, poor and needy (wretched)" PS,BP Hart "Grace, 'tis a charming sound" BP Doddridge "Hark, my soul! it is the Lord"'" BP Cowper "He dies! the friend of sinners dies" PS,BP Watts "How fIrm a foundation"'" BP [Kirkham] "How tedious and tasteless the hours"'" BP Newton "Jerusalem, my happy home"'" BP Anonymous "Jesus, my all, to heaven is gone"* SPS,BP Cennick "On Jordan's stormy banks I stand" PS,BP Watts "0 when shall I see Jesus" NONE Anonymous "Salvation, 0 the joyful sound" PS,BP Watts "Show (Shew) pity Lord, 0 Lord forgive" PS,BP Watts "The day is past and gone"'" BP Anonymous "There is a fountain fIll'd with blood" PS,BP Cowper "Thus far the Lord has led me on" PS,BP Watts "Welcome, sweet day of rest" PS,BP Watts "When I can read my title clear" PS,BP Watts Note that none of the hymns with an asterisk appeared in the original edition of The Psalmist and all the hymns, with the exception of "0 when shall I see Jesus," were included in The Baptist Psalmody. If all the hymns defined as "Southern standards" in this study and those identifIed by Murrell above were combined, the number excluded from The Psalmist would be at least 30 hymns. Many more hymns could have been 60 included in this list had they been present in just one more Southern collection. The knowledge that these "regional favorites" as well as the "Southern standards" listed above were excluded from The Psalmist makes it is easy to understand why the latter hymnal was not well received in the South. Reception of The Baptist Psalmody The Baptist Psalmody benefited from a generally favorable reception among Southern Baptists. Paul A. Richardson attributed this fact fundamentally to the editorial values apparent in its compilation. He wrote, "It appealed to Southern ministers and congregations by being more faithful to the original versions of texts and by including many regional favorites not deemed up to the standards of The Psalmist or its Supplement.,,77 Even prior to its publication, it was heralded in the Alabama Baptist as "The Hymn Book for the Southern Churches.,,78 The year after its pUblication it received commendable reviews in The Southwestern Baptist, The Religious Herald, and The Biblical Recorder. Though the writer in the last-name journal identified justifiable flaws with the compilation, he still made the following bright prediction for The Baptist Psalmody: "The well know [sic] and eminent name of the Senior Editor, the work coming out as by authority, and the anti-Northern feeling now strong and wide-spread over this section of the Union will probably secure this Collection a very general reception among US.,,79 77Richardson, "Basil Manly, Jr.," Baptist History and Heritage, 23. 7ll"The New Hymn Book," Alabama Baptist; reprinted in Measels, "Selected Readings," 153. 79"Baptist Psalmody, - No.3," Biblical Recorder, May 3, 1851, p. 266; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986), 158. 61 The Religious Herald concurred with the secessionist sentiment of its sister publication in suggesting that The Baptist Psalmody should be accepted by Southern Baptists to reinforce their separate identity from Northerners. The conclusive remarks from that review are as follows: It is quite as well adapted to our churches and to answer the purposes of religious worship as is that work [The Psalmist]; and we think it is both good policy and patriotism to foster and encourage our own society, and our own productions, when they will answer our ends. We hope, that it [The Baptist Psalmody] will be generally introduced, at least into the churches connected with the Southern Convention.80 The first and most flattering review, however, was printed in the Southwestern Baptist. The author expressed gratitude for the readmission of "most of our good old familiar hymns" as well as the introduction of outstanding new hymnody. 81 He specifically acknowledged the contributions of Basil Manly Jr. and Abram M. Poindexter in this regard. The latter contributed seven texts to the compilation. Manly Jr. wrote nine hymns for inclusion in The Baptist Psalmody. The reviewer from the Southwestern Baptist was so impressed in fact, that he equated the contributions of Basil Manly Jr. with those of Watts and Wesley. The following approbation from the penultimate paragraph of his review is representative of the article as a whole. The whole book, as it lies before us, must commend itself to the cordial esteem of Baptists generally, on account of the soundness of its doctrinal views, the excellence and simplicity of its arrangement, the deep-toned fervor of its . . . 80"The Baptist Psalmody," Religious Herald, January 23, 1851, p. 2; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986), 155. 81"Baptist Psalmody," Southwestern Baptist, January 8, 1851, p. 2; reprinted in Donald Clark Measels, "A Catalogue of Source Readings in Southern Baptist Church Music: 1828-1890," 2 vols., vol. 2, "Selected Readings" (D.M.A. diss., The Southern Baptist Theological Seminary, 1986),154. 62 breathlngs, as wen as for its poetic merits. It is just what we expected from the hands of its compilers--a hymn book for the Baptist churches of the South.82 Apart from its commendation at the state level, The Baptist Psalmody was promoted among Southern Baptists at large. At its annual meeting at Nashville in 1851, the Southern Baptist Convention adopted the following resolution: "Resolved, that The Baptist Psalmody be recommended to the churches to be used in offering their songs of praise to Father, Son, and Holy Ghost."s3 Moreover, the Southern Baptist Publication Society included the following appraisal in its annual report of 1852: "It [The Baptist Psalmody] contains a great variety of religious lyric, among which have been carefully preserved many of the psalms, and hymns, and spiritual songs, which, ostracized by too fastidious a taste from other collections, are yet familiar to the worship of our Southern Churches. It is becoming the standard hymn book among our people.,,84 The latter assessment of The Baptist Psalmody's immediate acceptance is questionable in light of the fact that the hymnal had been printed just two years prior. There is evidence however, that the Manlys' collection benefited from considerable distribution over the next decade. David L. Gregory documents a total of twelve editions of The Baptist Psalmody, the last of which was published by Sheldon and Connor in 1871.85 By 1877. Basil Manly Jr. was willing to estimate that "between fifty and sixty 1l2"Baptist Psalmody," Southwestern Baptist, 154. 83Minutes oHhe Southern Baptist Convention, 1851, p. 16; quoted by Cox, "A Study of the Life and Work of Basil Manly, Jr.," 79. ~inutes of the Southern Baptist Publication Society, 1853, p 11; quoted by Cox, "A Study of the Life and Work of Basil Manly, Jr.,'" 79. 8SGregory, "Psalmody in the Mid-Nineteenth Century Southern Baptist Tradition," 49. 63 thousand copies of The Baptist Psalmody had been sold. ,,86 The reality of its broad acceptance among Southern Baptists in comparison to The Psalmist's dominance in the North is thereby verified by Manly Jr. himself. Seyeral hymnologists of the twentieth century concur. Harry Eskew notes specifically that The Baptist Psalmody "gained acceptance in the South comparable to The Psalmist in the North.,,87 Significance of The Baptist Psalmody In spite of its broad dissemination among Southerners, The Baptist Psalmody has only recently received commendation as more than merely one among many Southern Baptist compilations in the mid-nineteenth century. Southern Baptist pioneer hymnologist William 1. Reynolds did not even acknowledge The Baptist Psalmody in his article from 1976, "Our Heritage of Baptist Hymnody in America.88 Likewise, Hugh T. McElrath--arguably the most influential Southern Baptist hymnologist of the twentieth century--barely mentioned the contemporaneous significance of The Baptist Psalmody when he acknowledged The Psalmist as one of the "turning points in the story of Baptist church music. ,,89 While Southern Baptist hymnologists have always identified The Baptist Psalmody as a notable collection in the chronology of the denomination's hymnody, ~asil Manly Jr., letter to W. E. Schenck, 26 December 1877; quoted by Cox, "A Study of the Life and Work of Basil Manly Jr.," 79. 87Harry Eskew, "Use and Influence of Hymnals in Southern Baptist Churches Up to 1915," in Singing Baptists (Nashville: Church Street, 1994), 184. 88WiUiam J. Reynolds, "Our Heritage of Baptist Hymnody in America," Baptist History and Heritage 11 (October 1976): 193-17. ~ugh T. McElrath, "Turning Points in the Story of Baptist Church Music," Baptist History and Heritage 19 (January 1984): 4-16. 64 few of them have acknowledged it as a significant step forward in the development of Southern Baptist hymnody in America. Only in the last decade of the twentieth century did a leading hymnologist such as Paul A. Richardson examine and describe the collection in any detail. In his succinct study of the hymnals that made an impact in the development of Baptist congregational song in America, Richardson summarized the commendable traits of The Baptist Psalmody: This was a highly significant book. It existed on the same plane as The Psalmist and exceeded its editorial standards. This first Southern Baptist hymnal was, as it subtitle states, "A Selection of Hymns for the Worship of God," and was, clearly, a "cultivated" book. It contained principally "psalms" and "hymns," but also had many of what we might identify as "spiritual songs," those less-formal hymns that had been omitted from The Psalmist. It was a large book. . . . The Baptist Psalmody remains "the largest, most comprehensive hymnal ever produced by Southern Baptists." Its acceptance was by no means universal . . . among Southern churches. But it is with this book that we can speak, for the first time, of some measure of Southern Baptist identity in a hymnal.90 As Richardson notes, The Baptist Psalmody was significant for many more reasons than its identification as the first hymnal for the Southern Baptist denomination. It was far more comprehensive than any contemporaneous collection of the South and, thereby, more commendable with respect to the quantity and diversity of its contents. Specifically, it was more inclusive of texts from the broad spectrum of "cultivated" evangelical hymnody as well as from the "vernacular" tradition of Southern folk hymnody.91 It was generally more accurate and considerate in its editorial standards. Finally, it benefited from considerable distribution in the South and surpassed The Psalmist with respect to acceptance and use among Southern Baptists. ooruchardson, "The Resources," 69. 65 Conclusion This study has demonstrated that The Baptist Psalmody was a significant achievement in the development of Baptist hymnody and the congregational song of Southern Baptists, in particular. By virtue of its comprehensive character, the diversity of its content, its editorial accuracy, its thoughtful design, and the peculiarity of its orientation for the earliest churches of a new denominatio~ it merits greater acknowledgment in the history of Baptist hymnody. CHAPTER 3 BAPTIST CHORALS (1859) Introduction If the hymnological contribution of Basil Manly Jr. were solely dependent upon his role in the compilation of The Baptist Psalmody, that work would have secured for him a distinguished position among his Southern Baptist peers. However, Manly Jr. joined forces with A. Brooks Everett in 1859 to produce Baptist Chorals.1 The collection of 424 hymns and 164 tunes was designed to serve as a tune supplement for "The Baptist Psalmody and The Psalmist, the two books most extensively used in the Baptist churches of the United States." 2 However, the scope of Baptist Chorals allowed it to be used as a self-contained hymnal for congregational worship as wen. Nearly all of the texts were gleaned from the repertories of The Psalmist (1843) and The Baptist Psalmody (1850), and the tunes were identified as the most "universally popular with congregations and choirs, on account of their chaste simplicity and truly devotional character.,,3 This chapter IBasil Manly Jr. and A. Brooks Everett, Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns (Richmond: T. J. Starke & Company, 1859). 2Basil Manly Jr., Preface to Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns, ed. Basil Manly Jr. and A. Brooks Everett (Richmond: T. J. Starke & Company, 1859), ii-iii. 3A. Brooks Everett, Musical Preface to Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns, ed. Basil Manly Jr. and A. Brooks Everett (Richmond: T. J. Starke & Company, 1859), iv. 66 67 will discuss the historical background and innovations of Baptist Chorals. It will also seek to establish the significance of Basil Manly Jr. 's second compilation of hymns within the larger context of mid-nineteenth century Southern Baptist hymnody. Historical Background Prior to any detailed analysis of Baptist Chorais, it is helpful to know the historical events that preceded its compilation. In the months that followed the publication of The Baptist Psalmody (1850), Basil Manly Jr. received a call to pastor the First Baptist Church of Richmond, Virginia. At the time of his calling, the First Baptist Church was "the largest white church of that denomination, and in many respects the most influential..,4 Given Manly Jr.' s single year of experience in ministry, and that in rural Alabama, primarily among Negro congregations, it is surprising that a congregation of such prominence would have extended a call to him. Perhaps it was his service as secretary pro tem at the sessions of the Southern Baptist Convention in 1849 that garnered the attention of the Richmond congregation.5 Perhaps Manly Jr. had been commended as a suitable candidate by the church's previous pastor, J. B. Jeter. The latter had served as the co-compiler of the Supplement to The Psalmist and was certainly aware of Manly Jr.'s growing esteem among Southern Baptists. Whatever the reason for his recommendation, the young Alabama preacher arrived in Richmond in September of 1850, to fill the pulpit of the First Baptist Church in an interim capacity. He accepted responsibility as the principal pastor of the 4Joseph Powhatan Cox, "A Study of the Life and Work of Basil Manly Jr." (Th.D. thesis, The Southern Baptist Theological Seminary, 1954),90. su,id., 83·85. 68 congregation in November of that year.6 Manly Jro's pastoral duties continued until 1855 when the dual demands of teaching and shepherding a large, urban congregation forced him to retire. The lack of physical stamina that had forced him from his preaching circuit in Alabama, plagued him in Richmond and remained a "thorn" throughout his ministry. The opportunity to serve as principal of the newly established Richmond Female Institute made the necessity of his retirement from pastoral ministry more bearable for him. It also afforded him the opportunity to remain in the city where his own family had been newly established. Manly Jr. had married Charlotte Smith in 1852. during a convalescent stay at his home in Alabama. The couple returned to Richmond where they were blessed with the birth of five children prior to their relocation to Greenville, South Carolina in 1859. The family's move to Greenville in that year was prompted by the appointment of Basil Manly Jr. to the faculty of the Southern Baptist Theological Seminary. Following in his father's footsteps, Manly Jr. had been an outspoken advocate of the establishment of a Southern theological seminary. In 1857, he was appointed to the Committee on the Plan of Organization for the projected seminary and specifically charged with the duty of drafting the institution's doctrinal statement, The Abstract of Principles.? The committee's comprehensive plan of organization was presented at the South Carolina Baptist Educational Convention in 1858 and Manly Jr. was elected as a founding faculty member. His first term as professor of Biblical Introduction and Old 6Cox, "A Study of the Life and Work of Basil Manly Jr.," 91. 7A detailed discussion of The Abstract ofPrinciples, its development, and Manly Jr.'s role in writing it is present in Cox, "A Study of the Life and Work of Basil Manly Jr.," 144·147. 69 Testament Interpretation commenced in the fall of 1859 and continued until the strife of the Civil War necessitated the closure of the seminary at the end of 1862. In light of his educational responsibilities in Richmond and his extensive involvement in denomination affairs, including a six-year term as president of the Virginia Baptist Sunday School and Publication Society, it is difficult to imagine how Manly Jr. found time to produce Baptist Chorals. Yet he compiled and published that collection during the transitional year of 1859. In a letter to his father from January of that year, Manly Jr. explained how he was able to accomplish the compilation in the midst of his denominational and educational duties. I have written to my Petersburg Music man, Mr. Everett, agreeing to join with him. I must go to work soon, so as to fulfill my part of the contract. which is to furnish a selection of Hymns. I sh[ould] not need, however to spend much time on t[his], as he proposes t[o] select st[andard] h[ymns] confined to hymns wh[ich] [a]r[e] common to t[he] Ps[almist] & t[he] Ps[almo]dy so t[hat] our book can be used in conjunc[tion] w[ith] either.s Intention of the Publication The decision to design Baptist Chorals with two rival hymnals in mind was commendable and shrewd. Southern opposition to The Psalmist and the publication of The Baptist Psalmody had elicited considerable criticism from Baptists in the North. One of the reasons Manly Jr. undertook the compilation of Baptist Chorals was to quell the competition that had developed between The Psalmist and The Baptist Psalmody and to facilitate the use of both volumes in Baptist worship. The Preface to Baptist Chorals begins with the following statement of purpose: "The object of this volume is not to come 8Basil Manly Jr., letter to Basil Manly Sr., 4 January 1859 (Manly papers, South Carolina Baptist Historical Society, Greenville, SC); quoted by Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists, ed. Harry Eskew et al. (Nashville: Church Street, 1994), 23. 70 into competition with the hymn books now in circulation, but to render them more useful, by supplying tunes adapted expressly to some of the choicest hymns.~,9 Promotion of a Common Repertory However, Manly Jr. had an ulterior motive in producing Baptist Chorals. As he stated in the hymnal's preface: "The simple design of this work is, to promote, as far as possible, CONGREGATIONAL SINGING."lO The means by which Manly Jr. sought to accomplish this goal were twofold. First, he hoped to encourage the adoption of a common repertory of commendable hymnody. The repertories of The Psalmist and The Baptist Psalmody had more than 700 hymns in common. Moreover, the broad distribution of both hymnals in the mid-nineteenth century insured that hymns chosen from their contents would be familiar to the majority of Baptists. The credibility of their dominance over other hymnals of the day is verified in the following quotes. The American Baptist Publication Society claimed in 1845 that 50,000 copies 1 of The Psalmist had been distributed throughout the Eastern United States. I William J. Reynolds identified it as a "unifying force in hymnody" among Baptists of New England and the middle Atlantic states. 12 Similarly, Manly Jr. "estimated that between fifty and sixty thousand copies of The Baptist Psalmody had been sold. 13 It was officially ~ly Jr., Preface to Baptist Chorals, ii. l'Thid. IlRichard Wayne Rose, "The Psalmist A Significant Hymnal for Baptists in America during the Nineteenth Century" (D.M.A. diss., New Orleans Baptist Theological Seminary, 1984),44. 12Bill Reynolds, "Our Heritage of Baptist Hymnody in America," Baptist History and Heritage (October 1976): 216. 13Basil Manly Jr., letter to W. E. Schenck, 26 December 1877; quoted by Cox in "A Study of the Life and Work of BasH Manly Jr.," 79. 71 recommended to the churches of the Southern Baptist Convention in 1851 and, according to Harry Eskew, it "became as popular in the South as The Psalmist in the North.,,14 Manly Jr. believed that ifhe could facilitate the adoption and employment of hymnody common to these two hymnals, he could positively impact the quality and character of congregational song sung by Baptists in both the North and South. Preface on Congregational Song The second means by which Manly Jr. hoped to promote congregational singing was to instruct the public concerning its enhancement. He employed the preface of Baptist Chorals as a pulpit from which to articulate his philosophy of congregational song. Specifically, the preface addressed the false perceptions of congregational singing that prevailed in the mid-nineteenth century. Manly Jr. then identified a number of principles that are critical to the meaningful implementation of congregational song. His insightful commentary began with the following diagnosis. "The importance of general congregational singing has been frequently urged, yet it is not sufficiently acknowledged; and, even where it is acknowledged, no adequate measures are adopted to secure it.,,15 With respect to the public perception of congregational song, Manly Jr. suggested that it was understood by many as merely an "agreeable relaxation from the tediousness of other services.,,16 Though he did not specify the other services, it is likely 14Harry Eskew, "Southern Baptist Contributions to Hymnody," Baptist History and Heritage (January 1984): 28. 15Manly Jr., Preface to Baptist Chora/s, it 16Ibid. 72 that he was referring to the service ofthe Word or preaching. Secondly, Manly Jr. claimed that congregational singing was not understood to be the worshipful obligation of each individual. Though this false perception is common to worshipers in every age, it was particularly true in the mid-nineteenth century as the inclusion of choral music in corporate worship gained greater prominence, particularly among Baptists in the North. Manly Jr. alluded to this trend with considerable sarcasm, saying, "It is, therefore, not unusual for the whole business of worshipping God in song to be committed to a few, sometimes to a hired company, whose voices are trained in the theatre all the week, to perform. with about as much devotion, in the church on Sunday.,,17 Concerning the quality of congregational singing, Manly Jr. identified the fact that most congregations are interested in expedience rather than excellence. Rarely are mandates such as Psalm 33:1-3 to "sing joyfully" and "play skillfully" regarded as obligatory. IS Rather, "Singing, it is thought, is singing, whether well, or indifferently, or badly done; and the duty of singing is discharged by any performance, however faulty and disagreeable, even though it may fail entirely of accomplishing the real objecC,19 Of course, the object of excellence in congregational singing is to acknowledge and honor the excellence of Him who is worshiped. The psalmist commands "Shout joyfully to God, all the earth; sing the glory of His name; make His praise glorious. ,,20 Yet the quality of congregational singing is considered by some "a religious superfluity" 17Manly Jr., Preface to Baptist Chorals, iL HIpS 33:1-3 (NASB). 19Manly Jr., Preface to Baptist Chorals, ii. 20pS 66: 1-2 (NASB). 73 and not a matter of devotion. Thus, "it is left to drag along. uncared for by the body of the church.,,21 At the opposite extreme Manly Jr. claimed that quality musical contributions were presented to please congregants at best, and at worst, they were idolized as objects of worship themselves. The need for a radical reformation of both perceptions was obvious to him. Manly Jr. further articulated in his preface principles that could superintend the meaningful implementation of congregational singing in corporate worship. Aside from the fact that singing is commanded in both the Old and New Testaments, he cited five additional reasons why it should be employed and promoted in corporate worship. First, he stated that "song is the natural ebullition of strong religious feeling.,,22 In fact, he claimed that Christian conviction has been more fervently conveyed in the songs of the Church than in its statements of faith. Manly Jr. wrote, "From the devotional compositions of Christians in all periods a much more accurate sketch may be derived of the doctrines really impressed on the mind, and translated into the life, than from the regular creeds or confessions of faith. ,,23 Secondly, Manly Jr. suggested a reason why faith finds such immediate expression in song: congregational song is a particularly efficient medium for conveying Christian emotion. Theological truth may resonate with believers when it is simply proclaimed. However, the engagement of emotion in doctrinal affirmation through the rhythm of poetry, the richness of imagery, and the beauty of musical style, results in a 21Manly Jr., Preface to Baptist Chorals, iii 22Ibid. 23Thid. 74 "warmth of devotion" that simple speech cannot elicit. According to Manly Jr., The proper effect of these compositions can not be obtained by their being read in books, nor by their being recited, however impressively; for the simple reason that reading is not singing, that the art of oratory can not do the work of music, that the recitation of beautiful sentences, by one man to the multitude, can not produce the same results, as if all the multitude should join in musical repetition of them.24 Thirdly, based upon the unusual ability of congregational singing to elicit an emotional response to truth, preachers should utilize it as an aid in proclamation. To quote Manly Jr.'s claim, "Good singing is a powerful auxiliary to preaching.,,25 His exposition of this assertion was especially poetic in itself. When burning words and living thoughts have come from the sacred desk, and impressed themselves upon the mind, how is the effect heightened if, with melody pliantly adapting itself to all the turns and graces of sentiment, kindred thoughts float upon the charmed air, and memory takes up the echo of the sounds and of the ideas, to cherish them with fond admiration!26 It would be wise for those charged with the ministry of preaching to consider that such an exemplary Southern Baptist expositor considered congregational singing a significant aid to preaching. For this denominational founder, singing was more than a mere addendum to the sennon. Manly Jr. believed that congregational singing provided worshipers with a poignant opportunity for spiritual contemplation and commitment. A fourth principle proposed by Manly Jr. dealt with the use of music in corporate worship. Because of its natural association with and efficiency in the expression of emotion, music has been employed in nearly every passionate endeavor known to humanity. Unfortunately. this employment has included the expression 24Manly Jr., Preface to Baptist Chorals, Hi. 75 of perversion and vice. According to Manly Jr., music "has been forced to grind for the Philistines" when it was intended to invite men to hoHness.27 Since the Church has been called to bring all things in subjection to the Lord Jesus Christ, it has the responsibility of redeeming music for its intended use. Manly Jr. proclaimed. "The first and proper place of music, on this side of heaven. is in the house of God."28 Finally, Manly Jr. suggested that the atmosphere and health of the larger body of Christ would be radically different were the gifts of music and song employed with liberty and sincerity in the lives of believers and the service of the Church. The following quotation brought his preface to a close and summarized his vision for the implementation of singing in both personal and corporate worship. If churches everywhere would cease to regard sacred music either with indifference or as a matter of mere taste; if they would commence with the young, training their ears while they are sensitive, and their voices while they are flexible; if families would unite at least once a day in a brief, spirited hymn, as well as in other domestic devotions; if, instead of the choirs being burdened with doing the singing. they should simply be honored with leading the singing; and if the voices of all God's people should join heartily and understandingly, with grace not only in the notes but in the heart, the effect would certainly surprise us all. 29 Innovations of the Collection The significance of Basil Manly Jr.'s preface to Baptist Chorals among his other written works should not be overlooked. Paul A. Richardson identified it as "his first published essay on the nature and purpose of congregational song.,,30 More 27Manly Jr., Preface to Baptist Chorals, iii. 28Ibid. 29Ibid. 3oruchardson, "Basil Manly, Jr.," 24. 76 significant, however, is the fact that this document represents one of the first philosophical essays on congregational song found in any American Baptist hymnal. Two contemporaneous hymnals that were adapted for Baptist use contained prefaces in which music was examined from philosophical and theoretical perspectives. The Baptist Hymn and Tune Book: Being "The Plymouth Collection" (1858) was the most substantial Baptist hymnal of the mid-nineteenth century, containing 1,518 hymns and 419 tunes.3l Compiled by Henry Ward Beecher, the work was originally adapted for Baptist use by John Stanford Holme, pastor of the Pierrepont Street Baptist Church, New York City. Its musical preface by the Reverend Charles Beecher and John Zundel was similar to Manly Jr.' s in that it featured a philosophical discussion of the role of music in corporate worship. The preface of The Sabbath Hymn and Tune Book [Baptist ed.] (1859), written by Lowell Mason, was the most comprehensive preface of any Baptist hymnal in the mid-nineteenth century.32 However, its discussion was predominantly theoretical with respect to the structure and performance of congregational song. Though both prefaces were commendable, neither was written by Baptists. Effectively, Baptist Chorals was the first hymnal of actual Baptist provenance to include an essay on the integrity and necessity of music in worship. Basil Manly Jr. was certainly the first Southern Baptist to write and publish a philosophical essay on congregational song. 31Jobn Stanford Holme and Robert R. Raymond, The Baptist Hymn and Tune Book: Being "The Plymouth Collection" (New York: Sheldon, Blakeman & Co., 1858). 32Lowell Mason, Preface to The Sabbath Hymn and Tune Book/or the Service o/Song in the House o/the Lord [Baptist ed.], ed. F. Wayland (New York: Sheldon & Company, 1859). 77 The latter innovation is only one of several, which distinguished Baptist Chorals from contemporaneous collections. Manly Jr. '8 compilation was actually one of four Southern Baptist "hymn and tune books" to be released at mid-century. However, Baptist Chorals was the only Southern Baptist work to feature the format that would become standard for hymnals in the late nineteenth century. The first Southern Baptist hymnal to assign tunes to hymn texts was The Sacred Lute (1855), compiled by E. T. Winkler. 33 Winkler, a key figure in the fledgling denomination, became editor of The Southern Baptist in 1852 and pastor of the historic First Baptist Church of Charleston in 1854. However, it was his service as corresponding secretary of the Southern Baptist Publication Society that contributed to the congregational song of Southern Baptists. In 1855 he compiled The Sacred Lute: A Collection ofPopular Hymns (1855) and supervised the compilation of a tunebook entitled, "The Casket;" Sacred Melodies for Public and Social Worship (1855).34 Winkler stated in the prefaces of both works that he had not sought to produce comprehensive collections. Rather, he had attempted to distinguish and choose, from among the thousands of hymns then in existence, those "melodies" which were most familiar to "the devotions of our Southern Zion.,,35 While both these works are commendable and worthy of independent investigation, Baptist Chorals surpasses them both in terms of arrangemen~ usefulness, and repertory. 33E. T. Winkler, The Sacred Lute: A Collection ofPopular Hymns, with Choruses and Forms for Special Occasions (Charleston: Southern Baptist Publication Society, 1855). 34E. T. Winkler, The Casket; Sacred Melodies/or Public and Social Worship, mus. ed. G. O. Robinson and I. B. Woodbury (Charleston: Southern Baptist Publication Society, 1855), 35E. T. Winkler, Preface to The Sacred Lute: A Collection o/Popular Hymns, with Choruses and Formsfor Special Occasions (Charleston: Southern Baptist Publication Society, 1855). 78 The Christian Psalmist (1857), compiled by Silas W. Leonard of Louisville, Kentucky, was the:first Southern Baptist hymnal to include tunes and texts.36 However, the music for the tunes was written with numeric scale degrees on a crude musical staff. The repertory of The Christian Psalmist was comparable in size to Baptist Chorals, though the exact number of hymns is unknown due to the lack of an index. Moreover, the content of Leonard's hymnal suggests employment primarily in social worship settings. David W. Music identified The Manual ofthe Sacred Choir (1849), compiled by Eli Ball, as well as Baptist Chorals, as "The first Southern Baptist tunebooks of a general character.,,37 However, Ball's collection was considerably smaller than Baptist Chorals. It contained less than half as many tunes and, like Leonard's collection, the number of texts is unknown. The Manual ofthe Sacred Choir only featured three vocal parts, whereas Baptist Chorals featured four. A single text and tune appeared opposite one another, whereas the arrangement of Manly Jr. 's collection provided for the combination ofvarlous texts and tunes. Finally, Ball's collection was specifically "adapted to religious congregations in the country.,,38 Unlike its Southern predecessors, Baptist Chorals was intended for Baptist congregations of all social strata and worship services in any setting. 36Silas W. Leonard and A. D. Fillmore, The Christian Psalmist (Louisville: S. W. Leonard, 1857). 37 David W. Music, "J. R. Graves' The Little Seraph (1874): A Memphis Tunebook," in Singing Baptists, ed. Harry Eskew et al. (Nashville: Church Street, 1994), 163. 38Eli Ball, Preface to The Manual ofthe Sacred Choir: A selection oftunes and hymns, from the most approved authors adapted to public worship, to revivals, to prayer meetings, and to family worship, compo Eli Ball (Richmond: Harrold & Murray, 1849),3. 19 Innovations of the Arrangement The ammgement of Baptist Chorals for use with "the two most extensively used" hymnbooks '4in the Baptist Churches of the United States" was a significant innovation in itselr.J9 Unlike The Baptist Hymn and Tune Book: Being "The Plymouth Collection" (1858) and The Sabbath Hymn and Tune Book [Baptist ed.] (1859), Manly Jr. did not intend his collection "to come into competition with the hymnbooks" then in circulation.4o Though the scope of Baptist Chorals did not equal that of either of its Northern Baptist predecessors, its features were comparable to those of the other two hymnals. Baptist Chorals featured four indexes: an index of first lines, a general or alphabetical index of tunes, a metrical index of tune names, and a succinct but serviceable index of subjects. As has been previously stated, a tune and multiple texts were featured on most of the page openings. The numbers of the hymn's location in both The Baptist Psalmody and/or The Psalmist appeared above each principal stanza. Finally, the entire collection was arranged according to meter. The collection commenced with all the tunes in long meter and ended with those in peculiar meters. Twenty-seven different meters were featured in the contents of Baptist Chorals. Unlike the organization of The Baptist Hymn and Tune Book, the sets of tunes appearing at each opening of Baptist Chorals were of identical meter. Thus, either of the tunes displayed might be employed with any of the texts on each page. Unlike The Sabbath Hymn and Tune Book. the first stanza of the principal hymn on each page was 39Manly Jr., Preface to Baptist Chorals, ii. 4'Thid. 80 underlaid between the top two staves of music. A system of three staves was regularly employed in Baptist Chorals, on which four vocal parts were distributed as follows: the soprano or melody line and an alto part immediately below it on the central staff, the tenor harmony on the uppennost staff, and the bass voice on the bottom staff. Perhaps the most meaningful feature of the Baptist Chorals was the juxtaposition of an old and new tune at each opening. The initiative for this arrangement seems to have come from Manly Jr.'s musical editor, A. Brooks Everett. Little is known about Everett other than his regional notoriety as a composer, arranger, and smging- school teacher in Virginia.41 Though he coordinated the innovative arrangement of Baptist Chorals, it is apparent that Manly Jr. had always intended that old familiar tunes playa central part in the hymnal's design. In a letter to his parents from 1857. he wrote the following: "How would it answer to gather up out [of] old collecs. [of] ch. music the best of our old favorites and publish them with such a title as this 'Good Old Tunes - a Collection of Saefe6 Musie [sic] the favorites melodies [sic] of our fathers; selected & arranged by B. M. Jr.",42 Beyond the preservation of favorite old tunes, Baptist Chorals was innovative in its introduction of new tunes to the repertory of Baptist hymnody. According to Everett. an old familiar tune was generally featured on the left-hand side of the hymnal and a new tune was generally presented on the right. 43 Example 1 on the following 41Harry Eskew, "Use and Influence of Hymnals in Southern Baptist Churches up to 1915," Baptist History and Heritage 21 (July 1986): 23. 42Basil Manly Jr.; letter to Basil Manly Sr. and Sarah Manly, 10 April 1857 (Manly papers, Southern Baptist Historical Library and Archives, Nashville, TN); quoted by Richardson in "Basil Manly, Jr.," 101. 43Everett, Musical Preface to Baptist Cnorals, iv. 81 page displays the innovative juxtaposition of old and new tunes in the collection. Example 144 Contributions of A. Brooks Everett Of 164 tunes contained in Baptist Chorals. twenty-two bad been recently introduced in The New Thesaurus Musicus (1859).45 The tunebook compiled and published by A. B. and L. C. Everett contained nearly 360 tunes. The fun title identified 44Basil Manly Jr. and A. Brooks Everett, Baptist Chorais, 8-9. 45 A. B. Everett and L. C. Everett, The New Thesaurus Musicus or, United States Collection o/Church Music: constituting the most complete variety ofnew psalm and hymn tunes, sentences, anthems, chants, &c., for the use 0/ the choir and the singing school, ever offered to the American people. Comprising also all the popular old choir and congregatiol'Ull tunes in general use, (Richmond: published by the Authors, 1859),4. 82 the work as "the most complete variety of new psalm and hymn tunes, sentences, anthems, chants, &c .... ever offered to the American people." The Everetts also purported in the preface that their collection was "the most complete book of Church Music ever presented to the American public.',46 The latter statements demonstrate A. B. Everett's tendency to exaggerate the significance of his work. Though The New Thesaurus Musicus may have contained more new tunes than any work ever offered to the American public, it did not contain a broad representation of composers. In fact, the majority of tunes in the collection were of A. B. Everett's composition. Six ofL. C. Everett's tunes were featured. B. H. Everett and Nathan Edward Everett, were also acknowledged as contributors. Though the contemporary compositions of William Bradbury, Lowell Mason, R. M. McIntosh, E. H. Sexton and others were present, their contributions were limited. With respect to the scope of The New Thesaurus Musicus, it certainly did not present "a greater variety of tunes than in any other book extant.,,47 Both The Baptist Hymn and Tune Book: Being "The Plymouth Collection" (1858) and The Sabbath Hymn and Tune Book (l859) contained more tunes than the Everetts' collection. They both featured a larger representation of tunes in different meters as well. While it is possible that A. B. Everett would have been unacquainted with the latter collections due to their recent publication, it would have been unlikely. Unfortunately, Everett's exaggeration is also apparent in the Musical Preface to Baptist Chorals. Concerning the quality of the tunes included he stated, "We have 46Everett, Preface to The New Thesaurus Musicus, 4. 47Thid. 83 carefully examined aU the popular works that have been published in this country, and selected from each the choicest, and none but the choicest, gems. ,,48 Though he included a disclaimer later in the preface, Everett apparently considered his own tunes and those of his relatives as among "the choicest gems;" one of every eight tunes in Baptist Chorals was composed by A. Brooks Everett or his relatives. Everett identified a deficiency of tunes in short meters in the collections of his day and claimed that Baptist Chorals contained "a greater number of really good tunes in this metre [sic] than any other book ever published in this country.,,49 Both The Baptist Hymn and Tune Book (1858) and The Sabbath Hymn and Tune Book [Baptist ed.] (1859) contained more short meter tunes. Everett was even so bold as to claim: "In all the peculiar metres, too, there are as good and interesting tunes as can be found among the regular metres in any other work."so The limited number of peculiar meter tunes contained in Baptist Chorals negates the credibility of Everett's claim. Less offensive but equally suspect is Everett's claim that the presentation of an old and new tune at each opening was a completely original feature. As has already been stated, it is possible, though unlikely, that Everett was unacquainted with The Sabbath Hymn and Tune Book [Baptist ed.] due to its publication just months prior to Baptist Chorals. It is apparent, however, that Mason's collection preceded Baptist Chorals with respect to the display of an old and new tune on opposing pages. Mason stated toward the end of his preface, "There will generally be found at each opening of the book 48Everett, Musical Preface to Baptist Chorms, iv (italicized emphasis is Everett's). 49Ibid., iv-v. soIbid., v. 84 two tunes, either of which is adapted to all the hymns upon the two pages. Commonly, one of these is a well-known tune; and the other, one which is less familiar, or entirely new."Sl In spite of his self-aggrandizing claims, Everett's contribution to Baptist Chorals was noteworthy. Whether original or not, it was his choice to juxtapose an old and new tune at each opening of the collection. He was correct in stating that this feature "possesses important advantages."s2 Principal among them is the preservation of historic hymn tunes. Everett described the significance of such tunes in the following statement. In the selection of OLD MUSIC, we have drawn largely from the original fountains of sacred psalmody, and gathered in many venerated compositions of other times. Some of these have been transmitted to us from our fathers and forefathers. For centuries past they have been the voice of the people, their consolation and their strength. They were the armor of the Church at the time of the Refonnation, and with all these reminiscences, and with all this power, they will pass on to posterity, perhaps for centuries to come. 53 Everett's Preservation of Tunes Among the historic European hymn tunes preserved in Baptist Chorals were OLD HUNDRED from the Genevan Psalter (1551), DUNDEE and MARTYRS from the Scottish Psalter (1615) and the Scottish folk tune AVON. DOVER, DUKE STREET, and TRURO were all historic tunes of English origin. CHRISTMAS, GERMANY, and SEXTON were gleaned from the works of Handel, and ARLINGTON was the work of Handel's contemporary, Thomas Arne. Everett also preserved tunes of American 51LoweU Mason, Preface to The Sabbath Hymn and Tune Book [Baptist cd.], ix. 52Everett, Musical Preface to Baptist Chorals, v. S3Ibid., iv. 85 composers, who as he did, sought to emulate European style. Lowell Mason and Thomas Hastings were the period's most prolific composers of hymn tunes based on classical European models. AZMON, HENDON, ORTONVILLE, and TOPLADY are representative of their style. These and other tunes of their composition were included in Baptist Chorals. Numerous tunes of early American origin were preserved in the repertory of Baptist Chorals. Chief among them were CORONATION and WINDHAM. The former tune was composed by one of America's earliest tunesmiths, Oliver Holden. It remains "the oldest American tune in modern hymnody to be used continually.,,54 WINDHAM was composed by a contemporary of Holden's, Daniel Read. His minor melody is reminiscent of many tunes in the historic psalters of Europe and the British Isles. Finally, Everett's preservation of tunes included many melodies that had gained popularity among Southerners via the wide distribution and acceptance of Southern Harmony and The Sacred Harp. The former collection, published in 1835 by South Carolina Baptist William H. Walker, included the popular fuging tune LENOX, Hasting's ORTONVILLE, and less widely published, WOODLAND. Everett included all three in Baptist Chorals. His reliance upon The Sacred Harp (1844) was even more substantial. The collection by Georgia Baptists B. F. White and E. J. King contained AYLESBURY, CORONATION, LENOX, NORTHFIELD, OLD HUNDRED, PETERBOROUGH, PORTUGAL, WELLS, and WINDHAM. Everett included all these melodies of South em appeal in the repertory of Baptist Chorals. 54paul G. Hammond, "All hail the power of Jesus' name," in Handbook to the Baptist Hymnal, ed. Jere V. Adams (Nashville: Convention Press, 1991), 87. 86 Of the 164 tunes published in Baptist Chorals, many retained their popularity throughout the late nineteenth and twentieth centuries. Thirty tunes appeared in the major denominational hymnals published during the twentieth century by the present Southern Baptist Sunday School Board. The following eleven tunes appeared in aU six of the denomination's hymnals: AMERICA, ARLINGTON, AVON, COME YE DISCONSOLATE, CORONATION, DUKE STREET, HENDON, OLD HUNDRED, ORTONVILLE, ST. mOMAS, and TOPLADY. Seventeen of the tunes preserved in Baptist Chorals have been retained in the Baptist Hymnal (1991). Everett's Assignment of Tunes Besides individual tunes, Everett preserved some of the most enduring combinations of texts and tunes among Southern Baptists. Several of these associations had been introduced in Southern Harmony and The Sacred Harp. The most famous text of Augustus Toplady, '~Rock of Ages, cleft for me," was assigned to the tune that came to bear its author's name.55 CORONATION was employed in the service of Perronet's "All hail the power of Jesus' name." "I love Thy kingdom, Lord," written by the early American educator and patriot, Timothy Dwight, was one of several texts suggested by Everett as appropriate for the tune ST. mOMAS. S. F. Smith's patriotic hymn "My country, 'tis of Thee" appeared with the German tune to which it was originally set by Lowell Mason; the tune is known in the United States today as AMERICA. 56 The historic combinations preserved by Everett in Baptist Chorals S5The name ofthe tune was changed to TOPLADY by Lowell Mason, in bis Sabbath Hymn and Tune Book (1859); Milburn Price, "Rock of Ages, cleft for me," in Handbook to the Baptist Hymnal, 225. S6Paul A. Richardson, "My country, 'tis ofthee," in Handbook 10 the Baptist Hymnal, 191. 81 have retained their popularity among Southern Baptists as is evident by their perpetual association in denominational hymnals since The Broadman Hymnal (1940). There are several instances in which Everett's associations of texts and tunes are strikingly similar, although not identical, to those known to Baptists of the present day. The fll'St selection featured in Baptist Chorals is Isaac Watts' "Before Jehovah's awful throne," It is set to OLD HUNDREDTH from the Genevan Psalter (1551). Among Southern Baptists, the latter tune has been associated with William Kethe's "All people that on earth do dwell" since The Modem Hymnal (1926).57 The two texts share a common imagery of God as the Maker of humanity and the Shepherd of his flock. "Before Jehovah's awful throne" "All people that on earth do dwell" His sovereign power, without our aid, The Lord, ye know, is God indeed, Made us of clay, and formed us men; Without our aid He did us make; And when, like wandering shee~, we strayed, We are his folk, He doth us feed, He brought us to his fold again. 8 And for His sheep He doth us take. 59 Even more striking are the parallels between "Alas and did my Savior bleed" by Isaac Watts and Anne Steele's "And did the holy and the jusC' Watts' penitent contemplation ofthe cross was first combined with the tune AVON in The Baptist Hymn and Praise Book (1904) edited by Lansing Burrows.60 Everett featured Steele's similarly devotional text as one of several to be sung to A VON in Baptist Chorals. The complete text of "And did the holy and the just" appears below. Adjacent to it are the five stanzas 57Hugh T. McElrath, "All people that on earth do dwell," in Handbook to Baptist Hymnal, 88. 58 Anne Steele, "Before Jehovah's awful throne," in Baptist Chorals, 1. S9William Keethe, "'All people that on earth do dwell.," in The Baptist Hymnal, gen. ed. Wesley L. Forbis (Nashville: Convention Press, 1991),5. 60 The Baptist Hymn and Praise Book, ed. Lansing Burrows (Nashville: Southern Baptist Sunday School Board, 1904). 88 traditionally sung from Watts' well-known hymn. The opening stanzas of each hymn address the self-humbling of the Sovereign Lord suffering for the guilty. The third lines of the second stanzas feature similar exclamations of awe for the love and grace of God. The final stanzas conclude that the gift of one's heart and the surrender of self are the only appropriate means of response. "And did the holy and the just" "Alas, and did my Savior bleed" And did the holy and the just, Alas, and did my Savior bleed, The Sovereign of the skies, And did my Sovereign die? Stoop down to wretchedness and dust, Would he devote that sacred head That guilty man might rise? For such a worm as I? Yes, the Redeemer left his throne, Was it for crimes that I had done His radiant throne on high- He groaned upon the tree? Surprising mercy! Love unknown! Amazing pity, grace unknown To suffer, bleed, and die. And love beyond degree! He took the dying traitor's place, Well might the sun in darkness hide, And suffered in his stead; And shut his glories in, For sinful man--O, wondrous grace! When Christ the might Maker died For sinful man he bled. For man, the creature's sin. °Lord, what heavenly wonders dwell Thus might I hide my blushing face In thine atoning blood! While this dear cross appears, By this are sinners saved from hell, Dissolve my heart in thankfulness, And rebels brought to God. And melt my eyes to tears. What glad return can I impart But drops of grief can ne' er repay For favors so divine? The debt of love lowe; °take my all, this worthless heart, Here, Lord, I give myself away, And make it only thine.61 'Tis all that I can do.62 Everett's Contribution of Tunes Several of EvereU's own tunes are commendable. ZURICH is, perhaps, 61Anne Steele, "And did the holy and the just," Hy. 104, in Baptist Chorals, 47. 62Isaac Watts, "Alas and did my Savior bleed," in The Baptist Hymnal (1991), 145. 89 his most appealing melody. Its arpeggiated opening phrase elicits a sense of exuberance that is effective with Steele's resurrection hymn. "He lives! the great Redeemer lives." The appoggiatura at the conclusion of the first phrase and the three repeated quarter notes that begin the second phrase, are reminiscent of Baroque melodic gestures, further facilitating the jubilant expression of the text. The only conceivable weakness in the melody is the sudden descent of a sixth immediately prior to the final cadence, causing a slightly angular ending (see the penultimate measure in Example 2). Example 263 Ito. 4.. ZURICH. L. I. DB. A. B. EVERETT. '~-~~- Err ~~ He lives! the g~ Re - deem-er lives! What JOY the blestas-sur-ance gives! II'~. -~, -~ -c,_,J ~1E~T~r1F::~ ":=-=-f-=---==::8r"~ irijlf1~~r:L ~- I Iii. • I I I I ~, I I I I ~~-=~~~-=~ 63 A. Brooks Everett. ZURICH, No.4, in Baptist Chora/s, 9. 90 Everett was equally successful in bis pairing of "Our God invites the wanderers home~' and ZURICH. The latter text is one of two original hymns Manly Jr. included in Baptist ChoTals. Both had been previously published in The Baptist Psalmody (1850). "Our God invites the wanderers home" alludes to the joy of Christ's second coming and the exuberance of Everett's tune complements its invitational character. Moreover, the sustained third and sixth phrases of ZURICH help to elongate the exceedingly brief text One wonders why Basil Manly Jr. did write a central or subsequent stanza for inclusion in Baptist Chorals. His text appears in its entirety below. "Our God invites the wanderers home" Our God invites the wanderers home, The Spirit and the Bride say. come; Let him that hears repeat the sound, And spread the joyful accents round. Let him that is athirst draw near, And find a fountain flowing here; Let whosoever will, receive The freely-offered grace, and live.64 Everett was not always successful in selecting texts for his own tunes. For instance, there are numerous problems in the setting of his tune, VESPER HYMN, to the two texts he selected. They are: "Affiicted saint, to Christ draw near" by John Fawcett and "Jesus, my Lord, I own thee God" by Basil Manly Jr. With respect to the former associatio~ a blatant flaw is immediately evident. Everett's tune places improper accent on the principal syllable of the first word, "afflicted." In addition. the tune' s first phrase features two leaps that are melodically misleading. The descent of a fourth to the second scale degree on the down-beat of the second measure and a larger leap down at the 64Basit Manly Jr., "Our God :invites the wanderers home," By. 10, :in Baptist Chorals, 9. 91 beginning of measure three are not conducive to melodic progression. In relation to the angularity of this first phrase, the stasis of the second phrase is equally surprising. Everett's tune VESPER HYMN appears in Example 3 below. Example 365 No. 33. VESPER HYJI4N. L. M. DB. A. B. EVERETT. ··~G~~~m~ 1. Affilct-ed srunt. to ChrISt draw near; Thy SavloUl' s gracIOus pro-mise hear j .:~~.~w=m==i~ ~~ g~nt~~~ For Basil Manly Jr.·s text, "Jesus my Lord, I own thee my God," the tune choice of VESPER HYMN is equally inappropriate. The title of Everett's tune suggests that it should be sung reflectively and perhaps with solemnity. The nature of Manly Jr. 's text is contrary to a spirit of solemnity. The character of every stanza calls for exuberance and the fervent expression of confidence in Christ. Moreover, Everett's 55 A. Brooks Everett. VESPER HYMN. No. 33, in Baptist Chorais, 39. 92 tune places improper accent on the first word of the hymn's second stanza, similar to the setting of"Afflicted saint to Christ draw near" above. Manly Jr.·s text appears below. "Jesus, my Lord, I own thee God" Jesus, my Lord, I own thee God. Earth sprang to being at thy nod; All things were made by thee, the Word, Who was, with God, as God adored. Before the world's firm base was laid, Thy glorious Godhead was displayed: And after worlds have ceased to be, Thy praise shall fill eternity. Thou, gracious Lord, my soul would own, The power to save is Thine alone; 0'er me assert thy sovereign will, And be my God, my Saviour still.66 The preceding setting is representative of numerous instances in Baptist Chorals, in which the association oftext and tune is hindered by Everett's composition. Several of his tunes are excessively repetitive and suffer from feeble conclusions. EUPHRATES is characteristic of these tunes. It commences with five successive F#s in the melodic line. The latter convey a stillness appropriate to the first phrase of text, which reads, "When we, our weary limbs to rest." However, the harmonic lines of the other three parts are also static with the exception of their movement to a first inversion tonic chord on the downbeat of measure two. The result of Everett's harmonization is a first phrase which lacks progression. The second phrase of the tune features a simple but tasteful harmonic progression to the secondary dominant and a conclusive half cadence. The momentum Msasil Manly Jr., "Jesus, my Lord, I own thee God." Hy. 86, in Baptist Chorals, 39. 93 oftbis phrase is not maintained, however, as Everett repeats the first phrase of the tune and employs an. equally pedantic harmonic progression in the final phrase. The melodic line does not bolster the feeble conclusion as it is left unresolved on the third scale degree. While EUPHRATES is similar in its minimalism to tunes such as OLNE~S BROW by William B. Bradbury, the effect ofits simplicity is considerably less satisfying. See Example 4 below. Example 467 DB. A. B. E. 1. When w~.• our weary limbs to rest, Sat down by proud En· phrates' stream 1':'\' Two of the tunes Everett included in Baptist Chorals are significant in that they honor Basil Manly Jr. The anonymous tune, MANLY, seems to have been dedicated to him. It was set to the text, "Jesus, thou art the sinner's friend." Though 67 A. Brooks Everett, EUPHRATES or HALL. No. 38, in Baptist Chora!s, 44. 94 the composer is unknown, certain aspects of the tune suggest that it was the work of A. Brooks Everett. 68 The final two phrases of melody bear great resemblance to his tune entitled. MENDELSSOHN. MANL Y, which appears in Example 5, also features an inconclusive final cadence similar to that of EUPHRATES shown above. Example 569 MANLY. C. M. The second tune in the collection undoubtedly dedicated to Basil Manly Jr. was entitled BASIL. It was composed by Rigdon M. McIntosh, a young protege of A. Brooks and L. C. Everett. McIntosh received his musical training from the Everetts and it is likely that he assisted in the compilation of Baptist Chorals. He contributed 68Richardson, "Basil Manly. Jr.... 103. 69Composer Unknown, MANLY, No. 54, in Baptist Chorais, 63. 95 seven tunes to the collection and continued to promote Manly Jr. '8 hymn tunes in his subsequent career as a hymnal editor. His collection Glad Tidings: New Hymns and Tunes for Sunday-Schools (1861) was the first hymnal after Baptist Chorals to feature a tune by Basil Manly Jr.?O McIntosh's tune, BASIL, is displayed in Example 6 below. Example6?1 Manly Jr.'s Contribution ofTune8 Basil Manly Jr. contributed two of his own tunes to the repertory of Baptist 7~ M. McIntosh, Glad Rifrain: New Hymns and Tunes for Sunday-Schools (Baltimore: T. Newton Kurtz, 18(7); Paul A. Richardson discovered the untitled tune that was attributed to Basil Manly Jr. It was set to the text, "Only waiting tin the shadows." Richardson. "Basil Manly, Jr.," lOS. 7lR. M. McIntosh, BASIL, No. 59, in Baptist Chora/s, 69. 96 Chorals. REMISSION was set to "The leaves around me falling,'~ an anonymous text that appeared in both The Psalmist (1843) and The Baptist Psalmody (1850). Julian's Dictionary ofHymnology does not identify the hymn nor is it known when Manly Jr. composed his tune. The setting is well-suited, however. It is appears here in Example 7. REMISSION. 'Is & 6s. (Ia.mbic.) nEY. n. MANLY. In., D.D. 72Sasil Manly Jr., REMISSION, No. 141, in Baptist Chorais, 161. 91 REALMS OF THE BLEST was apparently composed with the anonymous text, ~'We speak of the realms of the bl~" in mind. Manly Jr. listed the source of the hymn as The Baptist Harp (1849), a Northern collection of hymns for social worship published the year prior to the appearance of The Baptist Psalmody.73 "We speak of the realms of the blest" is representative of the many devotional hymns included in The Baptist Psalmody that had been excluded from the cultivated repertory of The Psalmist. The steady ascent of Manly Jr. 's tune to its apex on a high F accentuates the sense of hopeful expectation that pervades the text (see Example 8). Example 874 No • .I.~S. REALMS OF THE :BLEST.. 8s .. REV. B. MANLY, J~.• D.D ~mm~bIJ'Ji~~_~~ It. We speakoftbe realms ofthe blessed, That country so bl'ight and so fair; And oft are its glories cou- f ~!l1IF_! Idlfff:ff-f~ I~ '," I r I 1,1 i~1iMf.$ G~EIfIfft-fG-it;L[f!] ttJ Cf-=±fC-l! to be there,,-- I But what musUt be~o be there 2 ~eoo~$.9i-~~-t~.-i r: f -~J~ 73The Baptist Harp: A New Collection ofHymns for the Closet, the Family, Social Worship, and Revivals (philadelphia: American Baptist Publication Society, 1849). '4sasil Manly Jr.• REALMS OF TIm BLEST. No, 158, in Baptist Chorals, un. 98 Manly Jr.'s Preservation of Tens As has been previously noted, the preservation of old and favored hymns was fundamental to Basil Manly Jr.'s vision for Baptist Chorals. There are several means of identifying the favored hymns of Southern Baptists that were preserved in Baptist Chorals. First, there were 66 hymns included in Baptist Chorals that had been excluded from The Psalmist. Twenty-four of these hymns bad been restored to The Psalmist in the Supplement compiled in 1847 by Richard Fuller and J. B. Jeter.75 The Southern Baptist pastors compiled The Supplement with the hope of supplying The Psalmist's deficiency in "hymns best known, most valued, and most frequently sung in the South.,,76 Of the 24 hymns common to the Supplement, The Baptist Psalmody, and Baptist Chorals, several are still popular among Southern Baptists today, including: "Amazing grace, how sweet the sound," "How firm a foundation," and "How sweet the name of Jesus sounds." Second, a detailed examination of Southern ante-bellum Baptist hymnals and tunebooks was conducted by Irvin H. Murrell of New Orleans Baptist Theological Seminary.77 In his analysis of 81 Southern Baptist hymnals published prior to 1860, Murrell identified 27 hymns that appeared in two-thirds of the hymnals surveyed. The latter he designated as "valid indicators of the congregational repertories of the period."78 Twenty of the hymns so identified by Murrell appear in the repertory of Baptist Chorals. 75Richard Fuller and J. B. Jeter, eds., The Psalmist with Supplement (Philadelphia: American Baptist Publication Society, 1847). 76Richard Fuller and J. B. Jeter, Preface to The Psalmist with Supplement (phlladelphia: American Baptist Publication Society, 1847),3. 77Irvin H. Murrell, "An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks as Indicators of the Congregational Hymn and Tune Repertories of the Period with an Analysis of Representative Tunes" (D.M.A. diss., New Orleans Theological Seminary. 1984). ~urrell, "'An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks," 17. 99 The contents of The Psalmist (1843) and The Baptist Psalmody (1850) were compared in the previous chapter. The repertory of the Manlys' compilation was then compared with the repertories of the six most significant hymnbooks among Southern Baptists in the first half of the nineteenth century. The comparisons resulted in the identification of 73 hymns. excluded from The Psalmist, that were "regional favorites" among Baptists in the South. Twenty-four of these hymns were identified as "Southern standards" by virtue of their appearance in five of the six hymnals surveyed. Of these, 18 appeared in either The Southern Harmony (1835), The Sacred Harp (1844), or both. Twenty-two of these "Southern standards" were published in Baptist Chorals. The combination of the research on the repertories of the six most significant hymnals of the early nineteenth century, Southern Harmony (1835), The Sacred Harp (1844), The Psalmist (l843), the Supplement (1847) of Fuller and Jeter, and The Baptist Psalmody (1850), results in a list of 42 texts favored among Southern Baptists, all of which were included in Baptist Chorals. The combined list of these hymns appears below. The letters in the middle column refer to the three investigations described above. "S" identifies hymns that were included in the Supplement to The Psalmist. "P" designates hymns that have been designated as "Southern standards" by their appearance in the most significant Southern Baptist hymnals and tunebooks of the early nineteenth century. "M" indicates hymns that appeared in Irvin H. Murrell's list of representative Southern ante-bellum Baptist hymnody. "All hail the power of Jesus' name" M [perronet] "Afflicted saint, to Christ draw near" S J. Fawcett "Am I called? And can it be" S Pres. Hymns "Amazing grace! how sweet the sound" SIPIM J. Newton "And can I yet delay" S C. Wesley "And let this feeble body fail" SIP C. Wesley 100 "Approach, my soul, the mercy-seat" P A. Toplady "Awake, my soul, in joyful lays" SIPIM J. Cennick "Blow ye the trumpet, blow' M C. Wesley "Brethren, while we sojourn here" SIPIM J. Swain "Come, humble sinner, in whose breast" PIM E. Jones "Come, my soul, thy suit prepare" P J. Newton ~'Come, Thou Fount of every blessing" M R Robinson "Come, we that love the Lord" M I. Watts "Come, ye sinners, poor and wretched" M J.Hart '~Commit, thou, all thy griefs" S J. Wesley "Grace! tis a charming sound!" M P. Doddridge "Hark, my soull it is the Lord" SIPIM W.Cowper "Heaven is a land where troubles cease" S Beethoven's Col. "How charming is the place" SIP S. Stennett "How firm a foundation" SIPIM [Kirkham] "How happy's every child of grace" SIP C. Wesley "How sweet the name of Jesus sounds" SIP J. Newton "How tedious and tasteless the hours" SIPIM J. Newton "I love the sons of grace" 8 Anderson's Col. "Jerusalem! my happy home" PIM Anonymous "Jesus, thou art the sinner's friend" SIP Anonymous "Mortals, awake, with angels join" SIP S. Medley "My soul shaH praise thee, ° my God" 8 O. Heginbotham "Object of my first desire" S A. Toplady "On Jordan's stormy banks I stand" SIM L Watts "Salvation! 0, the joyful soundr' 81M LWatts "Show pity, Lord; 0 Lord, forgive" 81M I. Watts "Sovereign Ruler of the skies" 8 Ryland "Sweet the moments, rich in blessing" 8IP R Robinson "There is a fountain filled with blood" SIM W. Cowper "Thus far the Lord has led me on" PIM I. Watts "Tis religion that can give" SIP M. Masters "Welcome, sweet day of rest" 81M I. Watts "When I can read my title clear" 81M I. Watts "Where two or three, with sweet accord" 8 S. Stennett "Ye dying sons of men" SIP 1. Boden Certainly many other hymns published in Baptist Chorals were significant to Baptists at the time. While the English Baptist pastor John Fawcett is largely known today by his famous hymn of benediction, "Blest be the tie that binds," Baptist Chorals included four additional hymns of his. His most popular hymn among early Southern Baptists seems to have been "Afi1icted saint, to Christ draw near." Samuel Stennett, 101 a contemporary of Fawcett's, authored three hymns in Manly Jr.' s collection. "How charming is the place" and "Where two or three in one accord" were popular among early Southern Baptists; "Majestic sweetness sits enthroned" remains popular today. Though not widely popular among Baptists in America today, "Come, Holy Spirit, Dove divine" is significant as the work of Adoniram Judson, the first American Baptist foreign missionary. Another hymn writer of early American fame was Timothy Dwight, the first president of Yale University. His famous text, "I love Thy kingdom, Lord" was preserved in Baptist Chorals. James Winchell produced the most significant arrangement of Watts's Psalms, Hymns, and Spiritual Songs in the early nineteenth century.79 "Ye servants of God, your Master proclaim" was one of many significant texts by Charles Wesley that were introduced to early American Baptists in "Winchell's Watts" (1818). Many of the most famous texts by Wesley and Watts were honored in Baptist Chorals. Contributions from Watts included "Jesus shall reign where'erthe sun," "Joy to the world, the Lord is come," "0 God, our help in ages past," and "When I survey the wondrous cross." Wesley's historic texts included "Come, Thou long expected Jesus:' from Madan's Collection, "0 for a thousand tongues to sing," and "Rejoice the Lord is King." Though their works were not afforded the same prominence, historic hymns of other eighteenth-century, English evangelicals were favored with inclusion in Baptist Chorals. Representative hymns include "Jesus, I my cross have taken," attributed to Grant but written by Henry Lyte, "Just as I am, without one plea" by Charlotte Elliot, 79David W. Music, ''Music in the First Baptist Church, Boston, Massachusetts, 1665-1820," in Singing Baptists, ed. Harry Eskew et al. (Nashville: Church Street, 1994),37. 102 "My faith looks up to Thee" by Robert Palmer, and "Rock of Ages, cleft for me" by Augustus Toplady. As is evident from the roster of authors above, Manly Jr. 's second compilation was remarkably comprehensive. Baptist Chorals featured the hymn texts of 88 authors. Baptists were well-represented through the hymns of Benjamin Beddome, John Fawcett, Basil Manly Jr., John Needham, Robert Robinson, Samuel F. Smith, Samuel Stennett, Joseph Swain, and others. Of all the Baptist authors, Anne Steele made the most prolific contribution, with eighteen hymns featured in the repertory. Non-Baptist authors whose hymns were prominently featured included Philip Doddridge, James Montgomery, Isaac Watts, and Charles Wesley. Not surprisingly, Watts and Wesley were the best represented hymn writers in the repertory of Baptist Chorals, with 25 of Wesley's hymns and 122 of Watts being included. Among historic hymn collections, Olney Hymns was well-represented, with six hymns by Cowper and a dozen by Newton. Many hymns were gleaned from the denominational hymnals of the early nineteenth century. Due to Manly Jr.'s generic designations, however, it is difficult to determine the specific editions he used. The denominational hymnals he acknowledged included the English Baptist Collection, Episcopal Collection, Lutheran Collection, and the Presbyterian Collection. The most historic collections acknowledged by Manly Jr. were Rippon's Selection (1787), Tate and Brady's "New Version" ofthe Psalms (1696), and "Winchell's Watts" (1818). The little-known compilation of hymns by Josiah Pratt (1829) was awarded the greatest representation in Baptist Chorals, with thirteen hymns. Twenty-eight collections were 103 cited as sources for the hymns in Baptist Chorals. In spite of such a comprehensive repertory, there were some surprising omissions from the contents of Baptist Chorals. "Alas and did my Savior bleed" and "Am I a soldier of the cross" were two of Isaac Watts's most popular texts in the early nineteenth century. Both hymns were featured in Murrell's list of Southern ante-bellum Baptist hymnody. Both hymns have retained their popularity among Southern Baptists of the present day, as is evidenced by their inclusion in The Baptist Hymnal (1991). Though both hymns appeared in The Baptist Psalmody, neither was included in Baptist Chorals. Similarly, "Christ the Lord is risen today," "Glorious things of thee are spoken," "Guide me, 0 Thou Great Jehovah," "Hark! The herald angels sing," and "Jesus, Thy boundless love to me" are all missing from Baptist Chorals. A particularly regrettable omission from the repertory of Baptist Chorals was Basil Manly Jr.'s most famous hymn text, "Soldiers of Christ in truth arrayed." As a founding faculty member of The Southern Baptist Theological Seminary, Manly Jr. was commissioned to write a hymn for the seminary's first commencement service in 1860. Since he composed the hymn only months after the pUblication of Baptist Chorais, Southern Baptists had to wait more than a century for the inclusion of "Soldiers of Christ in truth arrayed" in a denominational hymnal. Four of its six original stanzas were first published in The Baptist Hymnal (1975); the same number has been retained in The Baptist Hymnal (1991). Conclusion Baptist Chorals was one of the most innovative and serviceable hymnals produced by Baptists in the mid-nineteenth century. It was the first Southern Baptist 104 hymn collection to articulate a philosophy for congregational singing in corporate worship. It was designed to complement the two most widely-used Baptist hymnals of its day. Nonetheless. its content was comprehensive to the degree that it could be employed affectively as a hymnal for corporate worship in itself. The hymnal was innovative in its design. providing worshipers the opportunity to associate the most popular hymn texts with tunes of historic significance as well as contemporary relevance. The collection preserved the hymn texts of the preeminent European evangelicals, Baptist pioneers, and early American church musicians while promoting the works of contemporaneous writers and composers. Baptist Chorals represents a significant step forward in the progress of Baptist hymnody and more of a milestone in the development of Southern Baptist hymnody than has been previously acknowledged. Paul A. Richardson has asserted that Manly Ir.'s second compilation failed from achieving broader acceptance due to the outbreak of the Civil War. so One might speculate along those lines that had such a national crisis not intervened, perhaps the common repertory and commendable design of Baptist Chorals could have even helped to repair the rift between Baptists in opposing regions of the Union. The hymns sung by both parties were certainly worthy of preservation and in need of presentation in a more accessible fonnat than they had previously received. Baptist Chorals succeeded in meeting both needs. Examined in retrospect, it serves as a commendable model upon which Baptists of the present day may design their own hymnals for corporate worship. SDruchardson, "Basil Manly, Jr.," 24. CHAPTER 4 MANLY'S CHOICE (1891) AND THE CHOICE (1892) Introduction The final hymn compilations to be considered in this dissertation are Manly's Choice (1891) and The Choice (1892). As their titles indicate, the collections contain the repertory of Christian hymnody that Basil Manly Jr. considered to be most worthy of preservation among Baptists. The principal edition, released in October, 1891, contained only texts. It was followed with the edition containing tunes entitled The Choice. It is fitting that Manly Jr., who was instrumental in providing Southern Baptists with their first comprehensive collection of hymn texts, also had opportunity to see his final work meet with the approval of the Baptist believers he loved. In a letter to the Franklin Type Foundery, the firm that produced the stereotype plates from which both editions were printed, Manly Jr. wrote, "The word edition is out, and the people are inquiring for the music edition somewhat clamorously."l However, BasH Manly Jr. became gravely ill in the opening weeks of 1892. He died on January 31, one week prior to the release of The Choice. In his memoir of Manly Jr., A. T. Robertson described the passion with which his friend and colleague pursued his final work. Of The Choice iBasii Manly Jr., letter to the Franklin Type Founciery, 21 October 1891 (press Books, Manly Papers, The Southern Baptist Theological Seminary). 105 106 Robertson wrote, "His soul was wrapt up in this work of love ..,2 This chapter win discuss the contents of Manly Jr.'s final two collections in considerable detail. particular attention will be given to the prefaces of both editions; these key primary sources provide pertinent information on the contents, criteria for hymn selection, method of compilation, cost, and physical size of each edition. More significant however, is the philosophy of congregational song set forth in the preface to The Choice. From the combined perspectives of a hymn compiler, pastor, theologian, and leader of congregational worship. Manly Jr. sought to strike a balance between preservation and popular appeal. The following passage from the preface summarizes his philosophy of hymn compilation. Having compiled heretofore two hymn books, "The Baptist Psalmody," and "Baptist Chorals," and having had some share as an advisor in two others of our most popular books, my attention has been directed specially to the subject of hymnology all my ministerial life. I think I know what our people need, and what they desire. To meet that need and that desire the present work is offered.,,3 Chronology of Contributions As he indicated in the preface, Basil Manly Jr. had been associated with the development of Southern Baptist hymnody from its inception. His instrumental work in the compilation ofthe first Southern Baptist hymnal, The Baptist Psalmody (1850), was outlined in Chapter Two. His effort to bridge the hymnological gap between Baptists in the North and Southern Baptists through the common repertory of Baptist Chorals (1859), was examined in Chapter Three. Though he produced no compilation of his 2A. T. Robertson, "Rev. Basil Manly, D.D., LL.D.," The Seminary Magazine 5 (March 1892): 298. 3Basil Manly Jr., Preface to Manly's Choice (Louisville: Baptist Book Concern, 1891), [H]-ill. 107 own in the thirty years that followed, Manly Jr. exerted significant influence on Baptist congregational song in other ways. Basil Manly Jr.' s duties at the Southern Baptist Theological Seminary, in Greenville, SC, came to an end in the spring of 1862 when the strife of the Civil War necessitated the Seminary's closure. In May of the following year, he was elected president of the first Southern Baptist Sunday School Board. 4 In that capacity, Manly Jr. determined to produce hymnals as well as educational materials for Southern Baptists. Two collections of Sunday school hymnody were published under his supervision. Both The Little Sunday School Hymn Book (1863) and The Confederate Sunday School Hymn Book (1863) were released in the first year of his presidency. C. J. Elford, the first corresponding secretary of the Board, served as the compiler of the latter collection. 5 In addition to the supervision of hymn compilations, Basil Manly Jr. submitted his own material for publication in the compilations of others. The fust collection to feature one of his tunes was Glad Tidings: New Hymns and Tunes for Sunday-Schools (1867) compiled by R. M. Mcintosh. 6 Manly Jr.'s tune was set to a text entitled "Only waiting till shadows." Though. the tune is not named, Mcintosh attributed it to "Rev. B. Manly Jr., D.D., of Greenville, S.C." The combination often and tune was reprinted in an altered fonn in Kind Words (1871).7 4Joseph Powhatan Cox, "A Study of the Life and Work of Basil Manly Jr." (Th.D. thesis, The Southern Baptist Thoological Seminary, 1954), 195. ~ M. Mcintosh., Glad Refrain: New Hymns and Tunes for Sunday-Schools (Baltimore: T. Newton Kurtz, 1867); cited by Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists, ed. Harry Eskew et al. (Nashville: Church Street, 1994), 105. 7G. W. Linton and Howard M. Teasdale, eds., Kind Words (Memphis: Sunday School Board, Southern Baptist Convention, 1871). 108 During the Civil War and his years of service at the Sunday School Board, Manly Jr. was instrumental in the development of a small monthly devotional paper for the impoverished children of the Confederacy. The pamphlet featured elementary lessons written by the leaders of the denominatio~ songs, and poems. Manly Jr.'s poems were among those featured in the circular.s When the war came to an end and the Board determined to produce its next collection ofStmday school songs, it compiled those that had been printed in the children's circular and entitled the collection Kind Words in Melody (1871).9 Four of Manly Jr.'s tunes were contained in the edition. They were, HARK! HERALD ANGELS, JESUS, TENDER SAVIOUR, REALMS OF THE BLEST, and THE LAND WHERE JESUS DWELLS. Paul A. Richardson suggests that Manly Jr. may have been the author of the unattributed text, "We are going home," to which the last tune was set. to The setting is displayed in Appendix 12 of the dissertation. I I The next American hymnal with which Basil Manly Jr. was associated was The Baptist Hymn and Tune Book/or Public Worship (1871). It contained his hymn "Holy, holy, holy Lord" that had been previously published in The Baptist Psalmody (1850). Charles Spurgeon included the latter hymn in his oollectio~ Our Own Hymn Book (1866) for the New Park Street Baptist Church in London. It was also featured in The Baptist Praise Book/or Congregational Singing (1872). The latter hymnal was significant as the fU'St attempt since The Psalmist (1843) to produce a collection for Baptists in general. 8Cox., "A Study of the Life and Work of Basil Manly Jr.," 2()4..0S. 'William J. Reynolds, "Baptist Hymnody in America," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992),43-44. l~chardson, "Basil Manly, Jr.," 105. uAppendix 12 displays all the hymn tunes by Basil Manly Jr. that have been discussed in the dissertation. 109 Leading Baptists from the North and the South were asked to contribute to the compilation. Richard Fuller, E. T. Winkler, and Basil Manly Jr. were among the Southerners whose expertise was sought. In addition to "Holy, holy, holy Lord," the Baptist Praise Book contained Manly Jr. 's "God with us! Ob, wondrous name!" He submitted a third hymn. "Come, ye who feel your sins a load," for inclusion in the collection but it was not accepted. 12 The text is extant however, in the Manly Papers of The Southern Baptist Theological Seminary.13 The Baptist Praise Book, which had been privately published, was not successful in achieving acceptance among Baptists at large. In 1883 another attempt was made by the American Baptist Publication Society. The Baptist Hymnal for Use in Church and Home (1883) was significantly more successful than its predecessors. According to Henry S. Burrage, the hymnal "had a very large circulation, extending to all parts of the country.',14 The chief musical editors for the collection were E. H. Johnson and W. H. Doane. As had been the case in The Baptist Praise Book (1871), a distinguished panel of Baptists leaders was assembled to advise the editorial staff. Basil Manly Jr. was among those selected to serve in an advisory capacity. In the process of consultation to the editors of The Baptist Hymnal (1883), Manly Jr. submitted a document entitled "Suggestions as to the New Hy. Book." According to Paul A. Richardson, the document featured "six pages of wisdom and 12Richardson, "Basil Manly Jr.," 105. 13Basil Manly Jr., letter to Smith & McDougal, 3 August 1871 (Press Books, Manly Papers, The Southern Baptist Theological Seminary). 14Henry S. Burrage, Baptist Hymn Writers and Their Hymns (portland, ME: Brown Thurston & Co., 1888),667. no practical advice.,,15 The document could not be located in the archives of The Southern Baptist Theological Seminary and thus was not available for examination for the present study. However. it is apparent that Manly Jr.'s counsel was considered in high regard by at least one of the editors. William H. Doane and Basil Manly Jr. frequently corresponded with one another in the years that followed their editorial contributions to The Baptist Hymnal (1883). Their collegial association eventually developed into an unofficial collaboration on Manly Jro's fInal collection, The Choice (1892). Influences of the Era It is ironic that William H. Doane would have such a favorable impact on the repertory of The Choice. Doane was perhaps the most prolifIc composer of gospel hymn tunes in the mid-nineteenth century. It is generally acknowledged that he contributed more than 2.200 hymn tunes to the congregational repertory. Many of his most popular compositions were associated with the texts of Fanny Crosby. Like Doane, she contributed the most prolific collection of hymn texts to the repertory of gospel hymnody.16 Certainly, their collaborations in hymnody are among the most memorable and serviceable settings still in popular use. As prolific as Crosby and Doane were, however, their impact on congregational song was overshadowed in the late-nineteenth century by that of the two men who made gospel hymnody an international sensation. According to William J. Reynolds and Milburn Price, Baptist Philip P. Bliss 15Richardson, "Basil Manly, Jr.," 106. l "was one of the most widely known and best loved musicians ofhis day.,,17 In addition to being a prolific writer of hymn texts and composer of tunes. Bliss compiled several collections of gospel songs for the John Church Company. Bliss's final compilatioI4 prior to his untimely death in 1876, was entitled Gospel Songs (1874). It benefited from broad distribution even prior to Bliss's association with the undisputed celebrity of gospel hymnody, Ira D. Sankey. Sankey came to fame as the song-leader for the prominent Chicago pastor and evangelist Dwight L. Moody. Moody was at the forefront of urban revivalism in Chicago and cities across the Northern United States. When he determined to embark on an evangelistic crusade of England in 1872, Moody sought to employ both Philip P. Bliss and Philip Phillips for leadership in worship.18 When the two men declined, he engaged the less experienced but equally gifted song-leader, Ira D. Sankey. During the evangelistic meetings in England, Sankey employed Phillip's collection Hallowed Songs with great success. The demand was so substantial that he determined to append his own songs to the collection and publish a new edition in England. When permission was denied, Sankey produced a small pamphlet of 24 songs entitled, Sacred Songs and Solos (1873). Upon his return to the States, Sankey joined forces with Philip P. Bliss to produce an amalgamation of their individual collections entitled Gospel Hymns and Sacred Songs (1875). Subsequent editions appeared until 1894 when the collection of739 songs was compiled into Gospel Hymns No. 1-6 17William J. Reynolds and Milburn Price, A Survey a/Christian Hymnody, 4th ed., rev. and enlarged by David W. Music and Milburn Price (Carol Stream, IL: Hope, 1999), 118. 112 Complete. 19 "The latter series proved to be the dominant repository of songs in the gospel song genre to the end of the nineteenth century. ,,20 Intentions for the Publication In light of the proliferation of gospel songs in congregational worship, Basil Manly Jr. determined to produce several hymnals that would encourage the recovery and implementation of historic evangelical hymnody among Southern Baptists. The first step in his comprehensive plan was to publish a compendium of hymns that would contain a core repertory of congregational songs. Further steps entailed the publication of at least one hymnal of larger proportions that would afford Baptists a comprehensive selection of hymns for congregational worship. In a letter to John A. Broadus, from August of 1891, Manly Jr. reported that the fIrst phase of his work, Manly's Choice, was complete. He then identified the subsequent steps in his plan for the dissemination of historic hymnody to successive generations of Baptists. "The next work I want to do is to prepare an edition of 'The Choice' with music; and then. deliberately prepare a new 'Standard Baptist Hymn Book.' containing 700 to 800 hymns. . . . I would like to do that work for my brethren of the South before I pass away.,,21 Given all of Basil Manly Jr,'s accomplishments in denominational life and 19A comprehensive study of this combined collection is contained in Esther R. Crookshank's dissertation. Esther Heidi Rothenbusch, "The Role of Gospel Hymns Nos. 1 to 6 (1875-1894) in American Revivalism" (ph.D. diss., The University of Michigan, 1991). 2~eynolds and Price, A Survey ofChristian Hymnody, 120. 21 Basil Manly Jr., letter to Dr. Broadus, 17 August 1891 (Press Books, Manly Papers, The Southern Baptist Theological Seminary). 113 theological education, it is interesting to note that the contributions of his extra-cumcWar activities had as broad an impact among Southern Baptists of his day as anything he produced. Manly Jr. expressed his awareness of this fact in a letter to his aunt and principal biographer, Louise Manly. He wrote, "As my first work for the churches in general was to make a hymn book, so probably it will be among my latest to prepare one, or perhaps 2 or 3, and may lead [to] the devotion of God's people when I am gone.,,22 Friends and fellow ministers acknowledged their appreciation for Manly Jr.'s hymnological contributions especially after his death. According to W. E. Hatcher, in his memoir of Basil Manly Jr., His heart was set on giving the Baptists a Hymnal which would meet the necessities of every occasion of worship. He was singularly wise when he came to deal with the subject of church music. He had a taste which could appreciate the highest music, and yet he possessed a popular sympathy which enabled him to understand what music the common people needed in their worship. He did not complete his work in this line, but in his little hymn book, "The Choice," he ~ave us one of the most admirable selections of hymns that 1 have seen anywhere. Manly Jr. cited three admirable qualities of his final compilation in the preface to Manly's Choice. Principal among the collection's merits was its price and size. In an attempt to facilitate congregational singing for as many people as possible, Manly Jr. had limited the scope of the collection. He had also refrained from including hymns in its contents that would increase cost. In a letter to B. V. Waugh he stated the foHowing, "1 want it [Manly'S Choice] to contain from 200 to 250 of the old, choice, approved hymns, in a cheap pocket edition so as to be everybody's hymnbook [sic], carried with 22Basil Manly Jr., letter to Louise Manly, 29 August 1891, (Press Books, Manly Papers, The Southern Baptist Theological Seminary). 23Rev. W. E. Hatcher, "Impression of Dr. Manly," in Seminary Magazine 5 (March 1892): 327-28. 114 them everywhere ..,24 Manly Jr. was determined that his collection become the common person's private hymnal. as the underscored emphasis in his letter indicates. John A. Broadus, in his assessment of "Dr. Manly's Last Work," confmned the hymnal's merit in this regard. His critique of Manly's Choice in the Religious Herald included the following appraisal: It win not be strange, and it will be extremely gratifying on many accounts, if this little hymnbook shall gain a very wide circulation, and work very important changes in many of our churches. The edition without music, and bound in boards, is sold at ten cents a copy. This will make it easy for churches to procure an ample supply, such as many churches have never possessed, partly because the books were costly. Even this edition with music, very handsomely printed, making a large and beautiful page, is sold in boards at 35 cents. Now one of the things our churches most need is that every worshipper shall have a hymn book, including the younger children, with copies to hand to strangers. This will promote congregational singing, as few things can.25 The second, and even more significant aspect of the hymnal that Manly Jr. advertised was the caliber ofits content. He identified the texts in Manly's Choice as "hymns which by common consent are approved and indispensable, and presenting a sufficient variety to meet ordinary necessities in public worship and in private devotion.,,26 Apart from their popularity. necessity, and sufficiency, Manly Jr. confirmed the literary quality of the hymns in the collection saying, "it contains no trash, and no unreal sentiment or unsound doctrine." In sum, no hymn was inserted which was "not judged worthy of a special place among the choice hymns of the language." According 24Basil Manly Jr., letter to B. V. Waugh. 15 August 1891 (Press Books, Manly Papers, The Southern Baptist Theological Seminary). 25Jobn A. Broadus, "President John A. Broadus on Dr. Manly's Last Work," Religious Herald (February 25, 1892): 1. 2~anly Jr., Preface to Manly's ChOice, [ii]. 115 to the editor, the contents of his hymnal could be considered "pure gold.,,27 Beyond the promotion of quality literature, Manly Jr. had a particular concern for the dissemination of hymns, which conveyed sound theology. The gospel hymns that had proliferated among Southern Baptists and American evangelicals in general at the end of the nineteenth century, were characterized by "their emphasis ... upon emotional appeal rather than intellectual reflection. .,28 According to Dennis Vernon McDuffie, the goal of these generally subjective texts was "to provide for each person an avenue of expression equal to his experience.,,29 While Manly Jr. was an advocate of employing hymns that provided individuals with a medium for expressing their spiritual sentiments, he also appreciated their ability to convey and promote sound doctrine. The following quote conveys his hope of transmitting such doctrine to successive generations through the preservation of historic evangelical hymnody. "1 think there is a great deal of theology in hymns; and if I can get the people generally to singing the gospel, I think that will help to keep up the old fashioned, sound theology.,,30 A third commendable quality of the hymns contained in Manly's Choice, according to Basil Manly Jr., was their applicability to the breadth of topics addressed in Baptist worship. While succinct, the contents of Manly' Choice provided hymnody 27Manly Jr., Preface to Manly's Choice, iii. 28Reynolds and Price, A Survey o/Christian Hymnody, 12L ~emris Vernon McDuffie, "The Baptist Hymnal 1883: A Centennial Study" (D.M.A. diss., Southwestern Baptist Theological Seminary, 1983), 87. 3~asil Manly Jr., letter to B. V. Waugh. 116 of "a sufficient variety to meet ordinary necessities in public worship and in private devotion, as at baptism, the Lord's Supper, funerals. family worship. revivals, and the like.,,3l Manly Jr. did not seek to exalt his expertise as hymn compiler. However, he described his ability to identify a repertory of hymns sufficient for the needs of worship, and its expression among Baptists in particular, in the final paragraph of the preface to Manly '8 Choice. Having compiled heretofore two hymn books, "The Baptist Psalmody," and "Baptist Chorais," and having had some share as an adviser in two others of our most popular books, my attention has been directed specially to the subject of hymnology all my ministerial life. I think I know what our people need, and what they desire. To meet that need and that desire the present work is offered. 32 Manly Jr. was equally articulate concerning his purpose for the musical edition, of his hymnal entitled The Choice. The preface from Manly's Choice was replicated in the musical edition with an amendment concerning its repertory of tunes. Like the texts in Manly's Choice, the hymn tunes in The Choice were employed due to their accessibility, adaptability. quality. and popular appeal. To limit the expense of the edition, no tune was employed that was not free. While Manly Jr. commended the works of contemporary composers, he knew the price of including their tunes would make the hymnal too expensive for distribution among Baptists at large. According to the preface, inclusion of such tunes "would have conflicted with the design of publishing a cheap book, within the reach of a11:.33 Manly Jr.' s concern for the cost of The Choice did not result in a reduction 31Manly Jr., Preface to Manly's Choice, [ill. 32Ibid, [ill· 33Basil Manly Jr., Preface to The Choice (Louisville: Baptist Book Concern, 1892), lii. 117 of its repertory, however. He deplored the decline in musical quality of hymn tunes that continued at the end of the nineteenth century. Despite the efforts of the singing-school movement in the :first half of the century and the Sunday school movement in the latter half. the tune repertory of the average Baptist church was still quite limited. Manly Jr. purposed to compile a hymn collection containing a wide selection of exceptional tunes. Whereas Baptist CJwrals contained considerably fewer tunes than texts, The CJwice featured a specific tune for nearly every text in the collection. In six instances a choice of tunes was assigned to a single text on the same page. As in his previous compilation, the arrangement frequently afforded the opportunity of employing the tune on the opposing page. In several instances, these options were combined such that three different tunes could be assigned to a single hymn text. Manly Jr. explained the intentionality of this arrangement in the preface to The Choice. Many churches have needlessly contented themselves with a very small number of tunes. With a very little effort, the whole congregation could be induced to learn every tune in this book, and have an ample variety for all occasions. Frequently a favorite tune is customarily wedded to several different hymns. There may be disappointment at finding it set here to only one of them, and some less familiar tune put with the others. It was thought best to do this, however, rather, that to reprint the same tune several times. I wished to give as many really good tunes as the space would hold. No tune has been inserted which is not thought well worth learning.34 Though the repertory of The Choice was principally comprised of older tunes, Manly Jr. did not consider their employment a hindrance to the hymnal's acceptance. Indeed, he hoped their lack of familiarity among the younger generation and endearment to his peers would work to the hymnal's advantage and facilitate its acceptance. In a letter to his mother he wrote, "1 shall not use any tune less than 40 years old . . . and 34Basil Manly Jr., Preface to The Choice (Louisville: Baptist Book Concern, 1892), iii. 118 many of these tunes will have the merit of entire novelty to the masses, while they win awaken tender recollections in the older people.,,3!! Manly Jr. mentioned several historic hymn tunes he considered to be representative of those that surpassed the quality of tunes in his era. He also expressed his disdain for the use of poor and popular melodies in the hymnody of his day; for Manly Jr., their employment was antithetical to the expression of sincere worship in congregational song. As Manly Jr. wrote to his mother, the tunes "ALFRETON, ST. MARTINS, DEVIZES, DUNDEE, STEPHENS, GERMANY, SILVER STREET--are as good as ever, and greatly better than many of the new tunes, especially such as W. H. Doane calls--'the rattle-di-lang tunes.' Much of our song service lacks reverent validity." 36 The latter statements conftrm Manly Jr.'s concern for the preservation and employment of quality hymn tunes. He did not consider the issue to be one of merely artistic relevance. Like John A. Broadus, his long-time colleague at The Southern Baptist Theological Seminary, Manly Jr. was critical of the mediocre hymnody that characterized the plethora of Sunday school collections of the period. Broadus even denounced the majority of collections, saying they contained "wretched ditties, which ought to be carefully avoided, and ... judiciously discouraged where they are popular.,,37 In contrast; Manly Jr. sought to employ "the best of all the old, solid, standard tunes, which have been proved by experience, and often consecrated by tenderest associations" 35Basil Manly Jr., letter to Sarah Manly, 20 September 1891 (Press Book, Manly Papers, The Southern Baptist Theological Seminary). nd 37JoOO A. Broadus, Syllabus as to Hymnology, 2 ed (Louisville: The Southern Baptist Theological Seminary, n. p., January 1892), 16. 119 in The Choice.38 According to Broadus, Manly Jr. succeeded. As president of the preeminent Baptist theological institution in the United States, Broadus was the first American Protestant professor to introduce the study of hymnology into a seminary curriculum.39 In his Syllabus as to Hymnology he identified Manly Jr.'s hymnal as "A small collection of the very best hymns.',40 Broadus's appraisal of The Choice in the Religious Herald, commended Manly Jr.' s contribution as musical editor in particular. There he stated, "Dr. Manly has made an admirable selection and adaptation of tunes. ,,41 At the conclusion of the article in Religious Herald Broadus went so far as to write, "We earnestly hope, and fervently pray, that this last work of the rarely gifted and widely beloved author may in this very year reach a very large circulation. ,,42 Broad distribution of The Choice did not benefit Basil Manly Jr. due to his death in January of 1892. However, personal gain was never his aim in compiling The Choice. Rather, he hoped the contents of his hymnal would become a treasury of quality congregational song to be employed in the corporate worship and spiritual enrichment of Baptists for generations to come. The preface to The Choice concludes with the following aspirations: Two great ends have been kept steadily in view. One is to promote universal congregational singing: "Let all the people praise God." The other is to do 3~an1y Jr., Preface to The Choice, iii. 3~ther R. Crookshank, '''The Minister and His Hymn-book': Jolm A. Broadus as Hymnologist," in We Praise Thee with Our Minds, ed. Michael J. Raley and Deborah Loftis (forthcoming), 1. 4OBroadus, Syllabus as to Hymnology, 23. 41Broadus, "Jolm A. Broadus on Dr. Manly's Last Work," L 12{) something towards the elevation and general culture of musical and poetic taste among the Baptist people whom I love, and to whom the best labors of my life have been given. May God bless this effort, and build up our churches in pure doctrine, and fervent piety, for Jesus' sake. Amen:B Contents of the Collection Basil Manly Jr.'s intention to facilitate the expression of fervent piety among Baptists through the use of his hymnal is equally evident in its arrangement. The collection is divided into five sections, the order of which informs and facilitates a progression in worship. The hymnal commences with texts related to the "Worship of God" in general. His "Attributes and Acts" of self-revelation are examined in a selection of seven hymns. Chief among his achievements is the accomplishment of his will in the work of and person of "Christ." A selection of fifteen hymns outlines the "Divinity and Incarnation," "Sufferings and Death." and the "Resurrection and Ascension" of Christ. The person and work of "The Holy Spirit" are honored in six selections. Finally, the riches of "The Word" are commended for their power to perpetuate the revelation of God. The second section of the hymnal addresses "Man's Ruin and Redemption." This section is of equal length to the first and outlines the proper response to the full revelation of God. Five hymns expound the "Sinfulness of Humanity." "Invitations" to salvation and "Warnings" ofjudgement follow the exposition. Hymns extolling the glories of "Salvation through Christ" comprise the largest selection in this section. They are followed by the call to "Repentance and Prayer." "Faith," which enables the reception of salvation, is then explained. Finally, the availability of "Salvation by Grace" 43Broadus, "John A. Broadus on Dr. Manly's Last Work," 1. 121 is celebrated. Part three of Manly's Choice constitutes the largest section of the hymnal. The "Christian Experience and Privileges" are examined in some detail. This section may be compartmentalized into three sub-sections. The first outlines the multiplicity of responses mandated by the believer's commitment to Christ. First, there is the need for "Renouncing the World" and "Dedication to God." Demonstration of "Confidence in God" and the expression of "Love to God" are the fundamental ways in which dedication may be measured. As the believer persists in these endeavors, their desire to offer "Praise and Love to Christ" increases. The end result of all these activities is a deepening "Love for Christians and Mankind" in general. The second sub-section of part three addresses some of the privileges gained from the Christian experience. In addition to a burgeoning love for Christ and his people is the promise of "Hope," the awareness of "Joy," the possession of a fervent "Zeal and Energy" for service, and the deepening "Desire for Holiness." The possession of these attributes will be necessary to face the experiences outlined in the final sub-section of part three. The believer in Christ will inevitably experience "Temptations and Trials." "Resignation" to the reality of these hardships is necessary if one intends to persevere, and "Perseverance in Holiness" results in proven Christian character. The fourth section of Manly's Choice is comprised of hymns pertaining to "The Church and Its Ordinances." The section commences with general hymns in celebration of "The Lord's Day." Hymns for the two Baptist ordinances of "Baptism" and "The Lord's Supper" are then supplied. The denominational character of Manly's Choice is evident in the section on baptism. According to the first advertisement for Manly's Choice, "It is distinctly Baptist, containing hymns which no Pedobaptist would 122 sing, such as 'Buried beneath the yielding wave.' Thank God more and more of our churches are resolving neither to use nor put into the hands of their children any hymn books which do not contains such hymns as this." Half of the hymns relating to the Lord's Supper were written by Baptists who stressed reverential remembrance rather than sacramental communion with Christ. The topics of discipleship, service, and spiritual renewal were supplied with hymns in the sections for "Christian Fellowship," "Missions," and "Revivals." Four hymns were assigned specifically for use in "Opening and Closing Worship." The final section of part four was the largest with hymns dedicated to "Morning and Evening Devotions." John A. Broadus considered Manly's Choice to be a commendable aid to private, and particularly family, devotions. In his article on Manly Jr.'s last work he wrote, "Besides using hymn books at church, it is greatly to be desired that they should be used at home, in family worship. and on Sunday afternoons . . . Give everybody a hymn book, and encourage all to sing.,,44 Broadus was especially appreciative of the fact that the cost as well as the design of Manly's Choice made it possible for "all to sing." The final section of Manly's Choice was focused on "The Last Things." Though the hymn selection in part five was the most limited, its inclusion was necessary for at least two reasons. First, the repertory of this section supplemented the selection of hymns designated for "Closing Worship." Many of the texts were invitational in nature and dealt with "Death" and "The Judgement" in particular. They were designed to call sinners to commitment. Second and more significant, this final selection of hymns 44Broadus, "John A. Broadus on Dr. Manly's Last Work," 1. 123 was intended to direct the focus of aU worshipers to the ultimate realities of "Time and Eternity." Earthly worship should be understood as merely an introduction to the eternal worship that will commence with "The Resurrection." It is no coincidence, then, that the largest selection of hymns in this final section focuses on "Heaven." Dissemination of Historic Hymn Texts Two of the hymns featured in the final section of Manly's Choice are "Jerusalem, the golden" and "Jerusalem, my happy home." Both texts originate with Latin manuscripts and were popularized through English translations. They are the oldest texts of historic significance preserved in Manly's Choice. According to Irvin H. Murrell, "Jerusalem, my happy home" was one of the most popular hymns among Baptists in the South. In his study of Southern ante-bellum Baptist hymnals and tunebooks, Murrell found "Jerusalem, my happy home" in 54 Southern hymnalS.45 He identified it as one of 27 hymns that are "valid representatives of the hymn and tune repertories of the period. ,,46 The historic significance and popular appeal of this single hymn encapsulate the dual emphasis of Basil Manly Jr.'s vision for his:final compilation. Manly's Choice would preserve the texts of greatest historical significance while simultaneously celebrating the repertory of congregational songs that had been '1ested and approved by successive generations of those that loved the Lord. ,,47 Manly'S Choice contains 254 hymns, the majority ofwhlch were gleaned 45Irvin H. Murrell, "An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks as Indicators of the Congregational Hymn and Tune Repertories of the Period with an Analysis of Representative Tunes" (D.M.A diss., New Orleans Baptist Theological Seminary, 1984), 59-6l. ~id.,37. 47Manly Jr., Preface to Manly's Choice, [ii]. 124 from the evangelical hymn writers of the eighteenth and early nineteenth centuries. Only three hymns from the seventeenth century were included, two of which were the work of Anglican bishop Thomas Ken. His historic doxology, "Praise God from whom all blessings flow," served as the final stanza for both "Awake my soul, and with the sun," and "Glory to Thee, my God this night. ,,48 Although "the Doxology" and both of its parent texts were included in Manly Jr.'s collection, their early associations were not maintained. In addition to the hymns of Ken, one text from Tate and Brady's A New Version ofthe Psalms ofDavid (1696) was included. "Through all the changing scenes of life," was one of the more creative versifications of a psalm text contained in that historic psalter. Albert E. Bailey points to this fact as the prime reason for its preservation in hymnals of subsequent centuries.49 The most influential author of metrical psalmody in the English language was Isaac Watts. As in the majority of nineteenth-century hymnals, his texts comprise a significant portion of the repertory in Manly's Choice; fifty-six of his hymns were featured in the collection. The following list of hymns includes those that are most familiar to Southern Baptists today: "Alas! and did my Savior bleed" "Am I a soldier of the cross" "Come, we that love the Lord" "From all that dwells below the skies" "Jesus shall reign where'er the sun" "Joy to the world, the Lord is come" "0 God, our help in ages past" "When I survey the wondrous cross" Each ofthese texts appears in The Baptist Hymnal (1991) and most have been featured 48Reynolds and Price, A Survey ojChristian Hymnody, 51. 49Albert E. Bailey, The Gospel in Hymns (New York: Charles Scnbner's Sons, 1950),42. 125 in the denominational hymnals of this century. However the study of early nineteenth- century Baptist hymnals conducted during research for this dissertation revealed an entirely different list of texts by Watts that were favored among early Southern Baptists. They include the following: "And must this body die" "Before Jehovah's awful throne" "He dies, the Friend of sinners dies" "Join all the glorious names" "My God, how endless is Thy love" "Show pity, Lord, 0 Lord forgive" "There is a land of pure delight" "Thus far the Lord has led me on" "Welcome, sweet day of rest" "Why do the children of a King" "Show pity, Lord, 0 Lord forgive" is representative of the preceding list in its popularity among Southern Baptists of the late nineteenth century. The first advertisement for Manly's Choice commended its inclusion of the popular text by Watts as follows: "The whole of 'Show pity, Lord,' which has been the means of the conversion of more souls, it is said, than any other uninspired words, is here. ,,50 Unfortunately, the majority of these hymns by Watts are relatively unknown to Southern Baptists today. Hymn writers upon whom Watts had an immediate influence included Joseph Addison, Joseph Hart, Anne Steele, and Philip Doddridge,S1 Each of these authors was represented in Manly's Choice with at least two hymns. Anne Steele was one of the most 50Author unknown, "Dr. Manly," Western Recorder 66:1 (September 3,1891): 4. 51Reynolds and Price, A Survey a/Christian Hymnody, 57. 126 significant female hymn writers of her day and certainly the most prolific among Baptists. Though Manly Jr. featured 52 of her texts in The Baptist Psalmody (1850) and 18 in Baptist Chorals (1859). only four were preserved in Manly's Choice: "Far from these narrow scenes of night," "Father, whate'er of earthly bliss," "God of my life, my morning song," and "How helpless guilty nature lies." None of these is found in the current Baptist Hymnal (1991). Of Watts' contemporaries, Philip Doddridge was the best represented, with eleven hymns in Manly's Choice. "0 happy day that fixed my choice," is the only one still sung by Southern Baptists. However, "Do not I love Thee, 0 my Lord," and "Grace, 'tis a charming sound" were two of the most favored hymns among Baptists in the ante-bellum South. 52 Twenty·two of Charles Wesley's texts were included in Manly's Choice. Five of these have retained their popularity among Southern Baptists. "Christ, the Lord is risen today," "Come, Thou Almighty King," "Hark the herald angels sing," "Love divine, all loves excelling," and "0 for a thousand tongues to sing" are all featured in the Baptist Hymnal (1991). Several of Wesley's lesser-known hymns,like those of Watts, were also popular among the earliest Southern Baptists. "And can I yet delay," "And let this feeble body fail," and "Arise, my soul arise" were among the many hymns of Wesley included in the Supplement (1847) to The Psalmist (1843). Southern Baptist pastors Richard Fuller and J. B. Jeter included in their Supplement the hymns of greatest popularity among Baptists of the South.53 Irvin H. Murrell identified "Blow ye the trumpet, blow" 52Murrell, «An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks," 58; "Do not I love thee, 0 my God" appeared in the six most significant Baptists hymnals of the early nineteenth century (see chapter 2) as wen as The Southern Harmony and Sacred Harp. 53ruchard Wayne Rose, "The Psalmist: A Significant Hymnal for Baptists in America during the Nineteenth Century" (D.M.A. diss., Southwestern Baptist Theological Seminary, 1991), 110. 127 as Wesley's most popular hymn in his core repertory of Southem ante-bellum Baptist hymnody. 54 The hymnody of Charles Wesley gained much of its prominence through its employment in the evangelistic work he shared with his brother, John Wesley. Similarly, several hymn writers benefited from their association with George Whitefield, whose evangelistic endeavors were concurrent with those of the Wesleys. According to William J. Reynolds and Milburn Price, John Cennick was closely associated with both Whitefield and the Wesleys.55 Several of his texts were preserved in Manly'S Choice. The only one known to contemporary Southern Baptists is "Lo, He comes in clouds descending," which represents an amalgamation of Wesley's text and Cennick's hymn "Lo! He cometh, countless trumpets.,,56 ~'Children ofthe heavenly King" was Cennick's most popular hymn in the nineteenth century, according to Murrell. It appeared in more Baptist hymnals of the ante-bellum South than any other hymn in Murrell's core repertory. 57 A proliferation of historic hymnody was produced by members of the established Church in the wake of eighteenth-century revivalism. Perhaps the most significant hymnological figure was Selina, countess of Huntingdon, whose patronage of evangelical hymn writers undoubtedly led to the dissemination of their hymns. Thomas Haweis, Edward Perrone!, Augustus Toplady, and William Williams all 54Murrell, "An Examination of South em Ante·BeUum Baptist Hymnals and Tunebooks," 57. 5~eynolds and Price, A Survey o/Christian Hymnody, 63. 56ScOtty Wayne Gray, "Lo, He comes on clouds descending," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992), 181-182. 57Murrell, "An Examination of Southem Ante-Bellum Baptist Hymnals and Tunebooks," 57. 128 benefited directly from her patronage. Manly's Choice contains a sampling of hymns from each of these men. The hymns of Perronet and Toplady were among the most popular hymns in the repertory of The Choice. Edward Perronet's fame rests solely upon his hymn "All hail the power of Jesus' name."S8 Similarly, Augustus Toplady is known to Southern Baptists today primarily by his characteristically Calvinistic hymn, "Rock of Ages, cleft for me." Unlike Perronet, however, a number of Toplady's texts were popular among the earliest Southern Baptists. Of the five hymns featured in Manly '8 Choice, the most significant is "A debtor to mercy alone." It is consistently found in the repertories of early nineteenth-century Southern Baptist hymnals. The Welshman William Williams, who was hailed in the early eighteenth century as "the Welsh Watts," wrote more than 800 hymns, the vast majority of which are unknown today. 59 Two of his texts were included in Manly's Choice. "Guide me, 0 thou great Jehovah," is the only one to have retained its popular appeal throughout the twentieth century. Ironically, Basil Manly Jr. was the first Southern Baptist to feature the hymn in The Baptist Psalmody (1850).60 Concurrent with the revivalism enveloping the established Church, a significant amount of hymnic activity was taking place among Independents, and English Baptists, in particular. Robert Robinson, the writer of "Come, Thou Fount of every blessing," was eventually converted as a result of his encounter with the 58Eskew and McElrath, Sing with Understanding, 142. 5~id., 141. 6OSCOtty Wayne Gray, "Guide me, 0 Thou great Jehovah," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992), 133. 129 preaching of George Whitefield. Though his familiarity to Baptists has always been largely dependent upon a single hymn, other English Baptists made numerous contributions to the historic repertory. Samuel Stennett was the famous grandson of Joseph Stennett, one of the first significant authors of Baptist hymnody. Thirty-nine of Samuel Stennett's texts had been published in Rippon's Selection (1787) and several of his hymns found broad appeal among early Southern Baptists.61 Manly Jr. featured seven of Stennett's hymns in his final compilation. Of these, "Majestic sweetness sits enthroned" and "On Jordan's stormy banks I stand" are the only ones remaining in the current repertory of Southern Baptists. Benjamin Beddome, John Fawcett, Samuel Medley, Joseph Swain, and Edmund Jones were all Baptists hymn writers of the mid-eighteenth century who were afforded at least one entry in Manly '8 Choice. Though Benjamin Beddome had been featured as one of the most significant authors in both The Baptist Psalmody (46 hymns) and Baptist Chorals (8 hymns), only one of his hymns was retained in Manly Jr.'s final collection. Medley and Joseph Swain were each represented by two texts. John Fawcett was favored with the inclusion of three hymns in Manly '8 Choice. "Blest be the tie that binds," remains his most popular hymn today. Samuel Medley's text, "Awake my soul in joyful lays," was one of several texts popular among nineteenth-century Southern Baptists that had been omitted from the landmark Baptist publication, The Psalmist (1843). "Come humble sinner, in whose breast" by Edmund Jones was another. The controversy over the omission of such "Southern standards" eventually led to 6lHenry S. Burrage, Baptist Hymn Writers and Their Hymns (portland, ME: Brown Thurston & Company, 1888),57. 130 the publication of the fIrst Southern Baptist hymnal by the Manlys. Basil Manly Jr. made it a point to preserve both hymns in Manly's Choice. In the latter half of the eighteenth century, the hymns of John Newton and William Cowper achieved considerable fame. The modest collection called Olney Hymns (1779) was designed for "the use of the plain people" in Newton's parish.62 Many of its hymns, however, attained popular appeal among working-class church members throughout England and its colonies. Manly Jr. included fIfteen of Newton's texts and five of Cowper's in his fInal collection. Newton's hymn of conversion, "Amazing grace! how sweet the sound," is undoubtedly his most famous. "Glorious things of thee are spoken" and "How sweet the name of Jesus sounds" are also included in The Baptist Hymnal (1991). "How tedious and tasteless the hours" and "Saviour, visit thy plantation" were equally popular among early Southern Baptists. Three of Cowper's hymns have retained their popularity in the current repertory. They include "God moves in a mysterious way," "0, for a closer walk with God," and "There is a fountain fIlled with blood." The nineteenth century witnessed a divergence ofhymnological streams, all of which were acknowledged in the repertory of Manly's Choice. Four fairly distinct categories of hymnody emerged in the early part of the century. According to Eskew and McElrath, the "evangelical stream," which commenced with the Wesleys and climaxed in the collection of Olney Hymns, continued in the early nineteenth century in the works of James Montgomery and Thomas Kelly. Manly Jr. featured nine of Montgomery's texts and three of Kelly's in Manly's Choice. "Forever with the Lord" of Montgomery and 62Eskew and McElrath, Sing with Understanding, 144. 131 "Look, ye saints, the sight is glorious" of Kelly, are the only two remaining in the current repertory of Southem Baptist hymnody. The Romantic and Oxford movements within Christian hymnody embraced the most divergent themes of the larger Romantic period. Individualistic emotional expression was juxtaposed with a passion for the recovery and preservation of all things ancient and mysterious. The expression of individual emotion and its communication through poetry of higher literary quality are among the most notable characteristics of Romantic hymnody.63 The hymns of Montgomery and even Cowper alluded to the emotional sensitivity that would become characteristic of the Romantic repertory. However, the hymns of Sarah Flower Adams, Horatius Bonar, Sir John Bowring, Charlotte Elliott, Frances Ridley Havergal, and Henry Francis Lyte were among those that raised the expression of spiritual sensitivity to its height. Hymns by each of these historic authors were included in Manly '8 Choice. In reaction to the individualism characteristic of the Romantic movement at large and the emotionalism pervasive in Romantic hymnody, members of the Anglican clergy and academic elite purposed to reintroduce uniformity in the worship of the established Church. Moreover, they sought to revive the liturgical practice and spiritual expression of previous centuries in the worship of their day. John Keble was one of the churchmen at the forefront of the Oxford movement. His hymn, "Sun of my soul, Thou Saviour dear," was the only original hymn from the Oxford movement featured in Manly's Choice. However, "Jerusalem, the golden," which was one of many historic Latin hymns translated by John Mason Neale, was also included in the collection. 63Reynolds and Price, A Survey ojChristian Hymnody, 73. 132 The final category of early nineteenth century hymnody of significance to the repertory of Manly '8 Choice is American Baptist hymnody. While there were numerous nineteenth-century English Baptists whom Manly Jr. acknowledged in his collection with the inclusion of a single h~ his American Baptist contemporaries are of greater significance to this study. Among these individuals are Thomas Baldwin ("Come happy souls, adore the Lamb")~ Robert T. Daniel ("Lord in humble, sweet submission"). John Leland ("The day is past and gone"), and Gurdon Robins ("There is a land my eye hath seen"). In addition to these, the hymns of four other American Baptist authors merit at least brief discussion. The Congregationalist missionary Adoniram Judson became convinced of the significance of baptism by immersion while en route to his service in India. Upon his arrival in India, he resigned his commission as a Congregationalist missionary and subsequently became the first foreign missionary to be sponsor~ by the Baptist Triennial Convention.64 The significance of his baptismal hymn, "Our Saviour bowed beneath the wave," is self-evident. In addition to this hymn, which is oddly absent from the current Southern Baptist repertory, "Come, Holy Spirit, Dove divine" was included in Manly's Choice. It has been retained in The Baptist Hymnal (1991). Samuel F. Smith and Sidney Dyer were American Baptists whose notoriety stemmed as much from their hymn compilations as their contribution of original hymnody. The current Southern Baptist repertory contains Smith's famous patriotic text, "My country, 'tis of thee." However, his fine and equally popular missionary h~ 64Burrage, Baptist Hymn Writers and Their Hymns, 269. 133 "The moming light is breakingt is generally unknown today. Smith's philosophy for hymnal compilation and his efforts in the compilation of The Psalmist (1843) created the controversy which led to the compilation of The Baptist Psalmody (1850). Sidney Dyer produced a collection of hymns the year after The Baptist Psalmody was published. The Southwestern Psalmist (1851) contained sixteen of Dyer's hymns. "Work for the night is coming" was included in Manly's Choice. While William H. Doane is principally revered for his considerable contribution to the tune repertory of American hymnody, he composed numerous hymn texts as well. Southern Baptists of the present day may be surprised to learn that Doane composed "at least one hundred and fifty churcb and prayer-meeting hymns.,,65 Many of these were contained in the numerous Sunday school hymn books he published throughout the mid-nineteenth century. Basil Manly Jr. included one of his hymn texts, "Softly now, the light of day," in Manly's Choice. The sum of the contributions by the preceding hymn writers amounts to two thirds of the historic repertory contained in Manly Jr.'s fmal collection. Evangelical hymns of the eighteenth century comprise more than one third of the collection's content. Apart from James Montgomery, Manly Jr. limited nineteenth-century bymnwriters to the inclusion ofa few hymns or less. Twenty-five of the hymn-writers featured in Manly's Choice were Baptists of either English or American origin. It is evident from these statistics that the repertory of Basil Manly Jr.'s fmal collection represented the best hymnody that evangelicalism had to offer. The repertory was not only significant from the chronological perspective of evangelical hymnody, it also contained the hymns 65Ibid.,459. 134 dearest to the Baptists for whom the hymnal was designed. Remarkably, Manly '8 Choice contains a core repertory of hymns still widely sung today. The Baptist Hymnal (1991) features 52 ofthe texts that Manly Jr. preserved in his final collection of hymns. Employment of Popular Tunes Just as Basil Manly Jr. pursued the preservation of historically significant hymn texts in Manly '8 Choice, he intended for its musical edition to include a historic repertory of tunes. The selection of tunes was based on two factors: their significance in the chronology of Christian hymnody and their time-tested approval by worshipers. Manly Jr.'s intention to select tunes based on their public approval is evident in his personal correspondence with numerous individuals during the latter months of 1891. His letter to his mother, Sarah Manly, which was cited above, is representative of the correspondence related to The Choice.66 His intention to employ, and thereby preserve, some of the tunes of greatest historical significance is evident in the repertory of the collection itself. Final proofs for Manly '8 Choice were completed in mid-September of 1891. In a letter to his mother, whose counsel he undoubtedly sought in the selection of both texts and tunes, he wrote of his present engagement in the compilation of The Choice. "We have not got the little Hymn Book out yet. They [the Franklin Type Foundery] expect to begin to print Monday. r corrected the last proof Wednesday, ... What time ~anly Jr., letter to Sarah Manly, 20 September 1891. This letter is particularly significant as it is the first correspondence related to the selection of tunes for The Choice. A list of tunes, representative of those he eventually employed in the collection, was included in the letter. 135 I can now give to such things I wish to expend on the edition with music. ,,67 In a letter to F. A. Atkins, a friend and fellow musician, he wrote of his intention to compile the tunes. "The book now in preparation is a small one. 254 hymns, and it is proposed to have only old tunes as well as hymns. ~,68 Although it was his aspiration to use only established tunes, Manly Jr. soon learned of the necessity of including new tunes that were readily available for use. In the end. he employed two tunes that he had received from F. A. Atkins and half a dozen of his own. Manly Jr. would rather have employed the compositions of others. However, he recognized that the cost of doing so would be preclusive to the publication of an inexpensive collection, as he explained in the preface to The Choice. Some modem tunes which are familiar and excellent would gladly have been used; but they are held under the laws of copyright, and could not be procured except at heavy expense, if at all. And this would have conflicted with the design of publishing a cheap book, within the reach of all. In a few cases, to meet an apparent necessity, the editor has inserted music of his own composition, for which he asks a lenient judgment. 69 The result of Manly's divergence from his original plan was favorable for several reasons. First it allowed for the inclusion of his own tunes. In spite of his humility, the latter were well worth inclusion in the collection. As has been noted in the introduction, numerous tunes by Basil Manly Jr. had been published in leading hymnals of the denomination. Moreover, John A. Broadus, whose hymnological expertise weU- qualified him to identify commendable hymn tunes, spoke highly of his colleague's 67Ibid.,4. 68Basil Manly Jr.,letterto F. A. Atkins, 1 October 1891 (Press Books, Manly Papers, The Southern. Baptist Theological Seminary). ~anly Jr., Preface to The Choice, iii. 136 compositions. Broadus wrote in his appraisal of "Dr. Manly's Last Work" in the Religious Herald: '4He [Dr. Manly] has not given us any hymns of his own in the selection, but has given six of his own tunes, which are all good.,,7o The second favorable result of Manly Jr.'s departure from his original plan was the opportunity to include arrangements of some of the period's most popular tunes by one of the most prolific gospel hymn composers. Though hymnody was not his principal vocation, William H. Doane produced more than 2,200 tunes throughout his career.71 Moreover, his broad contribution to the Sunday school hymnody of the mid-nineteenth century afforded him a position of significance equal to any of his contemporaries. His relatively unknown contribution of hymn texts has been cited above. Burrage identified at least thirteen hymn collections to his credit.72 Reynolds and Price acknowledge his involvement in 40 compilations.73 Doane collaborated with Robert Lowry in the compilation of The Gospel Hymn and Tune Book (1871), and served as one of two musical editors for The Baptist Hymnal (1883). Reynolds and Price have noted Doane's prominent role in the compilation of the latter hymnal as evidence of the growing popularity of his gospel songs among Baptists.,,74 The inclusion of Doane's harmonizations would certainly lend to the distribution and popularity of The Choice. The third, and perhaps most fortunate, result of Manly Jr.'s departure from his 7OSroadus, "John A. Broadus on Dr. Manly's Last Work," L 7lEskew and McElrath, Sing with Understanding. 197. 72Burrage, Baptist Hymn Writers and Their Hymns, 457. 73Eskew and McElrath, Sing with Understanding, 197. 74Reynolds and Price, A Survey o/Christian Hymnody, 122. 137 original plan was the collaboration that developed between himself and William Howard Doane. Manly Jr.·s collaboration with Doane was far more than a marketing strategy. He admired the latter as a commendable contributor to Christian hymnody and valued his expertise as a musical editor of hymnals in particular. In view of Manly Jr,'s limited experience with the musical aspect of hymn compilation, he determined to seek out the assistance of his esteemed colleague. Basil Manly Jr. and William H. Doane had been acquainted with one another's work for a number of years. In 1878 Doane sent suggestions to Manly Jr. regarding his setting of a well-known text by Francis Havergal. 75 They became better acquainted through their editorial involvement in The Baptist Hymnal (1883). However, simple association deepened into considerable friendship in the fmal months of 1891. Manly Jr. described his collaboration with Doane in a letter to his mother saying, "Bro. Doane very kindly proposes to give me all the advice and assistance he can, and invites me to come and stay with him, so that we may consult about the tunes. He has a good many very practical ideas, besides being a fme music composer.,,76 The practical ideas of which Manly Jr. spoke were most evident in the repertory that was finally compiled in The Choice. The collection contains 251 compositions and encompasses tunes dating from the Refonnation through Manly Jr.'s era of Sunday school hymnody. Of the tunes that can be categorized, five date from the Reformation. They are: JUDGEMENT HYMN, which Manly Jr. attributed to Martin 75Basil Manly Jr., letter to W. Howard Doane, 25 April 1878 (Press Books, Manly Papers, The Southern Baptist Theological Seminary); cited by Paul A. Richardson, "Basil Manly, Jr.," 105; Manly set Havergal's hymn, "I gave my life for thee," to his tune, ZINZENDORF. 7~anly Jr., letter to Sarah Manly, 20 September 1891,4. 138 Luther. the ever-popular OLD HUNDRED by Louis Bourgeois. Thomas Tallis's EVENING HYMN, known today as TALLIS CANON, WINDSOR attributed to Francis Kirbye, and YORK from the Scottish Psalter (1615). Numerous composers of greater historical significance were acknowledged in the repertory of The Choice. Hymn tunes were frequently gleaned from the dramatic works of George Frederic Handel throughout the eighteenth and nineteenth centuries. Manly Jr. chose the tunes BRADFORD, CHRISTMAS, and THATCHER for inclusion in his collection. Like Handel, the Italian-born Felice de Giardani was known as a composer of opera in England. His contribution of tunes to evangelical hymnody was procured through the patronage of the Countess of Huntingdon. 17 Of the three tunes by Giardini included in The Choice, IT ALlAN HYMN is the most famous. The most famous English composer of the Baroque period was Henry Purcell. 78 Manly Jr. included his lesser-known tune, COLCHESTER, in the collection. Among the English composers who succeeded Purcell and contributed to the tune repertory of Christian hymnody were Thomas Arne and William Croft. Their respective tunes, ARLINGTON and ST. ANN'S [ANNE], were also featured in The Choice. European composers of the Classical and Romantic periods were honored in Manly Ir.'s collection. Tunes from the works of Franz Joseph Haydn were the most favored. The five included in The Choice are: AUSTRIAN HYMN, BOWEN, BROWNELL, HA YDN, and MANOAH. The first of these tunes is the only one 77Bailey, The Gospel in Hymns, 115. 7l!Milo Wold, Gary Martin, James Miller, and Edmund Cykler, An Outline a/Western Music, 8th ed. (Indianapolis: Brown & Benchmark, 1994),99. 139 in popular use today. Four tunes were featured by Ludwig van Beethoven. Manly Jr. acknowledged two of them as tunes arranged from Beethoven's works (SOUTH STREET and ETHELBERG) and two explicitly composed by him as hymn tunes (GERMANY and GORTON). Carl Maria von Weber was credited with three tunes: JEWETT, WILMOT, and SEYMOUR. Wolfgang Amadeus Mozart and Felix Mendelssohn were each attributed with two tunes. AMADEUS by Mozart is not known today, however, his tune ELLESDIE appears in the two most recent Southern Baptist hymnals. The tune HERALD ANGELS SING by Mendelssohn is commonly identified by its composer's name in the current repertory. Gaetano Donizetti, Luigi Cherubini, and Jean-Jacques Rousseau were all credited with individual tunes. Rousseau's tune GREENVILLE was widely employed in the mid-nineteenth century and remained in the Southern Baptist repertory through The Baptist Hymnal (1956). AZMON, by Carl GotthelfGHiser, has retained its popularity to the present day. It was one of many European tunes arranged for American use through the efforts of Lowell Mason. 79 Lowell Mason and Thomas Hastings were the leading figures of the nineteenth-century movement that sought to reform the music of American hymnody according to European models. 8o They possessed a general disdain for the music of the earliest American composers and the tunes that had been popularized in the singing schools and frontier camp meetings of early America. It is obvious from the repertory 79SCOtty Wayne Gray, "0 for a thousand tongues to sing," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992), 200. 8o:Eskew and McElrath, Sing with Understanding, 189. 140 of The Clwice that Manly Jr. appreciated the contribution of both groups. The most significant hymn tunes of early America were preserved in Manly Ir.' s :final collection. The earliest and most popular tune by an early American composer to remain in common use is CORONATION by Oliver Holden. 81 William Billings was the most famous compiler of early American hymn tunes and a pioneer in the development of singing-schools during the Revolutionary War period.82 His tune, JORDAN, largely unknown today, was preserved in The Choice. Two tunes by Billings' contemporary Daniel Read were also included. One of them, WINDHAM, remained popular among Baptists in the South throughout the nineteenth century.83 As is the case with most early American tune writers, Lewis Edson is known only for his tune, LENOX. It is representative of the imitative fuging tunes that were popular in early American singing-schools.84 Finally, the hardy fruit of the Northern singing-school movement was gleaned and preserved in collections such as Jeremiah Ingalls's Christian Harmony (1805).85 Manly Jr. honored the pioneering compiler of early American folk hymn tunes with two entries in The Choice. They are NORTHFIELD and INVITATION. While Manly Jr. valued the works of early Americans, he also affumed the reasoning of the reformation instituted by Mason and Hastings. This fact is evident in two ways. First, he included 37 tunes and arrangements of Lowell Mason and a dozen 81paul G. Hammond, "All bail the power of Jesus' name," in Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992),86-87. 82Reynoids and Price, A Survey ojChristian Hymnody, 99. 83Murrell, "An Examination of Southem Ante-Bellum Baptist Hymnals and Tunebooks," 53. 114Eskew and McEb:ath, Sing with Understanding, 179. '''Reynolds and Price, A Survey a/Christian Hymnody, 106. 141 settings of Thomas Hastings in his final collection. A listing of the most familiar tunes contained in The Choice exceeds the limitations of this study. However, the following tunes are representative of their most popular compositions. Hastings composed ORTONVILLE, RETREAT, TOPLADY, and ZION. Mason either arranged or composed ANTIOCH, AZMON, DENNIS, HARWELL, HENDON, MENDON, and OLIVET. With the exception of RETREAT and ZION, all of these tunes have been retained in The Baptist Hymnal (1991). The latter tune was present in the Southern Baptist denominational hymnals until 1956 and RETREAT appeared last in The Baptist Hymnal (1975). Beyond his inclusion of Mason and Hastings' tunes, Manly Jr. affirmed their conviction that popular musical idioms are often suspect and unworthy of preservation. It has been noted in Manly Jr.' s personal correspondence that he was critical of the frivolity that characterized the gospel songs of his day. Indeed, the tune repertory at the end of the nineteenth century was rife with what William H. Doane had identified as "rattle-di-Iang" tunes. 86 Ironically, Doane was among the most significant promoters of the popular idiom in congregational song. He followed in the footsteps of William Bradbury and joined with Bradbury's successor, Robert Lowry, to produce a myriad of songs and tunes that served as the finest and earliest models for the gospel song movement to come. However, the simplicity and biblical clarity that was characteristic of many early Sunday school hymns often deteriorated into the sentimentality typical of much gospel song by the tum of the nineteenth century. An examination of the repertory 8~anly Jr., letter to Sarah Manly, 20 September 1891, 4. 142 in Manly Jr.'s final collection reveals admiration for the fonner category of American hymnody and a relative rejection of the latter. Four composers of tunes in the popular idiom are deserving of mention in the final category of tune contributors. In 1855, the Southern Baptist Publication Society released its first hymnal designed for social worship. The Manlys had compiled The Baptist Psalmody (1850) with congregational worship fundamentally in mind. The Sacred Lute (1855), compiled by E. T. Winkler, was designed to promote ''those melodies, which are most familiar to the devotions of our Southern Zion." Winkler futher stated that "his primary object was to collect into one book the spiritual songs to which, in social gatherings and religious awakenings, our people instinctively recur.,,87 Simultaneous with the compilation of The Sacred Lute was the preparation of a tune book to complement its use. I. B. Woodbury was the co-compiler of this collection entitled The Casket (1855).88 Manly Jr. featured three of Woodbury's tunes in The Choice: PlllLIPS, SILOAM, and WOODBURY. William B. Bradbury is recognized as ''the person most responsible for popularizing the early gospel hymns" that appeared in the Sunday school collections of the mid-nineteenth century.89 Basil Manly Jr. featured eight of Bradbury's tunes in The Choice. Of these, only three have appeared in Southern Baptist hymnals l"Edward T. Winkler, Preface to The Sacred Lute: A Collection ofPopular Hymns, with Choruses and Forms for Special Occasions, selected and arranged by E. T. Winkler (Charleston: Southern Baptist Publication Society, 1855). 88E. T. Winkler, ed., "The Casket;" Sacred Melodies for Public and Social Worship: Containing Many Choice Melodies from Eminent American and European Composers, besides a Large Amount ofNew Music, also Selections from the Works ofHandel, Haydn, Mozart, Beethoven, Rossini and other Celebrated Masters, mus. ed. G. O. Robinson and 1. B. Woodbury (Charleston: Southern Baptist Publication Society, 1855). ~ynolds and Price, A Survey ofChristian Hymnody, 117. 143 of the twentieth century. BROWN, REST, and ZEPHYR are all admirable tunes representative of the best the Sunday school repertory had to offer. Bradbury's tune entitled REST was featured in every denominational hymnal from the appearance of The Baptist Hymn and Praise Book (1904) until the Broadman Hymnal (1940). Manly Jr. intended to employ many more of Bradbury's tunes in The Choice, as is evident from a letter to William H. Doane on October 16, 1891. The letter contained a list of tunes by Bradbury that were of particular interest to him. In addition, Manly Jr. inquired about the tunes of Greatore x, Hastings, Kingsley. Mason, and Woodbury. He hoped to employ tunes by all of these composers and was uncertain about the status of their copyrights. He sought the assistance of Doane in determining their availability for inclusion in the collection. Some of the tunes by Bradbury identified in the list are prevalent in the contemporary repertory of Southern Baptists. However, it was later determined that HEAVENLY LAND, OLIVE'S BROW, SOLID ROCK, and SWEETNESS NAME were still under copyright. Their inclusion in The Choice would have made the book's cost prohibitive. Manly Jro's fundamental concern for the production of an affordable hymnal is evident from the outset of his letter to Doane. Dear Brother - I was much gratified and encouraged by my interview with you last Saturday, and by your kind offer of help in my enterprise of getting out a cheap Hymn and Tune Book designed especially for our Country Baptist Churches. I wish to revive the old songs; not that I have any repugnance to the new ones, for some of them, I admire greatly, and among these a number of your compositions. I had not ventured to include them in my lists, for I guess they are copyright [sic], and that we could not afford to pay for them, and yet keep the book at the low price proposed.90 90Basil Manly Jr., letter to Dr. W. H. Doane, 16 October 1891 (Press Books, Manly Papers, The Southern Baptist Theological Seminary). 144 In spite of the preceding statements concerning the availability of Doane's tunes, Manly Jr. did inquire about two of his tunes in particular. OLD, OLD STORY and PARTING SONG were evidently unavailable for inclusion due to their copyright. Doane did submit six arrangements of non-copyrighted tunes for publication in The Choice. His interest in the success of the collection is evident in the following quote from one his few letters to Basil Manly Jr. My Dear Bro. Manly: I enclose you the melodies you sent me to harmonize, which I trust will please you. If my name will be of any service to you in any way, use it. If it won't, do not. It is only a pleasure to do anything for you that I can to aid you in your excellent work. Kindly acknowledge receipt that I may know they came safely to hand, and oblige. Yours very truly, W. H. Doane91 Two of the tunes for which Doane submitted harmonizations are still popular today. "Amazing grace, how sweet the sound" is commonly set to the tune now known as NEW BRITAIN. Doane assigned the title of GRACE to his arrangement of the tune. His harmonization is interesting with respect to the alterations he made in the melodic line. He removed some of the intervaUic gaps that characterize the tune as a rustic folk melody. The result is a version of NEW BRITAIN that blends into the harmonic landscape of late nineteenth-century parlor tunes. The familiar folk-tune, PISGAH, was altered in a similar way. Doane's arrangement of GRACE appears in Example 9 on the following page. 91William H. Doane, letter to Basil Manly, 2 December 1891, Manly. Basil Jr., Basil Manly Papers: 1842-1891 (Southern Historical Collection, University of North Carolina Library), The Southern Baptist Theological Seminary, microfilm. 145 Example 992 _M. ~I~ VI~ j I~ I ~ir~ifN~'i~ 1. .A - maz - ing grace, how sweet the sonnd, That saved a wI'etch hke me! ,I.a. J ,;) _ n II n lit J 17 ..rj-9- Ie.... '1 I ~ ~ 117 ""'..., F :;-1 1"""F;:-1l"_1- - ,... f' II1II !"'... I' -. 1:7t\-·- ~ ... I" !:...:. 1- - ,. • '1 __V~~~~y~----r;~------~----~~----1·+-~+---,r;~------~,-:~ t ~' I. ~ I '''''''- .. .J I I • _ I n " , .. -I " .., Ie IT -I'P' ... " -.... I'1V " "" ..l ! ,..,. 61 _ "" "11 11 ~ -. " I • ..,,,'!:I. Gil -r;; I... " I c. .. r;I " ..... "l:j I I once was lost, but now am found; Was blind, but now r see. ~ ~ lJ n 61 n J n ... n "'i.e • IJ'7 I", I:; n -'" II • I - : I • I ,.. II ." h ~ ! I I!~ l- II V I 17 "I..IJ .. The final composer of hymn tunes whose compositions should be examined with respect to The Choice is Basil Manly Jr. Six of his tunes were included in its repertory. While all of his tunes are worthy of consideration, only two will be discussed here. However. the six tunes featured in The Choice, as well as those published in the Sunday school hymnal, Kind Words (1871), are presented in Appendix 12 of the dissertation. Manly Jr.' s disclaimer concerning the inclusion of his tunes stated that they had been employed "to meet an apparent necessity.,,93 The meters of the six texts to which he assigned his tunes provide little indication of what necessitated their composition. "Work for the night is coming" and "I gave my life for Thee" are 92William H. Doane, ruT., GRACE, The Choice (Louisville: Baptist Book Concern, 1(92). 44. 93Manly Jr., Preface to The Choice, iii. 146 the only texts employing irregular meter. Manly Jr. had previously employed his tune entitled ZINZENDORF (6.6.6.6.6.6) in a setting of the latter text by Frances R. Havergal. Since his arrangement had never been published, The Choice provided Manly Jr. a unique opportunity to introduce his setting to Baptists. ZINZENOORF appears in Example 10. Example 1094 /1jJ3: I j i :~ j I ~ Ij: I i U1t~ ~ I~J bm th~ dl:ad. I gare my life for thee, What hast thoo ~f'n for me P What hast tiiill. giv'o for 1IIt~ J J n. fl. ,,"",.. • ~ It ~ ~ Ill' It It .fL,... ,.-. Pn. " ..-:' ·f II!I III III I I IIIJ • .. I r78 .Ii ~r~ - .11 • I I ••• II I . I; I.... ·";' ;- I I• . F Ii • .1.1 • • I .1. - While the meter of six syllables and six lines in "1 gave my life for thee" is not entirely unique. the meter of "Work, for the night is coming" (7.6.5.) is quite irregular. It necessitates a change of rhythmic accent in the third phrase of text where one would generally expect a phrase of either six or seven syllables. It is likely that Manly Jr. composed the tune entitled WORK to provide a suitable setting for the peculiar text by Annie Walker Coghill. In the estimation of at least one critic he more than succeeded. 94Basil Manly Jr., ZINZENDORF, The Choice, 22. 147 An anonymous commendation of Manly Ir.'s tune was recorded in a rare copy of The Choice, that is extant in the Music Archives of The Southern Baptist Theological Seminary. The entitlement of the hymnal as The Choice identifies it as one of the first editions to come from the press. Subsequent printings of The Choice were entitled Manly's Choice . .. with Music.95 The original copy contains a sheet of hand-written notes that was glued to the final page of the hymnal. The first line ofllie notes reads, "6 tunes, all good. Best are 144 his hymn Work f[or] I [the] night [is] c[oming] & 249 I'm but a stranger here. HarriS.,,96 Manly Jro's setting of WORK, appears in Example 11. Example 11 97 ~ir!~n lijt~, JJ~~ia'ij:~ . I. \filii. " the .,.11 is "'~'I', Ir..t tiro' th..... iIg .... ; W..t wIiIo lie le. iSl,ark·IiII!. \ :::'Iri.g;'I' 0.,.: ~f r ~ rl&~J,~ ~~. ~I#W dl' til 'l~Jge-U¥i I IVori .ken tI. day gro.. Lrig~"" ltd d. gIoliD: ~: \fort. r.r lI<.ijII is _to,. m:.. ;'·.. Mk is;': ~tttfirlMtgFW$mlgiJ ~MF:~D 95Richardson. "Basil Manly. Jr." III n. 75. 96"Notes on The Choice," in The Choice (Music A:rcllives, The Southern Baptist Theological Seminary). 97Basil Manly Jr., WORK, The Choice, 144. 148 Though the notes commending Basil Manly Jr.'s tunes are anonymous, it may be possible to identify their authorship. The contents of the notes bear great resemblance to statements made in the review of "Dr. Manly's Last Work." The reviewer wrote,"He [Manly Jr.] has not given us any hymns of his own in the selection, but has given six of his own tunes, which are all good. Probably the best are 144 and 249. The former is named WORK. and set to the hymn, 'Work, for the night is coming.'" More significant, however is the hand in which the notes were written. Certain aspects of the handwriting resemble that of John A. Broadus. In particular, the capital letters "B. M." with which the author identified Basil Manly Jr.'s tunes in the metrical index, are identical to the hand of John A. Broadus. Conclusion Basil Manly Jr. invested the last months of his life in an endeavor that was close to his heart. He was aware of the fact that his opportunity to make a fmal contribution to the hymnody of Southern Baptists was coming to an end. Although he aspired to produce a larger "Standard Baptist Hymn Book," he was determined to produce a commendable collection in what was to be his final work. In his commendation of his colleague's tunes, John A. Broadus lamented the fact that Manly Jr. had refused to include any of his own texts in The Choice. He acknowledged the merit of Manly Jr. 's most widely published text in particular.98 "Work, for the day is coming" is a parody of Annie Walker Coghill's text to which Manly Jr. also set his commendable tune. WORK. The second stanza of the text provides a fitting summary 98Richardson, "Basil Manly, Jr.," 106. 149 of the philosophy of life that Basil Manly Jr. made manifest in his work and ministry. !treads: Work, for the day is coming: Darkness will soon be gone; Then 0' er the night of weeping Day without end shall dawn; What now we sow in sadness, Then we shall reap injoy: Hope will be changed to gladness, Praise be our best employ. 99 ~asil Manly Jr., "Work, for the day is coming," st 2, The Glad Refrain/or Sunday School: A New Collection o/Songs/or Worship, ed. Robert Lowry and W. Howard Doane (New York: Biglow & Main, 1886). CHAPTERS SUMMARY OF CONTRIBTUTIONS Introduction The purpose of this dissertation has been to investigate the hymnological contributions of Basil Manly Jr. to the congregational song of Southern Baptists. His contributions to this field were broad and significant, and should be noted as an important part of any catalogue of his service to the Southern Baptist denomination. His lifelong hymnologica1 pursuits and endeavors must be listed among the works commending him as one of the most notable individuals in its formative decades. Denominational Service Basil Manly Jr. first served the Southern Baptist Convention as secretary pro tem in 1849. In 1850 he became pastor ofthe First Baptist Church of Richmond, Virginia, the largest and most significant church in the denomination at that time.l He was one of the earliest and most consistent advocates for the establishment of a theological Seminary for Southern Baptists.2 In 1857 he was appointed to the Committee on the Plan of Organization for The Southern Baptist Theological Seminary and specifically charged with the development of its doctrinal charter, The Abstract lJoseph Powhatan Cox, "A Study ofthe Life and Work of Basil Manly, Jr." (Th.D. thesis, The Southern Baptist Theological Seminary, 1954),90. 2William A. Mueller, A History ofSouthern Baptist Theological Seminary (Nashville: Broadman, 1959),89. 150 151 ofPrinciples.3 Basil Manly Jr. was among the four founding faculty of The Southern Baptist Theological Seminary and contributed to the education of several of its subsequent faculty members. Manly Jr. served briefly as president of the Kentucky Baptist institution Georgetown College from 1871-1879 ~ but resumed his professorship at Southern Seminary following the resignation of his former pupil, Crawford H. Toy. In response to Toy's divergence from an orthodox understanding of the doctrine of inspiration, Manly Jr. wrote his most significant theological work, The Bible Doctrine ofInspiration Explained and Vindicated (1888). His colleague and friend, Dr. John A. Broadus wrote of the work, "It is the wisest small work for ministers and cultivated people ever written. ,,4 Manly Jr. invested a total of twenty-two years in the preparation of ministers of the gospel as a professor of Old Testament Interpretation and Biblical Introduction. Beyond his teaching, however, he enabled many impoverished young men to attend the Seminary through his supervision of the Seminary Fund. A large number of the letters preserved in the Press Books of Basil Manly Jr. pertain to the acquisition of funds for needy students. 5 Manly Jr. 's interest in the spiritual formation of young Christian men and women preceded the time of his service at Southern Seminary. Manly Jr. was 3COX, "A Study of the Life and Work of Basil Manly Jr.," 144-47. 4John A. Broadus, "[Funeral] Address of Dr. John A. Broadus," Seminary Magazine 5 (March 1892): 314. 5Basil Manly Jr., Press Books (Manly Papers, The Southern Baptist Theological Seminary Archives). 152 instrumental in the development of Sunday schools among Southern Baptists. He initiated the organization of Sunday school activity among Baptists in Virginia through his series of sermons, "A Good Sunday School in Every Baptist Church.,,6 He served for six years as president of the fIrst state Sunday School and Publication Society in Virginia and president of the fIrst Southern Baptist Sunday School Board in 1863. In the latter role, he helped to develop a devotional pamphlet entitled Kind Words (1866), and two catechetical works, Little Lessons for Little People and Child's Question Book on the Four Gospels.7 According to Isla May Mullins, the wife of Southern Seminary president E. Y. Mullins, "Dr. Manly ... did more for Sunday school promotion in its early days than anyone else. ,,8 The latter statement might as easily have been said of almost any aspect of Basil Manly Jr.'s contribution to the earliest generations of Southern Baptists. He was engaged in nearly every aspect of denominational life. In one sense, then, it is not surprising that his influence would extend to the realm of hymnody. It is remarkable however, that his hymnological contribution was so consistent and pervasive throughout his entire life. While many of his contemporaries made notable contributions to the Southern Baptist repertory of congregational song, few of them exerted as signifIcant an influence for as many years as did Basil Manly Jr. Pioneering Publications In collaboration with his renowned father, Dr. Basil Manly Sr., Manly Jr. ~ouise Manly, The Manly Family: An Account ofthe Descendants ofCaptain Basil Manly ofthe Revolution and Related Families (Greenville, SC: [Keys Printing Co.], 1930),208. 7Quoted in Louise Manly, The Manly Family, 210. 8Ibid., 209. 153 gave Southern Baptists their first denominational hymnal. Beyond this distinction, The Baptist Psalmody (1850) was commendable for the breadth of its repertory. the promotion of numerous authors who had been marginalized in The Psalmist (1843), such as John Cennick, Samuel Medley, John Newton, and Charles Wesley, the restoration of their hymn texts to original form, and the recovery of the genre of hymns that was most dear to Southerners, the "spiritual song." Examples of this genre such as "Come, Thou Fount of every blessing," "How firm a foundation," and "Amazing grace! how sweet the sound," have been retained in the current repertory of Southern Baptist hymnody due in part to Manly Ir.'s pioneering work in the compilation of The Baptist Psalmody. Baptist Chorals (1859) was notable from the standpoint of its progressive musical format. the innovations in its arrangement of hymns, and Manly Jr.'s philosophical preface on congregational song. He not only believed that singing was a central aspect of corporate worship, he sought to expound its merit and provide a common repertory of hymnody with which congregational song could be celebrated among Baptists at large. Although the sales and distribution of Baptist Chorals was curtailed by the outbreak of the Civil War, the book's design and its purpose of unifying Baptists in the service of worship made an emphatic impact on Southern Baptist compilers and collections of subsequent decades. Manly Jro's final compilation, The Choice (1892), may be seen as the embodiment of all its compiler's philosophies concerning congregational song and its implementation in authentic Christian worship. The impetus for the collection came from a pastoral heart. The repertory of the collection was the product ofhymnological expertise the quality of which was evident in Manly Jr.'s selection of texts as well as 154 tunes. The purpose of the collection was to endow successive generations of Southern Baptists with the finest repertory of Christian hymnody extant and its effect was far~ reaching. Forty-two ofthe tunes contained in The Choice have been employed in Southern Baptist hymnals of the twentieth century and twenty-one remain in use today. Fifty-two texts featured in Manly Jr. 's final compilation have retained their popularity and serve the present generation as a commendable core repertory of Christian hymnody. Consistent Influence Basil Manly Jr. 's influence on hymnody and hymn singing was consistent throughout his lifetime. Apart from his hymn compilations he pioneered the production of Sunday school hymnody for Southern Baptists. He contributed notable texts and serviceable tunes to numerous hymnals in the latter decades of the century. He aided his fellow Baptists in the compilation of two of the most significant collections of hymns in his day: The Baptist Praise Book (1871) and The Baptist Hymnal (1883). Manly Jr. collaborated with some of the era's most notable figures in hymnody including Richard Fuller, E. T. Winkler, Rigdon M. McIntosh, I. B. Woodbury, John A. Broadus, Henry S. Burrage, and William Howard Doane. Manly Jr.'s associations with the last-named men are by far the most significant. They represent the diversity of his influence and provide insight into the significance of his impact upon Southern Baptist congregational song. Though Manly Jr.·s heart was singularly fixed on the dissemination of historic hymnody to subsequent generations of Southern Baptists through his fmal compilation, The Choice (1892), he valued and affirmed the role of popular music in the historic repertory. During his collaboration with William Howard Doane, Manly Jr. wrote, "1 wish to revive the old songs; not that 1 have any repugnance to the new ones, for some of them, I admire 155 greatly~ and among these a number of your compositions.',g Manly Jr.'s appreciation for contemporary as well as historic hymnody, was evident in his profitable collaboration with Doane on The Choice. However, his collaboration with Doane does not denegrate his credibility as one of the leading hymnological scholars of his day. Henry S. Burrage, the imminent English hymnologist, wrote to Basil Manly Jr. in the process of compiling his exhaustive study of English Hymn Writers and Their Hymns. to Shortly thereafter, Burrage related to Broadus the assistance that Manly Jr. had provided in the research of American Baptist hymnody.l1 Manly Jr. 's own contribution to the American Baptist repertory was acknowledged by Burrage, who praised in particular the latter's historic accomplishment in The Baptist Psalmody. Burrage identified the landmark hymnal as a work of "great excellence. ,,12 Finally, John A. Broadus's activities as the principal professor of hymnology in an American theological institution were undoubtedly informed by his collegial association and close personal friendship with Basil Manly Jr.13 Broadus honored The Choice (1892) in his Syllabus as to Hymnology, identifying Manly lr.'s final compilation as one of the more commendable collections to be produced in the last decade of the J~enry S. Burrage, English Hymn Writers and Their Hymns (portland, ME: Brown Thurston & Co., 1888). lIHenry S. Burrage, letter to John A. Broadus, 25 October 1866 (John A. Broadus Papers, The Southern Baptist Theological Seminary). I2Burrage, Baptist Hymn Writers and Their Hymns, 426. 13Esther R. Crookshank, "The Minister and His Hymn-Book': John A. Broadus as Hymnoiogist," in We Praise Thee with Our Minds, ed. Michael Raley and Deborah Loftis (forthcoming), 1. 156 nineteenth centmy.14 It was Broadus's association with the broad spectrum ofbis friend and colleague's contributions that enabled him to express definitively Manly Jr.'s impact on Southern Baptist hymnody. In bis address at the funeral of Dr. Basil Manly Jr., Broadus said, "The worth of such a man only God can measure. If Basil Manly had devoted himself to one or two things, he would have stood out as the most famous man of the age.,,15 14JoOO A. Broadus, Syllabus as to Hymnology, 2nd ed (Louisville: The Southern Baptist Theological Seminary, n.p., January 1892),23. 15Broadus, "[Funeral] Address of Dr. Basil Manly," 314. APPENDIX 1 THE BAPTIST PSALMODY (1850) FIRST LINE INDEX Hy. First Line of Hymn Text Author/Source* 453 A broken heart, my God, my King L Watts 834 A debtor to mercy alone A. Toplady 621 A few more days on earth to spend None Given 198 A Friend there is--your voices join, J. Swain 296 A glory in the word we fmd Campbell's CoL 986 A host of spirits round the throne B. Beddome 680 A throne of grace! then let us go L Cobbin 925 According to thy gracious word J. Montgomery 764 Affiicted saint, to Christ draw near J. Fawcett 428 Afilictions, though they seem severe J. Newton 94 Again our earthly cares we leave Pratt's Col. 847 Again returns the day of holy rest W. Mason 844 Again, the Lord of life and light None Given 312 Ah, how shall fallen man Epis. Col. 432 Ah! whither should I go C. Wesley 434 Alas! and did my Saviour bleed? L Watts 1171 Alas! how poor and little worth None Given 699 Alas! what hourly dangers rise! A. Steele 1008 All hail, incarnate God! E. Scott 239 All hail the power of Jesus' name! [Duncan] 287 AU nature sings God's boundless love O. Heginbotham 109 All ye nations, praise the Lord J. Montgomery 364 All yesterday is gone Pratt's Col. 93 Almighty God, eternal Lord Pratt's Col. 797 Almighty Father of mankind ReliefHymns 1165 Almighty Maker of my frame A. Steele 641 Am I a soldier of the cross 1. Watts 430 Am I called? and can it be Presho Hymns 574 Amazing grace! how sweet the sound! J. Newton 381 Amazing sight! the Saviour stands Hymns ofZion 1238 And am I born to die? C. Wesley 157 158 422 And are we, wretches, yet alive? I. Watts 510 And art thou, gracious Master, gone Relief Hymns 736 And be it so--that, till this hour Rippon's Col. 517 And can I yet delay C. Wesley 436 And can mine eyes, without a tear O. Heginbotham 751 And can my heart aspire so high A. Steele 363 And canst thou, sinner, slight A. B. Hyde 154 And did the holy and the just A. Steele 447 And didst thou, Jesus, condescend Curtis's CoL 660 And is this life prolonged to me? I. Watts 1151 And let our bodies part C. Wesley 1287 And let this feeble body fail C. Wesley 1239 And must I be to judgment brought C. Wesley 498 And must I part with all I have B. Beddome 1229 And must this body die? I. Watts 1083 And now, my soul, another year S. Browne 964 And will the great, eternal God P. Doddridge 1245 And will the Judge descend? P. Doddridge 74 And will the Lord thus condescend A. Steele 1138 Another day is past Curtis's Col. 856 Another six day's work is done J. Stennett 456 Approach, my soul, the mercy-seat J. Newton 1011 Arise in all thy splendor, Lord S.Slinn 477 Arise, my soul, arise C. Wesley 577 Arise, my soul, my joyful powers 1. Watts 311 Arise, my tenderest thoughts, arise P. Doddridge 1013 Arm of the Lord, awake, awake Burder's Col. 258 As blows the wind, and, in its flight I. Cobbin 753 As much have I of worldly good J. Conder 426 As o'er the past my memory strays T. F. Middleton 407 As on the cross the Saviour hung S. Stennett 702 As, panting in the sultry beam T. Gisborne 877 Ascend thy throne, Almighty King B.Beddome 1215 Asleep in Jesus! blessed sleep M.Mackay 987 Assembled at thy great command W. B. Collyer 1070 Assembled in our school once more Union Col. 420 Astonished and distressed A. Toplady 284 At anchor laid. remote from home A. Toplady 1095 At length the wished-for spring has come J. Newton 927 At thy command, our dearest Lord I. Watts 606 Attend, and mark the solemn fast ReliefHymns 744 Author of good, to thee we turn Merrick's Col. 159 1010 Awake, an~conquering Arm. awake None Given 582 Awake, and sing the song W.Hammond 223 Awake, awake the sacred song A. Steele 640 Awake, my drowsy soul, awake P. Doddridge 188 Awake, my gratitude, and sing A. Toplady 575 Awake, my heart, arise, my tongue I. Watts 1123 Awake, my soul. and with the sun T.Ken 484 Awake, my soul, in joyful lays S. Medley 644 Awake, my soul; stretch every nerve P. Doddridge 117 Awake, my tongue; thy tribute bring J. Needham 842 Awake, our drowsy souls T.Scott 643 Awake, our souls; away, our fears I. Watts 1084 Awake, ye saints, and raise your eyes P. Doddridge 846 Awake, ye saints, awake T.Cotterill 561 Away, my unbelieving fear! C. Wesley 907 Baptized into our Saviour's death P. Doddridge 1101 Be joyful in God, all ye lands of the earth J. Montgomery 1029 Be merciful to us, 0 God H. Lyte 775 Be still, my heart, these anxious cares J. Newton 123 Be thou exalted, 0 my God I. Watts 124 Be thou, 0 God, exalted high Tate & Brady 107 Before Jehovah's awful throne I. Watts 137 Before the heavens were stretched abroad 1. Watts 460 Before the pool a sufferer lay B. Manly, Jr. 988 Before thy throne eternal King B. Francis 28 Begin, my tongue, some heavenly theme 1. Watts 773 Begone, unbelief! my Saviour is near I. Newton 343 Behold a stranger at the door! J. Grigg 201 Behold, behold the Lamb of God J. Hoskins 158 Behold th' amazing sight P. Doddridge 165 Behold the blind their sight receive I. Watts 1250 Behold, the day is come B. Beddome 192 Behold the gift of God J. Hoskins 240 Behold the glories of the Lamb 1. Watts 144 Behold, the grace appears L Watts 203 Behold, the great Physician stands P. Doddridge 380 Behold the Lamb of God, who bore None Given 289 Behold, the morning sun 1. Watts 999 Behold, the mountain of the Lord J. Logan 159 Behold the Saviour of mankind S. Wesley, Sen. 398 Behold the sin-atoning Lamb 1. Fawcett 150 Behold, the Son of God appears Eng. Bap. Col. 160 194 Behold the sure foundation stone I. Watts 678 Behold the throne of grace! 1. Newton 698 Behold thy waiting servant, Lord I. Watts 647 Behold what witnesses unseen Anderson's Col. 615 Behold what wondrous grace I. Watts 612 Behold! where, in the friend of man Enfield 917 Believing souls. of Christ beloved B. Beddome 1180 Beneath our feet and o'er our head R. Heber 511 Beset with snares on every hand P. Doddridge 459 Beside the gospel pool J. Newton 1058 Bestow, 0 Lord, upon our youth W. Cowper 337 Bleeding hearts. defiled by sin Ch. Psalmist 85 Bless, 0 my soul, the living God I. Watts 818 Blessed are the sons of God Humphreys 131 Blessed be the Father and his love I. Watts 807 Blest are the humble souls that see I. Watts 604 Blest are the men whose mercies move I. Watts 806 Blest are the pure in heart L. Mason 590 Blest are the sons of peace I. Watts 801 Blest are the souls that hear and know I. Watts 1150 Blest be the dear uniting love C. Wesley 1148 Blest be the tie that binds I. Fawcett 273 Blest Comforter divine Pratt's Col. 866 Blest hour, when mortal man retires Raffles 605 Blest is the man whose softening heart A. Barbauld 692 Blest Jesus, while in mortal flesh P. Doddridge 843 Blest morning, whose young dawning rays I. Watts 840 Blest Sabbath! day of holy rest W. Poindexter 601 Blest, who with generous pity glows Pratt's Col. 325 Blow ye the trumpet, blow C. Wesley 940 Bread of heaven, on thee we feed J. Conder 618 Brethren, while we sojourn here J. Swain 1283 Bright glories rush upon my sight Village Hymns 299 Bright was the guiding star, that led Spirit ofthe Psalms 351 Broad is the road that leads to death I. Watts 891 Buried beneath the yielding wave B. Beddome 315 Burried in the shadows of the night I. Watts 1034 But who shall see the glorious day Moore 387 Can sinners hope for heaven Pratt's Col. 1212 Cease, ye mourners, cease to languish W. B. Collyer 33 Cease ye, when days of darkness come Eng. Rap. Col. 627 Children of the heavenly King J. Cennick 161 1050 Children, hear the melting story Union Minstrel 1049 Children, in years and knowledge young I. Watts 321 Christ and his cross are all our theme I. Watts 173 Christ, the Lord, is risen to-day [Cudworth] 211 Christ, whose glory fills the skies C. Wesley 277 Come, blessed Spirit, from above Relief Hymns 268 Come, blessed Spirit, Source of light B. Beddome 1152 Come, Christian brethren, ere we part H. K. White 851 Come, dearest Lord, and bless this day Winchell's Sel. 91 Come, dearest Lord, descend and dwell I. Watts 171 Come, every pious heart S. Stennett 264 Come, gracious Spirit, heavenly Dove S. Browne 153 Come, guilty sinners, come and see The Psalmist 889 Come, happy souls, adore the Lamb T. Baldwin 89 Come, happy souls, approach your God 1. Watts 326 Come hither, all ye weary souls I. Watts 230 Come, Holy Ghost! inspire our songs Pratt's Col. 250 Come, Holy Spirit, calm my mind G. Burder's Col. 257 Come, Holy Spirit, come with energy divine B.Beddome 263 Come, Holy Spirit, come; let thy bright beams J. Hart 906 Come, Holy spirit, Dove divine A. Judson 253 Come, Holy Spirit, from above Bickersteth's Col. 249 Come, Holy Spirit, heavenly Dove I. Watts 278 Come, Holy Spirit, heavenly guest O. Heginbotham 341 Come, humble sinner, in whose breast E. Jones 914 Come in, thou blessed of the Lord T. Kelly 915 Come in, thou blessed of the Lord J. Montgomery 1059 Come, let our voices join Pratt's Col. 125 Come, let our voices join to raise 1. Watts 10tH Come, let us anew our journey pursue C. Wesley 244 Come, let us join our cheerful songs 1. Watts 984 Come, let us join our friends above C. Wesley 853 Come, let us join with sweet accord C. Wesley 88 Come, let us lift our joyful eyes 1. Watts 1290 Come, Lord, and warm each languid heart A. Steele 461 Come, my soul, thy suit prepare 1. Newton 18 Come, 0 my soul, in sacred lays T. Blacklock 344 Come, poor sinners, come and see Hewett 878 Come, sacred Spirit, from above P. Doddridge 327 Come, saith Jesus' sacred voice A. Barbauld 333 Come, sinner, to the gospel feast Huntingdon's Col. 126 Come, sound his praise abroad 1. Watts 162 130 Come, Thou Almighty King DoOOll's Col. 265 Come, Thou eternal Spirit, come B.Beddome 578 Come, Thou Fount of every blessing R. Robinson 193 Come, Thou long expected Jesus! Madan's Col. 254 Come, Thou soul-transforming Spirit Jay 623 Come, we that love the Lord 1. Watts 330 Come, weary souls, with sin distressed A. Steele 348 Come, ye disconsolate, wher'er ye languish T. Moore 323 Come, ye sinners, poor and wretched J. Hart 25 Come, ye that know and fear the Lord G. Burder 580 Come, ye that love the Saviour's name A. Steele 823 Commit thou all thy griefs J. Wesley 227 Compared with Christ, in all beside A. Toplady 755 Consider all my sorrows, Lord I. Watts 8 Could I so false, so faithless prove I. Watts 155 Dark was the hour, when Jesus bore Jas. Tupper 152 Dark was the night, and cold the ground T. Haweis 1030 Daughter of Zion, from the dust J. Montgomery 454 Dear Friend of friendless sinners, hear R.Hill 714 Dear Lord! and shall thy Spirit rest A. Steele 710 Dear refuge of my weary soul A. Steele 529 Dear Saviour, we are thine P. Doddridge 720 Dear Saviour, when my thoughts recall A. Steele 956 Dear Shepherd of thy people, hear J. Newton 399 Dearest of all the names above 1. Watts 1188 Death cannot make our souls afraid I. Watts 1228 Death has been here, and borne away Ch. Melodist 1184 Death may dissolve my body now I. Watts 1194 Deathless spirit, drop thy clay A. Toplady 202 Deep are the wounds which sin has made A. Steele 408 Deep in our hearts let us record 1. Watts 356 Delay not, delay not; 0, sinner, draw near Sac. Songs 423 Depth ofmercy!--can there be Luth. Col. 900 Descend, celestial Dove J. Fellows 435 Did Christ o'er sinners weep B.Beddome 677 Didst thou, dear Saviour, suffer shame Kirkham 1159 Dismiss us with thy blessing, Lord J. Hart 490 Do not I love thee, 0 my Lord? P. Doddridge 905 Do we not know that solemn word 1. Watts 90 Draw nigh to us, Jehovah! Peculiar 1113 Dread Jehovah! God of nations! Epis. Col. 1136 Dread Sovereign, let my evening song 1. Watts 163 971 Early, my God, without delay 1. Watts 246 Earth has engrossed my love too long! I. Watts 701 Encompassed with clouds of distress A. Toplady 1086 Eternal bliss and lasting woe Exeter Col. 35 Eternal God, almighty cause Williams 22 Eternal God! almighty power! W. Poindexter 1118 Eternal God, our humbled souls P. Doddridge 558 Eternal God, our wondering souls P. Doddridge 69 Eternal Power. almighty God A. Steele 24 Eternal Power! most holy God! None Given 1091 Eternal Source of every joy P. Doddridge 266 Eternal Spirit, God of truth Pratt's Col. 267 Eternal Spirit~ we confess I. Watts 36 Eternal Wisdom, thee we praise! 1. Watts 377 Eternity is just at hand A. Steele 23 Exalt the Lord our God 1. Watts 413 Faith adds new charms to earthly bliss I. Watts 410 Faith is a precious grace B. Beddome 416 Faith is of endless life that spring W. Poindexter 414 Faith is the brightest evidence 1. Watts 31 Faithful, 0 Lord, thy mercies are J. Montgomery 968 Far as thy name is known I. Watts 1220 Far from aflliction, toil, and care Village Hymns 918 Far from my thoughts, vain world, be gone! 1. Watts 1286 Far from these narrow scenes of night A. Steele 431 Father! at thy call I come! S. Stennett 695 Father, adored in worlds above Pope's Col. 613 "Father, forgive," the Saviour cried Boden's Col. 86 Father, how wide thy glory shines! I. Watts 759 Father, I bless thy gentle hand 1. Watts 748 Father, I know thy ways are just Percy Chapel Col. 1291 Father, I long, I faint to see I. Watts 611 Father, I see thy sun arise Rippon's Col. 467 Father, I stretch my hands to thee C. Wesley 1003 Father, is not thy promise pledged T. Gibbons 780 Father of all our mercies, thou Urwick's Col. 693 Father of all! we bow to thee ReliefHymns 135 Father of glory! to thy name 1. Watts 949 Father of mercies, bow thine ear B.Beddome 952 Father of mercies. condescend Lawson 942 Father of mercies. in thy house P. Doddridge 295 Father of mercies. in thy word A. Steele 164 609 Father of mercies, send thy grace P. Doddridge 9 Father of spirits, nature's God Spirit ofthe Psalms 535 Father. to thee our souls we lift None Given 749 Father, whate'er of earthly bliss A. Steele 831 Firm as the earth thy gospel stands I. Watts 1222 Flung to the heedless winds Luther 1147 For a season called to part J. Newton 528 For mercies countless as the sands J. Newton 269 Forever blessed be the Lord I. Watts 1292 "Forever, with the Lord!" J. Montgomery 322 Forgiveness! 'tis a joyful sound T. Gibbons 1094 Fountain of mercy, God oflove None Given 852 Frequent the day of Ood returns Rippon's Col. 1199 Friend after friend departs 1. Montgomery 1016 From all who dwell below the skies I. Watts 1053 From earliest dawn of life NoneOiven 679 From every stormy wind that blows H. Stowell 1019 From Greenland's icy mountains R Heber 997 From shore to shore shall Jesus stretch his sway Anderson's Col. 437 From sin's dark depths, my God, to thee ReliefHymns 338 From the cross uplifted high T. Haweis 195 From thy dear, pierced side B. Beddome 783 Gently, Lord, 0 gently lead me None Oiven 645 Give me the wings of faith to rise I. Watts 84 Give thanks to God most high I. Watts DOX Give to the Father praise None Given 969 Glorious things of thee are spoken J. Newton DOX Glory be to God the Father None Given 222 Glory to God on high! Sac. Lyrics 129 Glory to God the Father's name I. Watts 1141 Glory to thee. my God, this night T.Ken 157 Go to dark Gethsemane J. Montgomery 1039 Go, and the Saviour's grace proclaim J. L. Morell 947 otGo, preach my gospel," saith the Lord I. Watts 1035 Go, ye messengers of God J. Marsden 292 God, in the gospel of his Son B. Beddome 106 God is a Spirit, just and wise I. Watts 26 God is love; his mercy brightens J. Bowring 78 God is the fountain whence B. Beddome 972 God is the refuge of his saints I. Watts 50 God moves in a mysterious way W. Cowper 550 God, my supporter and my hope I. Watts 165 1161 God of eternity, from thee P. Doddridge 427 God of mercy, God of grace J. Taylor 1060 God of mercy, hear our prayer Campbell's CoL 799 God of my childhood and my youth I. Watts 785 God of my life, look gently down I. Watts 1127 God of my life, my morning song A. Steele 567 God of my life, through all my days P. Doddridge 1088 God of my life, thy constant care P. Doddridge 784 God of my life, to thee I call W. Cowper 1079 God of our lives, thy various praise O. Heginbotham 1121 God of the morning, at thy voice I. Watts 709 God of the seas, whose ruling voice B. Manly Jr. 138 God with us, 0 glorious name! B. Manly Jr. 395 God's holy law, transgressed B. Beddome 80 Grace! 'tis a charming sound! P. Doddridge 462 Gracious Lord, incline thine ear! W.Hammond 261 Gracious Spmt!--Love divine! J. Stocker 251 Great Father of our feeble race P. Doddridge 5 Great former of this various frame P. Doddridge 1054 Great God, and wilt thou condescend Ch. Melodist 1093 Great God, as seasons disappear Campbell's Col. 860 Great God, attend, while Zion sings I. Watts 1105 Great God, beneath whose piercing eye Roscoe 1 Great God, how infinite art thou! I. Watts 1193 Great God, I own thy sentence just I. Watts 14 Great God, in vain man's narrow view W. Kippis 1057 Great God, in whom we live and move Union Hymns 508 Great God, indulge my humble claim I. Watts 62 Great God, let all my tuneful powers O. Heginbotham 1066 Great God, now condescend J. Fellows 1005 Great God, the nations of the earth W. Ward 12 Great God, thy penetrating eye Scott 79 Great God, 'tis from thy sovereign grace Rippon's Co1. 1137 Great God, to thee my evening song A. Steele 1078 Great God, we sing that mighty hand P. Doddridge 1061 Great God, we would to thee make known Sel. Hymns 1247 Great God, what do I see and hear! Luther 1002 Great God, whose universal sway I. Watts 286 Great God, with wonder and with praise Epis. Col. 974 Great is the Lord our God I. Watts DOX Great Jehovah, we adore thee None Given 310 Great King of glory and of grace I. Watts 166 873 Great Lord of all thy churches, hear W. Kingsbury 45 Great Ruler of all nature's frame P. Doddridge 1115 Great Ruler of the earth and skies B. Beddome 876 Great Shepherd of thine Israel I. Watts 961 Great Sovereign of the earth and sky Dobell's Col. 537 Guide me, 0 thou great Jehovah T. Oliver 665 Had I a throne above the rest W.Cowper 563 Had I the tongues of Greeks and Jews LWatts 993 Hail to the brightness of Zion's glad morning Spiro Songs 995 Hail to the Lord's Anointed J. Montgomery 1149 Hail! sweetest, dearest tie that binds A. Sutton 224 Hail, mighty Jesus! how divine A. Toplady 600 Happy is he that fears the Lord I. Watts 970 Happy the church, thou sacred place I. Watts 562 Happy the heart where graces reign I. Watts 812 Happy the man who finds the grace Rippon's Col. 985 Happy the souls to Jesus joined C. Wesley 599 Happy, forever happy he B. Beddome 1021 Hark!~-what mean those lamentations J.Cawood 383 Hark! from the cross a voice of peace Pratt's Col. 1178 Hark! from the tombs a doleful sound! I. Watts 491 Hark, my soul! it is the Lord W.Cowper 359 Hark, sinner, while God from on high doth entreat J. B. Hague 248 Hark! ten thousand harps and voices T. Kelly 145 Hark! the glad sound! the Saviour comes P. Doddridge 141 Hark! the herald angels sing Rippon's Col. 994 Hark! the song ofjubilee J. Montgomery 160 Hark! the voice of love and mercy B. Francis 342 Hark! 'tis the Saviour's voice I hear A. Steele 140 Hark! what celestial sounds Salisbury Col. 142 Hark! what mean those holy voices J. Cawood 361 Haste, 0 sinner; now be wise T. Scott 1018 Hasten, Lord, the glorious time Spirit ofthe Psalms 438 Have mercy, Lord, on me Tate & Brady 168 He diesl the friend of sinners dies! 1. Watts 156 He knelt; the Saviour knelt and prayed F. Hemans 184 He lives! the great Redeemer lives! A. Steele 1257 He reigns! the Lord the Saviour reigns! I. Watts 829 He that hath made his refuge God I. Watts 217 He who on earth as man was known J. Newton 950 Head of the Church! to thee we bow W. Poindexter 1207 Hear what the voice from heaven proclaims I. Watts 167 357 Hear, 0 sinner!--mercy hails you A. Reed 379 Hearts of stone, relent, relent C. Wesley 1179 Heaven has confirmed the dread decree P. Doddridge 1265 Heaven is the land where troubles cease Beethoven Col. 113 Heavenly Father, sovereign Lord Salisbury Col. 470 Here at thy cross, incarnate God 1. Watts 936 Here at thy table, Loro, we meet S. Stennett 960 Here, in thy name, eternal God J. Montgomery 904 Here, Saviour, we would come Eng. Bapt. Col. 15 High in the heavens, eternal God I. Watts 1267 High in yonder realms of light Raftles 893 His sacred head the Holy One W. Poindexter 898 Hither we come, our dearest Lord E. W. Freeman 336 Ho! every one that thirsts, draw nigh C. Wesley 20 Holy and reverend is the name J. Needham 276 Holy Ghost, dispel our sadness Jay 272 Holy Ghost, with light divine A. Reed 275 Holy Source of consolation Noel's Col. 270 Holy Spirit, from on high W. R. Bathurst 21 Holy, holy, holy Lord B. Manly Jr. DOX Holy, holy, holy Lord None Given 232 Hosanna to the God of love Anderson's Col. 174 Hosanna to the Prince of Light I. Watts 1125 Hosanna, with a cheerful sound I. Watts 1073 How are thy servants blest, 0 Lord! J. Addison 943 How beauteous are their feet I. Watts 805 How blest the man whose cautious feet I. Watts 1201 How blest the righteous when he dies! A. Barbauld 594 How blest the sacred tie that binds A. [Bareauld] 815 How can I sink with such a prop 1. Watts 1065 How can we see the children, Lord Ch. Psalmist 867 How charming is the place S. Stennett 929 How condescending and how kind I. Watts 857 How did my heart rejoice to hear 1. Watts 828 How firm a foundation, ye saints of the Lord [Kirkham] 243 How great the wisdom, power, and grace B. Beddome 920 How great, how solemn is the work B. Beddome 1258 How great, how terrible that God Davies 625 How happy are they C. Wesley 1048 How happy is the child who hears J. Logan 802 How happy is the Christian's state! Hudson 811 How happy is the pilgrim's lot J. Wesley 168 803 How happy they who know the Lord J. Newton 619 How happy's every child of grace C. Wesley 1117 How hast thou, Lord, in righteous wrath T. Gibbons 316 How heavy is the night I. Watts 255 How helpless guilty nature lies A. Steele 973 How honored is the place 1. Watts 308 How is our nature spoiled by sin! I. Watts 1236 How long shall Death, the tyrant, reign I. Watts 883 How much the drooping hearts revive None Given 32 How oft have sin and Satan strove 1. Watts 729 How oft, alas! this wretched heart A. Steele 861 How pleasant, how divinely fair I. Watts 858 How pleased and blest was I I. Watts 1096 How pleasing is the voice T. Dwight 298 How precious is the book divine J. Fawcett 314 How sad our state by nature is! I. Watts 13 How shall I praise th'etemal God I. Watts 392 How shall the sons of men appear S. Stennett 1046 How shall the young secure their hearts I. Watts 1162 How short and hasty is our life I. Watts 1197 How short the race our friend has run! None Given 1181 How still and peaceful is the grave ReliefHymns 937 How sweet and awful is the place I. Watts 770 How sweet on thy bosom to rest A. Searle 696 How sweet the melting lay Sac. Lyrics 583 How sweet the name of Jesus sounds J.Newton 868 How sweet to leave the world a while T. Kelly 591 How sweet, how heavenly is the sight J. Swain 319 How sweetly flowed the gospel sound J. Bowring 716 How tedious and tasteless the hours J. Newton 757 How tender is thy hand Sac. Songs 1166 How vain are an things here below! 1. Watts 1172 How vain is all beneath the skies! Pratt's Col. 97 Hungry. and faint, and poor J. Newton 790 I am weary of straying-O, fain would I rest Songs in the Night 754 I cannot call aftliction sweet J. Montgomery 151 "I come," the great Redeemer cries Rippon's Col. 378 I hear a voice that comes from far T. Kelly 185 I know that my Redeemer lives C. Wesley 186 I know that my Redeemer lives S. Medley 1210 I looked upon the righteous man None Given 576 I love the Lord; he heard my cries 1. Watts 169 304 I love the sacred book of God T.Kelly 593 I love the sons of grace Anderson's Col. 302 I love the volume of thy word I. Watts 982 I love thy kingdom, Lord T. Dwight 870 I love to see the Lord below I. Watts 691 I love to steal awhile away P. H. Brown 1089 I my Ebenezer raise J. Fawcett 1253 I saw, beyond the tomb T. Dwight 496 I send the joys of earth away I. Watts 488 I waited patient for the Lord I. Watts 792 I will extol thee, Lord, on high I. Watts 1280 I would not live always; I ask not to stay W. A. MUhlenberg 704 I would, but cannot sing J. Newton 1214 If death my friend and me divide C. Wesley 830 If God is mine, then present things Rippon's Col. 64 If God succeed not, all the cost I. Watts 930 If human kindness meets return B. W. Noel 1189 If! must die, 0, let me die B.Beddome 738 If on a quiet sea Noel's Col. 568 I'll praise my Maker with my breath I. Watts 761 I'll think upon the woes J. A. Bengel 832 I'm not ashamed to own my Lord I. Watts 649 In all my Lord's appointed ways J. Ryland 6 In all my vast concerns with thee I. Watts 1146 In all my ways, °God ReliefHymns 539 In doubt's dim twilight here I stray B.ManlyJr. 674 In duties and in sufferings, too B. Beddome 779 In every trouble, sharp and strong Coombs 475 In evil long I took delight J. Newton 794 In mercy, not in wra~ rebuke J. Newton 597 In one fraternal bond of love J. Montgomery 1044 In the bright season of thy youth T. Gibbons 896 In thine assembly here we stand Rippon's Col. 1237 In thy furrow, darksome grave J. East 502 In vain I trace creation o'er A. Steele 499 In vain my roving thoughts would find A. Steele 1213 In vain our fancy strives to paint J. Newton 404 In vain we lavish out our lives I. Watts 1227 In vain we wait his presence now E. Bradford 989 Indulgent God of love and power Sacred Songs 1040 Indulgent God, to thee we pray None Given 226 Infinite excellence in thine Rippon's Col. 170 911 Inquire, ye pilgrims, for the way P. Doddridge 633 Is there ambition in my heart? I. Watts 722 Is this the kind return? I. Watts 1202 It is not dying. when our friends ReliefHymns 1183 It is the Lord our Saviour's hand I. Watts 768 It is the Lord, enthroned in light T. Green 38 Jehovah reigns; He dwells in light I. Watts 40 Jehovah reigns; his throne is high I. Watts 457 Jehovah speaks, "Seek ye my face," Rippon's Col. 1284 Jerusalem! my glorious home! J. Montgomery 1285 Jerusalem, my happy home None Given 523 Jesus! and shall it ever be J. [Gregg] 585 Jesus! delightful, charming name! B. Beddome 632 Jesus! exalted far on high Pratt's Col. 444 Jesus, full of all compassion D. Turner 446 Jesus, full of every grace Spiro Songs 242 Jesus, hail! enthroned in glory J. Bakewell 205 Jesus, how precious is thy name! Davies 587 Jesus, I love thy charming name P. Doddridge 516 Jesus, I my cross have taken R. Grant 199 Jesus, I sing thy matchless grace P. Doddridge 1007 Jesus, immortal King, arise G. Burner's Col. 212 Jesus, immutably the same! A. Toplady 524 Jesus, in whom but thee above J. Conder 938 Jesus invites his saints I. Watts 932 Jesus is gone above the skies I. Watts 732 Jesus, let thy pitying eye C. Wesley 595 Jesus, Lord, we look to thee ReliefHymns 543 Jesus, lover of my soul C. Wesley 476 Jesus, mine all, to heaven is gone J. Cennick 136 Jesus, my Lord, I own thee God B. Manly Jr. 711 Jesus, my Saviour and my God S. Stennett 214 Jesus, my truth, my way C. Wesley 607 Jesus, our Lord, how rich thy grace! P. Doddridge 1004 Jesus shall reign where'er the sun I. Watts 946 Jesus, the name to sinners dear None Given 401 Jesus, the spring ofjoys divine Anderson's Col. 442 Jesus, thou art the sinner's friend None Given 228 Jesus, thou everlasting King I. Watts 339 Jesus, thy blessings are not few I. Watts 469 Jesus, thy blood and righteousness J. Cennick 667 Jesus, thy boundless love to me J. Wesley 171 926 Jesus, thy love shall we forget Ch. Lyre 99 Jesus, we look to thee C. Wesley 101 Jesus, where'er thy people meet W. Cowper 1209 Jesus, while our hearts are bleeding Mothers' Hymns 682 Jesus, who knows fun well J. Newton 206 Join all the glorious names 1. Watts 1092 Join, every tongue. to praise the Lord Presho Hymns 628 Joy is a fruit that will not grow J. Newton 146 Joy to the world! the Lord is come! I. Watts 472 Just as I am, without one plea C. Elliot 49 Keep silence, all created things I. Watts 553 Kind are the words that Jesus speaks J. Needham 916 Kindred in Christ, for his dear sake J. Newton 1042 Kindred, and friends, and native land The Psalmist 63 Kingdoms and thrones to God belong I. Watts 651 Laborers of Christ, arise L. H. Sigourney 293 Laden with guilt and full of fears I. Watts 464 Lamb of God, whose dying love C. Wesley 290 Let all the heathen writers join I. Watts 1045 Let children hear the mighty deeds I. Watts 305 Let everlasting glories crown 1. Watts 119 Let every creature join A. Steele 1109 Let every heart rejoice and sing H. S. Washburn 334 Let every mortal ear attend I. Watts DOX Let God the Father, and the Son None Given 552 Let me but hear my Saviour say I. Watts 1173 Let others boast how strong they be I. Watts 598 Let party names no more B. Beddome 912 Let plenteous grace descend on those Jas. Newton 204 Let saints on earth their anthems raise Ref Dutch Col. 512 Let sinners take their course 1. Watts 132 Let them neglect thy glory, Lord I. Watts 513 Let thoughtless thousands choose the road J. Hoskins 631 Let thy grace, Lord, make me lowly Pratt's Col. 237 Let us awake our joys W. Kingsbury 919 Let vain pursuits and vain desires None Given 503 Let worldly minds the world pursue J. Newton 979 Let Zion and her sons rejoice I. Watts 976 Let Zion in her King rejoice I. Watts 944 Let Zion's watchmen all awake P. Doddridge 1230 Life is a span--a fleeting hour A. Steele 1174 Life is the time to serve the Lord I. Watts 172 838 Lift up your joyful eyes and see Rippon's Col. 706 Like Israel, Lord. am I Rippon's Col. 163 Like sheep we went astray 1. Watts 1252 Lol he comes, with clouds descending T. Oliver 1251 Lo! he cometh: countless trumpets Rippon's Col. 1244 Lo! on a narrow neck ofland C. Wesley 1269 Lo! round the throne, at God's right hand Sac. Lyrics 1277 Lo! what a glorious sight appears I. Watts 592 Lot what an entertaining sight 1. Watts 571 Long as I live fll bless thy name I. Watts 731 Long have I sat beneath the sound I. Watts 238 Look, ye saints--the sight is glorious T. Kelly 1068 Lord, assist us by thy grace Mother's Hymns 448 Lord, at thy feet we sinners lie S. Browne 939 Lord, at thy table I behold J. Stennett 479 Lord, didst thou die, but not for me? Cruttender 1157 Lord, dismiss us with thy blessing G. Burder 635 Lord, forever at thy side Epis. Col. 808 Lord, how secure and blessed are they I. Watts 418 Lord, how secure my conscience was I. Watts 903 Lord, I am thine, and in thine aid None Given 532 Lord, I am thine, entirely thine Davies 687 Lord, I cannot let thee go J. Newton 445 Lord, I deserve the deepest wrath B. Manly Jr. 301 Lord, I have made thy word my choice I. Watts 533 Lord, I would come to thee Campbell's Col. 309 Lord, I would spread my sore distress I. Watts 634 Lord, if thou thy grace impart Madan's Col. 909 Lord. in humble, sweet submission R. T. Daniels 1124 Lord, in the morning thou shalt hear I. Watts 1108 Lord, let thy goodness lead our land Pratt's Col. 954 Lord, let thy presence now attend Anderson's Col. 1110 Lord, look on all assembled here J. Hart 740 Lord, my times are in thy hand None Given 959 Lord of hosts, to thee we raise J. Montgomery 951 Lord of the harvest, hear C. Wesley 862 Lord of the worlds above I. Watts 998 Lord, send thy word, and let it fly T. Gibbons 466 Lord! shed a beam of heavenly day J. Hart 103 Lord, teach thy servants how to pray J. Montgomery 474 Lord, thou has won--at length I yield J. Newton 3 Lord, thou hast been thy children's God A. Steele 173 1111 Lord, thou hast scourged our guilty land I. Watts 7 Lord, thou hast searched and seen me through I. Watts 1144 Lord. thou wilt hear me when I pray I. Watts 538 Lord, through the dubious paths of life Exeter Col. 758 Lord, unaffiicted, undismayed W. Cowper 47 Lord, we adore thy vast designs I. Watts 419 Lord, we are sinners in thy sight T. Gibbons 306 Lord, we are vile, conceived in sin I. Watts 96 Lord, we come before thee now W.Hammond 405 Lord, we confess our numerous faults I. Watts 735 Lord, we have wandered from thy way P. Doddridge 1164 Lord, what a feeble piece 1. Watts 515 Lord, what a thoughtless wretch was I I. Watts 616 Lord! what a wretched land is this I. Watts 1175 Lord, what is man, poor feeble man I. Watts 216 Lord, when thou didst ascend on high I. Watts 686 Lord, when we bow before thy throne J. D. [Carlisle] 1107 Lord, while for all mankind we pray Ureford 450 Lord, with a grieved and aching heart B.Beddome 19 Loud hallelujahs to the Lord I. Watts 664 Love divine, all loves excelling C. Wesley 540 Lowly and solemn be F. Hemans 215 Majestic sweetness sits enthroned S. Stennett 1160 May the grace of Christ, our Saviour J. Newton 1259 Methinks the last great day is come Rippon's Col. 721 Mine eyes and my desire I. Watts 415 Mistaken souls! That dream of heaven I. Watts 169 Morning breaks upon the tomb W. B. Collyer 139 Mortals, awake, with angels join S. Medley 1104 My country, 'tis of thee S. F. Smith 675 My dear Redeemer and my Lord I. Watts 650 My drowsy powers, why sleep ye so? I. Watts 541 My faith looks up to thee R. Palmer 566 My Father God!--and may these lips O. Heginbotham 417 My former hopes are fled W. Cowper 507 My God my Father--blissful name! A. Steele 1132 My God, accept my early vows I. Watts 1122 My God, how endless is thy lovel I. Watts 800 My God, my everlasting hope I. Watts 747 My God. my Father. while I stray Perennial 111 My God, my King, thy various praise I. Watts 506 My God, my life, my love I. Watts 114 505 My God, my portion, and my love I. Watts 536 My God, my prayer attend Pratt's Col. 670 My God, permit me not to be I. Watts 624 My God, the spring of aU my joys 1. Watts 793 My God, thy service well demands P. Doddridge 519 My gracious Lord, I own thy right P. Doddridge 565 My Maker and my King A. Steele 653 My Saviour, fill my soul Percy Chapel Col. 480 My Saviour, let me hear thy voice P. Doddridge 581 My Saviour, my almighty Friend I. Watts 59 My Shepherd is the living Lord I. Watts 57 My Shepherd will supply my need 1. Watts 1047 My son, know thou the Lord Village Hymns 433 My sorrows, like a flood 1. Watts 497 My soul forsakes her vain delight I. Watts 654 My soul lies cleaving to the dust 1. Watts 569 My soul shall praise thee, 0 my God O. Heginbotham 705 My soul would fain indulge a hope Steward 638 My soul, be on thy guard Heath 1182 My soul, come meditate the day I. Watts 859 My soul, how lovely is the place I. Watts 10 My soul, repeat his praise I. Watts 573 My soul, triumphant in the Lord P. Doddridge 209 My soul, with joy attend P. Doddridge 559 My spirit looks to God alone I. Watts 700 My spirit sinks within me, Lord I. Watts 809 My thoughts sunnount these lower skies I. Watts 142 My times are in thy hand Songs in the Night 741 My times of sorrow and ofjoy B.Beddome 786 Naked, as from the earth we came I. Watts 317 Nature with open volume stands I. Watts 116 Nature, with aU her powers, shall sing 1. Watts 1156 Nay, shrink, not from the world "farewell" Songs in the Night 554 No change of thine shall ever shock Tate & Brady 468 No more, my God, I boast no more I. Watts 1116 No room for mirth or trifling here C. Wesley 1272 Nor eye hath seen, nor ear hath heard I. Watts 394 Not all the blood of beasts I. Watts 260 Not all the outward forms on earth I. Watts 752 Not from the dust affliction grows I. Watts 87 Not to condemn the sons of men L Watts 403 Not to the power of God supreme I. Watts 175 983 Not to the terrors of the Lord 1. Watts 579 Not with our mortal eyes 1. Watts 1017 Now be the gospel banner T. Hastings 596 Now by the mercies of our God I. Watts 172 Now for a tune of lofty praise I. Watts 526 Now I resolve, with all my heart A. Steele 360 Now is th' accepted time Dobell 358 Now is the day of grace Perennial 181 Now let our cheerful eyes survey P. Doddridge 669 Now let our souls. on wings sublime T. Gibbons 1131 Now the shades of night are gone Epis. Col. DOX Now to the great and Sacred Three None Given 220 Now to the Lord a noble song I. Watts 221 Now to the Lord, who makes us know I. Watts 1145 Now. from the altar of our hearts L. Mason 1082 Now, gracious Lord, thine arm reveal J. Newton 572 0, bless the Lord, my soul J. Montgomery 72 o bless the Lord, my soul! Let all within me I. Watts 481 0, blessed souls are they I. Watts 349 0, cease, my wandering soul Epis. Col. 656 o could I find, from day to day Ch. Psalmody 218 0, could we speak: the matchless worth S. Medley 730 o for a closer walk with God! W. Cowper 548 o for a faith that will not shrink Bath. Col. 1187 o for an overcoming faith I. Watts 657 o for a principle within Anderson's Col. 27 o for a shout ofjoy J. Young 180 o for a shout of sacred joy I. Watts 1281 o for a sight, a pleasing sight I. Watts 225 o for a thousand tongues to sing C. Wesley 1294 0, for that city, fair and bright B. Barton 1211 o for the death of those Ch. Psalmody 61 o God of Bethel. by whose hand J. Logan 440 o God of mercy, hear my call I. Watts 874 o God of Zion! from thy throne Rippon's Col. 662 o God, my strength, my hope C. Wesley 2 o God, our help in ages past I. Watts 756 o God, to thee my sinking soul The Psalmist 530 o happy day, that fixed my choice P. Doddridge 1266 0, happy saints, who dwell in light J. Berridge 810 o happy soul! that lives on high I. Watts 534 o help us, Lord; each hour of need H. Milman 176 941 o here, if ever, God of love E. Taylor 887 0, how divine, how sweet the joy J.Needham 303 o how I love thy holy law! I. Watts 955 o King of Zion, thee we praise Rippon's Col. 370 0, lay not up upon this earth The Psalmist 1288 0, let our thoughts and wishes fly A. Steele 1012 o Lord our God, arise Anderson's Col. 890 o Lord, all will thy pardoning love J. Fellows 884 o Lord, and shall our fainting souls T. Scott 1140 o Lord, another day is flown H.K. White 1064 o Lord, behold us at thy feet Mother's Hymns 551 o Lord, I would delight in thee J. Ryland 833 o Lord, if in the book of life B.Beddome 750 o Lord, my best desires fulfil W. Cowper 67 o Lord, our heavenly King I. watts 82 o Lord, our Lord, how wondrous great I. Watts 795 o Lord, our strength and righteousness Songs in the Night 518 o Lord, thou art my Lord B. Beddome 661 o Lord, thy heavenly grace impart J. F. Oberlin 300 o Lord, thy perfect word B. Beddome 396 o Lord, thy righteous law demands J. East 449 o Lord, thy tender mercy hears A. Steele 875 o Lord, thy work revive T. Hastings 98 o Lord, to us assembled here None Given 899 o Lord, we in thy footsteps tread Eng. Bapt. Col. 697 o Lord, when billows o'er me rise Presb. Hymns 967 o Lord, where'er thy saints apart J. D. Knowles 666 o love divine, how sweet thou art! C. Wesley 465 0, may my heart, by grace renewed J. Fawcett 718 0, my soul, what means this sadness? 1. Fawcett 880 o our Redeemer God W. Poindexter 120 o praise the Lord in that blest place Tate & Brady 115 o praise ye the Lord! prepare your glad voice Tate & Brady 520 o Saviour, welcome to my heart Bourne's Col. 234 o sing to Him who loved and bled Percy Chapel Col. 1295 0, sing to me of heaven Dana 1120 o sinner, bring not tears alone Breviary 1025 o Spirit of the living God! J. Montgomery 837 o strange infirmity! to think Songs in the Night 501 o tell me no more of this world's vain store Gambold 425 o that I could repent C. Wesley 671 o that I knew the secret place None Given 117 726 0, that I knew the secret place 1. Watts 463 o that my load of sin were gone! C. Wesley 659 o that the Lord would guide my ways I. Watts 781 o thou from whom all goodness flows T. Haweis 881 o thou that hearest prayer Campbell's Col. 455 o thou that hear'st the prayer of faith A. Toplady 452 o thou that hear'st when sinners cry I. Watts 957 o thou to whom, in ancient time Pierpont 782 o thou who driest the mourner's tear T. Moore 771 o thou whose compassionate care Bath Col. 769 o thou whose mercy guides my way J. Edmeston 53 o thou, my light, my life, my joy Presho Hymn. 931 o thou, my soul, forget no more Krishna Pal 66 o thou, to whom all creatures bow Tate & Brady 1032 o thou, who once on Israel's ground None Given 489 o what am I? my soul, awake Davies 328 o what amazing words of grace S. Medley 727 0, where is now that glowing love T. Kelly 371 0, where shall rest be found J. Montgomery 247 o ye immortal throng P. Doddridge 978 o Zion! aft1icted with wave upon wave Rippon's Col. 980 o Zion, tune thy voice P. Doddridge 588 Object of my first desire A. Toplady 1022 O'er the gloomy hills of darkness P. Williams 1020 O'er the realms of pagan darkness T.Cotterill 712 Of all the joys we mortals know I. Watts 424 o for that tenderness of heart C. Wesley 652 Oh for a heart to praise my God! C. Wesley 229 On earth the song begins J. Swain 1276 On Jordan's stormy banks I stand I. Watts 1246 On that great, that awful day T. von Celano 992 On the mountain-top appearing T. Kelly 1130 On thee, each morning. 0 my God W.Kippis 1114 On thee, our guardian God we call Davies 1271 On wings of faith, mount up, my soul, and rise J. Straphan 713 Once I thought my mountain strong 1. Newton 1153 Once more, before we part Hawke's Col. 1126 Once more, my soul, the rising day 1. Watts 724 Once more we meet to pray None Given 196 One there is, above all others Presho Col. 274 Our blest Redeemer, ere he breathed ReliefHymns 1168 Our days, alasl our mortal days I. Watts 178 694 Our Father, God, who art in heaven A. Judson 945 Our God ascends his lofty throne Rippon's Col. 345 Our God invites the wanderers home B. Manly Jr. 820 Our God, how fum his promise stands I. Watts 1077 Our Helper, God, we bless his name P. Doddridge 1074 Our little bark, on boisterous seas Madan's Col. 179 Our Lord is risen from the dead C. Wesley 892 Our Saviour bowed beneath the wave A. Judson 1273 Our sins, alas! how strong they are! I. Watts 928 Our spirits join to praise the Lamb I. Watts 313 Out of the deeps, 0 Lord we call Cotterill's Col. 788 Peace!--'tis the Lord Jehovah's hand P. Doddridge 329 Peace, troubled soul, whose plaintive moan Epis. Col. 913 People of the living God J. Montgomery 658 Permit me, Lord, to seek thy face A. Steele 655 Pity, 0 Lord, thy feeble child Anderson's Col. 190 Plead thou, 0 plead my cause! S.M. Waring 235 Plunged in a gulf of dark despair I. Watts 197 Poor, weak:. and worthless, though I am J. Newton DOX Praise God, from whom all blessings flow None Given DOX Praise the God of all creation None Given 122 Praise the Lord; ye heavens, adore him Dublin Col. 1090 Praise to God!--immortal praise A. Barbauld 112 Praise to thee, thou great Creator J. Fawcett 76 Praise ye the Lord; my heart shall join I. Watts 683 Prayer is the breath of God in man B. Beddome 685 Prayer is the contrite sinner's voice J. Montgomery 684 Prayer is the soul's sincere desire J. Montgomery 690 Prayer was appointed to convey J. Hart 256 Prepare me, gracious God! A. Toplady 934 Prepare us, Lord, to view thy cross Pratt's Col. 441 Prostrate, dear Jesus! at thy feet S. Stennett 745 Quiet, Lord, my froward heart J. Newton 236 Raise your triumphant songs I. Watts 885 Rejoice, for Christ the Saviour reigns B. Beddome 200 Rejoice, the Lord is King C. Wesley 1009 Rejoice! the Saviour reigns Rippon's Col. 372 Religion is the chief concern J. Fawcett 1085 Remark, my soul, the narrow bound P. Doddridge 385 "Repent!" the voice celestial cries P. Doddridge 725 Return, my roving heart, return P. Doddridge 626 Rise, my soul, and stretch thy wings J. Cennick 179 646 Rise, °my sow, pursue the path J. Needham 208 Rock of Ages. cleft for me A. Toplady 1041 Roll on, thou mighty ocean Noel's Col. 376 Rouse ye at the Saviour's call E. W. Freeman 854 Safely through another week J. Newton 402 Salvation is forever nigh I. Watts 320 Salvation! 0, the joyful sound! 1. Watts 95 Saviour, bless thy word to all T. Kelly 1143 Saviour, breathe an evening blessing J. Edmeston 207 Saviour divine! we know thy name P. Doddridge 279 Saviour, I thy word believe A. Toplady 948 Saviour of men, thy searching eye J. Wesley 895 Saviour, thy law we love L. H. Sigourney 872 Saviour, visit thy plantation J. Newton 365 Say, sinner, hath a voice within A. B. Hyde 1216 Say, why should friendship grieve for those ReliefHymns 1112 See, gracious God, before thy throne Rippon's Col. 908 See how the willing converts trace Stennett 386 See, in the vineyard of the Lord Epis. Col. 1063 See Israel's gentle Shepherd stand P. Doddridge 1099 See the leaves around us falling Home 1129 Serene I laid me down T. Dwight 1218 "Servant of God, well done" J. Montgomery 663 Shall we go on to sin I. Watts 879 Shepherd of Israel, bend thine ear P. Doddridge 443 Show pity, Lord.; °Lord, forgive I. Watts 307 Sin, like a venomous disease I. Watts 56 Since all the varying scenes of time Hervey 630 Sing, all ye ransomed of the Lord P.Doddridge 167 Sing my Saviour's wondrous death I. Watts 16 Sing to the Lord Jehovah's name 1. Watts 1001 Sing to the Lord, ye distant lands I. Watts DOX Sing we to our God above None Given 390 Sinner, art thou still secure? J. Newton 382 Sinner, hear the Saviour's call J. Newton 389 Sinner, rouse thee from thy sleep Epis. Col. 373 Sinner, the voice of God regard J. Fawcett 369 Sinner, what has earth to show Urwick's Col. 375 Sinners, turn while God is near J. Wesley 374 Sinners, turn; why win ye die? J. Wesley 384 Sinners, will you scorn the message Allen 676 So let our lips and lives express I. Watts 180 1142 Softly now the light of day G. W. Doane 642 Soldiers of Christ, arise C. Wesley 545 Son of God, thy blessing grant C. Wesley 556 Soon as I heard my Father say I. Watts 1014 Soon may the last glad song arise Ch. Psalmody 1255 Soon will a day of clouds and fire Anderson's Col. 1036 Sound, sound the truth abroad Urwick's Col. 1102 Sovereign of all the worlds above Dr. Furman 1006 Sovereign of worlds, display thy power Pratt's Col. 51 Sovereign Ruler of the skies! Ryland 421 Sovereign Ruler, Lord of all Raffies 648 Sow in the mom thy seed J. Montgomery 963 Spirit divine, attend our prayer A. Reed 271 Spirit of holiness, look down W. R Bathurst 1027 Spirit of power and might, behold J. Montgomery 473 Sprinkled with reconciling blood B.Beddome 639 Stand up, my soul, shake off thy fears I. Watts 283 Stay, thou insulted Spirit, stay C. Wesley 542 Still nigh me, 0 my Saviour, stand C. Wesley 819 Still on the Lord thy burden roll Pratt's Col. 352 Strait is the way, the door is strait I. Watts 162 Stretched on the cross, the Saviour dies A. Steele 743 Submissive to thy will, my God T. Haweis 1069 Suppliant, 10! Thy children bend T. Gray, Jr. 822 Supreme in wisdom as in power Campbell's Col. 71 Sweet is the memory of thy grace I. Watts 865 Sweet is the work, my God, my King I. Watts 864 Sweet is the work, 0 Lord Spirit 0/the Psalms 586 Sweet the moments, rich in blessing R. Robinson 869 Sweet the time--exceeding sweet Hymns o/Zion 734 Sweet was the time when first I felt J. Newton 1103 Swell the anthem, raise the song! Sac. Lyrics 1163 Teach me the measure of my days I. Watts 500 Tell me no more of earthly toys Harrison 1080 Ten thousand favors claim my song Cotton 1240 That awful day will surely come I. Watts 924 That doleful night before his death J. Hart 996 That mighty angel, to whose hand None Given 482 That was a time of wondrous love B. Beddome 708 The billows swell; the winds are high W. Cowper 259 The blessed Spirit, like the wind B. Beddome 1254 The chariot! the chariot! its wheels roll in fire H.H. Milman 181 245 The countless multitude on high Percy Chapel Col. 1242 The day approaches, 0 my soul P. Doddridge 1139 The day is past and gone None Given 1248 The day of wrath, that awful day Roscommon 1249 The day of wrath, that dreadful day W.Scott 814 The God of Abr'am praise T. Oliver 281 The God of grace will never leave Campbell's Col. 789 The God of love will sure indulge Anderson's Col. 1206 The grave is now a favored spot Village Hymns 897 The great Redeemer we adore S. Stennett 117 The happy mom is come Bickerstethts Col. 11 The heaven of heavens cannot contain W. Drennan 288 The heavens declare thy glory, Lord I. Watts 1100 The hoary frost, the fleecy snow I. Watts 1190 The hour of my departure's come J. Logan 335 The King of heaven his table spreads P. Doddridge 1098 The leaves, around me falling None Given 855 The light of Sabbath eye Union Hymns 429 The long-lost son, with streaming eyes Village Hymns 1119 The Lord in judgment now appears B. Beddome 17 The Lord is great; ye hosts of heaven adore him eh. Psalmody 175 liThe Lord is risen indeed" T. Kelly 354 The Lord Jehovah calls P. Doddridge 39 The Lord Jehovah reigns, and royal state I. Watts 41 The Lord Jehovah reigns, His throne I. Watts 901 The Lord my heart has now prepared Old Eng. Col. 58 The Lord my pasture shall prepare J. Addison 55 The Lord my Shepherd is, I shall be well supplied I. Watts 54 The Lord my Shepherd is, and He my soul J. Conder 981 The Lord of glory is my light I. Watts 147 The Lord of glory, moved by love ReliefHymns 191 The Lord of life, with glory crowned R. Wardlaw 44 The Lord our God is clothed with might H.K. White 1256 The Lord will come; the earth shall quake R. Heber 492 The Lord will happiness divine W. Cowper 804 The man is ever blest I. Watts 1225 The measured journey to the grave None Given 411 The moment a sinner believes J. Hart 105 The offerings to thy throne which rise ReliefHymns 962 The perfect world, by Adam trod N.P. Willis 73 The pity of the Lord I. Watts 1055 The praises of my tongue I. Watts 182 935 The promise of my Father's love 1. Watts 30 The promises I sing P. Doddridge 148 The race that long in darkness pined C. Wesley 331 The Saviour calls; let every ear A. Steele 1067 The Saviour kindly calls P. Doddridge 187 The Saviour lives, no more to die S. Medley 233 The Saviour! 0, what endless charms A. Steele 1170 The short-lived day declines in haste J. Fawcett 346 The Spirit, in our hearts Epis. Col. 170 The Sun of Righteousness appears S. Wesley, Jr. 1231 The time draws nigh when, from the clouds ReliefHymns 149 The true Messiah now appears 1. Watts 29 The truth of God shall still endure B. Beddome 478 The vengeance of a God Anderson's Col. 350 The voice offree grace cries, "Escape to the Mnt.," Thomby 291 The word reveals a Saviour's grace J. Fawcett 1169 Thee we adore, Eternal Name I. Watts 409 There is a fountain filled with blood W. Cowper 1052 There is a glorious world oflight Jane Taylor 34 There is a God--all nature speaks A. Steele 681 There is a heavenly mercy-seat None Given 1278 There is a house not made with hands I. Watts 1264 There is a land mine eye hath seen None Given 1262 There is a land of calm delight None Given 1279 There is a land of pure delight I. Watts 1023 There is a light which shines from heaven B. Manly Jr. 353 There is a path that leads to God Howe's Hymns 1263 There is a place of sacred rest R. Turnbull 672 There is a state unknown, unseen Songs in the Night 367 There is a time, we know not when J. A. Alexander 1282 There is a world of perfect bliss B. Beddome 1261 There is an hour of peaceful rest W.B. Tappan 37 There's not a star whose twinkling light J. C. Wallace 826 They who on the Lord rely Spirit ofthe Psalms 1260 Thine earthly Sabbaths, Lord, we love P. Doddridge 845 This is the day the Lord hath made I. Watts 318 This is the word of truth and love I. Watts 1203 This place is holy ground 1. Montgomery 514 This world would be a wilderness B. Beddome 1208 Thou art gone to the grave R. Heber 509 Thou art my portion, 0 my God I. Watts 213 Thou art the way: to thee alone G. W. Doane 183 746 Thou boundless Source of every good Raffles 584 Thou dear Redeemer, dying Lamb J. Cennick 602 Thou God of hope, to thee we bow Ch. Psalmody 1062 Thou God of sovereign grace Campbell's Col. 894 Thou hast said, exalted Jesus J. E. Giles 439 Thou Lord of all above B. Beddome 280 Thou Lord of all the worlds on high P. Doddridge 707 Thou lovely Source of true delight! A. Steele 522 Thou only Sovereign of my heart A. Steele 104 Thou Son of God, whose searching eyes C. Wesley 1128 Thou that dost my life prolong Ch. Psalmody 922 Thou whom my soul admires above I. Watts 760 Thou, who didst stoop below Martineau' sCot 1028 Thou, whose almighty word Pratt's Col. 1000 Though now the nations sit beneath L. Bacon 776 Though sorrows rise, and dangers roll R. Heber 1134 Thrice happy souls, who, heirs of heaven P. Doddridge 557 Through all the changing scenes of life Tate & Brady 52 Through all the various shifting scenes Collett 4 Through endless years thou art the same Tate & Brady 1177 Through every age, eternal God 1. Watts 1235 Through sorrow's night, and danger's path H. K. White 1135 Thus far the Lord has led me on I. Watts 81 Thus saith the High and Lofty One I. Watts 77 Thy goodness, Lord, our souls confess T. Gibbons 42 Thy kingdom, Lord forever stands Eng. Hap. Col. 252 Thy Spirit pour, 0 gracious Lord Campbell's Col. 1221 Thy visitation, Lord, is come Presho Hymns 778 Thy way, 0 God, is in the sea J. Fawcett 493 Tis a point I long to know J. Newton 547 Tis by the faith ofjoys to come 1. Watts 46 Tis by thy strength the mountains stand I. Watts 546 Tis faith supports my feeble soul B. Beddome 412 Tis faith that lays the sinner low B.Beddome 161 Tis finished! so the Saviour cried S. Stennett 262 Tis God the Spirit leads J. Montgomery 762 Tis my happiness below W.Cowper 817 Tis religion that can give M. Masters 620 Tis so sweet to rest in lively hope A. Toplady 1031 To bless thy chosen race Tate & Brady DOX To Father, Son, and Holy Ghost None Given DOX To Father, Son, and Holy Ghost None Given 184 DOX To God the Father, God the Son None Given DOX To God-the Father, the Son and Spirit None Given DOX To God the Father's throne None Given 134 To God who chose us in his Son Boden's Col. 487 To God, my Saviour and my King S. Stennett 813 To God, the only wise I. Watts 114 To God, the universal King S. Stennett 75 To heaven I lift my waiting eyes I. Watts 133 To Him who chose us first I. Watts 231 To Him who loved the souls of men ReliefHymns 1289 To Jesus, the crown of my hope W.Cowper 219 To our Redeemer's glorious name A. Steele 863 To spend one sacred day I. Watts 544 To the haven of thy breast C. Wesley DOX To thee be praise forever None Given 1133 To thee let our first offerings rise Rippon's Col. 966 To thee this temple we devote J. R. Scott 60 To thy pastures fair and large Church Psalmody 92 To Thy temple we repair J. Montgomery 525 To whom, my Saviour, shall I go Sac. Songs 1167 Tomorrow, Lord, is thine P. Doddridge 971 Triumphant Zion! lift thy head Epis. Col. 285 Twas by an order from the Lord I. Watts 43 Twas God who fixed the rolling spheres Martineau's Col. 921 Twas on that dark, that doleful night I. Watts 923 Twas on that night when doomed to know ReliefHymns 902 Twas the commission of the Lord I. Watts 388 Ungrateful sinners, whence this scorn P. Doddridge 825 Unshaken as the sacred hin I. Watts 471 Unto thine altar, Lord Rippon's Col. 1195 Unveil thy bosom, faithful tomb I. Watts 668 Up to the fields where angels lie I. Watts 68 Up to the Lord that reigns on high I. Watts 555 Upward I lift mine eyes I. Watts 397 Vain are the hopes the sons of men I. Watts 504 Vrun, delusive world, adieu C. Wesley 65 Vainly through night's lonely hours Spirit ofthe Psalms 1204 Vital spark ofheaven1y flame A. Pope 953 Vouchsafe, 0 Lord, thy presence now Eng. Bapt. Col. 765 Wait, my soul, upon the Lord None Given 48 Wait, 0 my soul, thy Maker's will B. Beddome 143 Wake, 0 my soul, and hail the mom DobeU's Col. 185 347 Wand'rer from God, return, return! W. B. Collyer 991 Watchman! tell us of the night J. Bowring 1106 We bless thy name, Almighty God Presb. Hymns 1071 We come, 0 Lord, before thy throne Sel. Hymns 128 We give immortal praise I. Watts 1293 We speak of the realms of the blessed Baptist Harp 848 Welcome, delightful mom! T. Hayward 839 Welcome, sweet day of rest I. Watts 183 Well, the Redeemer's gone I. Watts 617 We've no abiding city here T. Kelly 241 What equal honors shall we bring I. Watts 297 What glory gilds the sacred page! W.Cowper 368 What is the thing of greatest price 1. Montgomery 527 What shall I render to my God I. Watts 294 What shall the dying sinner do I. Watts 608 What shall we render, bounteous Lord Boden's CoL 1274 What sinners value I resign I. Watts 560 What though no flowers the fig-tree clothe J. Logan 1217 What though the arm of conquering death P. Doddridge 689 What various hindrances we meet W.Cowper 910 Whate'er to thee, our Lord, belongs None Given 564 When aU thy mercies, 0 my God J. Addison 521 When any turn from Zion's way J. Newton 850 When, as returns this solemn day A. Barbauld 1185 When, bending o'er the brink of life W. B. Collyer 1196 When blooming youth is snatched away A. Steele 1097 When brighter suns and milder skies W. B. Peabody 733 When burdened is my breast C. Elizabeth 717 When darkness long has veiled my mind W. Cowper 1233 When from the dead God raised his Son I. Watts 763 When gathering clouds around I view R. Grant 816 When gloomy thoughts and fears Luth. Col. 1234 When God is nigh, my faith is strong I. Watts 486 When God revealed his gracious name I. Watts 406 When I behold my heart Presb. Hymns 1275 When I can read my title clear I. Watts 787 When I can trust my all with God J. Conder 933 When I survey the wondrous cross I. Watts 1200 When I tread the mortal vale W.B.Collyer 1154 When in this world of grief and pain Macgowan 610 When Jesus dwelt in mortal clay T. Gibbons 791 When languor and disease invade A. Toplady 186 485 When, marshaled on the nightly plain H. K. White 673 When, 0 dear Jesus, when shall I J. Cennick 1075 When o'er the mighty deep we rode Sacred Songs 772 When, overwhelmed with grief I. Watts 821 When power divine, in mortal fonn J. E. Smith 1243 When, rising from the bed of death J. Addison 1015 When shall the voice of singing The Psalmist 1158 When shall we meet again? Sel. Hymns 549 When sins and fears, prevailing, rise A. Steele 739 When sorrows round us roll B.Beddome 1232 When the last trumpet's awful voice ReliefHymns 1192 When the spark of life is waning None Given 1191 When the vale of death appears A. Gilbert 841 When the worn spirit wants repose J. Edmeston 1241 When Thou, my righteous Judge, shalt come Rippon's Col. 1076 When through the tom sail the wild tempest R. Heber 391 When thy mortal life is fled S. F. Smith 767 When waves of trouble round me swell Songs in the Night 1268 When we pass through yonder river T. Kelly 977 When we, our weary limbs to rest Beethoven Col. 777 Whence do our mournful thoughts arise? I. Watts 614 Whene'er the angry passions rise A. Steele 622 Whene'er the Christian pilgrim views J. Newton 715 Whene'er to call the Saviour gain A. Steele 10 Where can we hide, or whither fly Noel's Col. 189 Where high the heavenly temple stands J. Logan 688 Where is my God? does he retire A. Steele 728 Where is my Saviour now Winchell's SeI. 958 Where shall we go to seek and find 1. Watts 102 Where two or three together meet T.Ken 100 Where two or three, with sweet accord S. Stennett 1224 Wherefore should I make my moan C. Wesley 636 Wherefore should man, frail child of clay Enfield 483 While I keep silence, and conceal I. Watts 882 While I to grief my soul gave way J. Newton 1155 While in the world we still remain Anderson's Col. 362 While life prolongs its precious light T. Dwight 210 While my Redeemer's near A. Steele 796 While on the verge of life I stand P. Doddridge 400 While Sinai roars, and round the earth 1. Watts 737 While thee I seek, protecting Power H.M. Williams 629 While through this wilderness below W. Poindexter 187 1087 While, with ceaseless course, the sun J. Newton 1270 Who are these in bright array J. Montgomery 1026 Who but thou, almighty Spirit Winchell's Sel. 886 Who can describe the joys that rise I. Watts 888 Who can forbear to sing J. Swain 835 Who shall condemn to endless flames B. Beddome 836 Who shall the Lord's elect condemn I. Watts 494 Who, 0 Lord, when life is o'er Spirit ofthe Psalms 1198 Why do we mourn departing friends I. Watts 458 Why droops my soul with grief oppressed? T. Scott 719 Why is my heart so far from thee I. Watts 1205 Why lament the Christian dying? Presb. Hymns 774 Why, 0 my soul, 0 why depressed Cotton 1033 Why, on the bending willows hung Pratt's Col. 1219 Why should our tears in sorrow flow Presb. Hymns 282 Why should the children of a King I. Watts 1186 Why should we start, and fear to die? I. Watts 366 Why will ye waste on trifling cares P. Doddridge 178 "Wide, ye heavenly gates, unfold!" Spirit ofthe Psalms 965 Will God in very deed descend Shepherd's Col. 570 With all my powers of heart and tongue I. Watts 1223 With all our soul, 0 Lord, we give C. Wesley 1116 With all the boasted pomp of war A. Steele 703 With earnest longings of the mind I. Watts 451 With guilt oppressed, bowed down with sin The Psalmist 1056 With humble heart and tongue J. Fawcett 849 With joy we hail the sacred day Spirit ofthe Psalms 182 With joy we meditate the grace I. Watts 110 With one consent, let all the earth Tate & Brady 723 With tears of anguish I lament S. Stennett 798 With years oppressed, with sorrows worn R. Grant 1072 Would you behold the works of God I. Watts 393 Would you win a soul to God? W.Hammond DOX Ye angels round the throne None Given 589 Ye angels who stand round the throne M. de Fleury 121 Ye boundless realms ofjoy Tate & Brady 1037 Ye Christian heralds, go, proclaim Winchell's Sel. 324 Ye dying sons of men 1. Boden 495 Ye earthly vanities, depart A. Steele 1051 Ye hearts with youthful vigor warm P. Doddridge 83 Ye humble souls, approach your God A. Steele 531 Ye men and angels, witness now B. Beddome 188 1038 Ye messengers of Christ Yoke 1226 Ye mourning saints, whose streaming tears P. Doddridge 108 Ye nations round the earth, rejoice 1. Watts 127 Ye servants of God, your Master proclaim Winchell's Sel. 637 Ye servants of the Lord P. Doddridge 355 Ye sinners, fear the Lord T. Dwight 166 Ye that pass by, behold the man C. Wesley 340 Ye trembling captives, hear Pratt's Col. 824 Ye trembling souls, dismiss your fears B.Beddome 118 Ye tribes of Adam, join I. Watts 332 Ye wretched, hungry, starving poor A. Steele 1043 Yes, my native land, I love thee S. F. Smith 176 Yes. the Redeemer rose P. Doddridge 603 Yes, there are joys that cannot die P. Doddridge 766 Yes, 'tis a rough and thorny road Anderson's Col. 990 Yes, we trust the day is breaking T. Kelly 164 Yonder--amazing sight!--I see S. Stennett 827 Your harps, ye trembling saints A. Toplady 975 Zion stands with hills surrounded T. Kelly 1024 Zion, awake; thy strength renew Pratt's Col. III Author/Source attributions have been standardized in one of three ways: 1) First initial(s) with the author's last name 2) Last name alone when an initial could not be ascertained 3) Name of the hymn collection as it was designated in The Baptist Psalmody by Basil Manly Jr., including his abbreviations of denominational collections APPENDIX 2 CONTRIBUTORS TO BAPTIST PSALMODY (1850) Baptist Contributors Representative Hymns Hymns Thomas Baldwin Come, happy souls, adore the Lamb 1 Benjamin Beddome Great Ruler of the earth and skies 46 Robert T. Daniel Lord, in humble, sweet submission 1 John Fawcett Blest be the tie that binds 14 John Fellows Great God, now condescend 3 Enoch W. Freeman Hither we come, our dearest Lord 2 Richard Furman Sovereign of all the worlds above 1 John E. Giles Thou hast said, exalted Jesus 1 John B. Hague Hark, sinner, while God from on high 1 Edmund Jones Come, humble sinner, in whose breast 1 Adoniram Judson Come, Holy Spirit, Dove divine 3 James D. Knowles o Lord, where' er thy saints apart 1 John Lawson Father of mercies, condescend 1 Basil Manly Jr. Before the pool a sufferer lay 9 Samuel Medley o could I speak the matchless worth 3 John Needham Awake my tongue; thy tribute bring 5 James Newton Let bounteous grace descend on those 1 Baptist W. Noel If human kindness meets return 1 Krishna Pal o Thou, my Lord, forget no more 1 Abram M. Poindexter Blest Sabbath! day of holy rest 7 Robert Robinson Come, Thou Fount, of every blessing 2 John Ryland In all my Lord's appointed ways 3 Jacob R. Scott To Thee this temple we devote 1 Samuel F. Smith My country, 'tis of thee 3 Anne Steele Almighty Maker of my frame 52 Joseph Stennett Another six days' work is done 3 Samuel Stennett On Jordan's stonny banks I stand 14 Amos Sutton Hail! sweetest, dearest tie that binds I Joseph Swain Brethren, while we sojourn here 5 James Tupper Dark was the hour, when Jesus bore 1 Robert Turnbull There is a place of sacred rest 1 Daniel Turner Jesus, full of all compassion 1 William Ward Great God, the nations of the earth 1 Henry S. Washburn Let every heart rejoice and sing 1 189 190 Major Contributors Denominational Identification Hymns Anna L. Barbauld (English Dissenting laywoman) 6 Benjamin Beddome (English Baptist pastor) 46 John Cennick (Anglican Evangelical) 6 William B. Collyer (English Anglican pastor) 6 Josiah Conder (English Congregational bookseller) 5 William Cowper (Anglican poet) 18 Samuel Davies (American Presbyterian pastor) 5 Philip Doddridge (English Congregational pastor) 71 Timothy Dwight (American Congregational pastor) 6 John Fawcett (English Baptist pastor) 14 Thomas Gibbons (English Independent pastor) 9 Joseph Hart (English Independent pastor) 8 Reginald Heber (English Anglican pastor) 6 Ottiwell Heginbotham (English Nonconformist pastor) 7 Thomas Kelly (Irish Episcopal pastor) 14 John Logan (Church of Scotland clergyman) 6 Basil Manly, Jr. (American Baptist theologian) 9 Samuel Medley (English Baptist pastor) 6 James Montgomery (English newspaper editor) 31 John Needham (English Baptist pastor) 5 lohnNewton (English Anglican pastor) 43 Abram M. Poindexter (American Baptist editor) 7 Anne Steele (English Baptist laywoman) 52 Samuel Stennett (English Baptist pastor) 14 Augustus Toplooy (English Anglican pastor) 17 Isaac Watts (English Independent pastor) 319 Charles Wesley (English Anglican evangelist) 52 John Wesley (English Anglican evangelist) 6 Henry K. White (English Anglican pastor) 5 Souree Attributions Compiler/Souree Identification Hymns Anderson's Col. (1818) C. Anderson, Selection ofHymns 14 Baptist Harp (1849) G. B. Ide and E. M. Levy, Baptist Harp 1 Bath. Col. (1831) W. R Bathurst, Psalms and Hymns 2 Beethoven Col. source unknown 2 Bickersteth's Col. (1833) E. Bickersteth, Christian Psalmody 2 Boden's Col. (1801) [Williams and Boden], A Collection ofabove 600 hymns 3 Bourne's Col. (1825) H. Bourne, The large Hymn Book 1 Breviary (1839) I. Williams, Hymns translatedfrom the Parisian 1 Burder's Col. (1784) G. Burder, A Collection ofHymns 3 Campbell's Col. (1841) 1. Campbell, The Comprehensive Hymn Book 9 Ch. Lyre (1831) 1. Leavitt, The Christian Lyre 1 Ch. Melodist (1848) Joseph Banvard, Christian Melodist 2 Ch. Psalmist (1825) J. Montgomery, Christian Psalmist 2 Ch. Psalmody (1833) E. Bickersteth, Christian Psalmody 7 191 CotteriU's Col. (1810) T. Cotterill, Selection ofPsalms 1 Curtis's Col. (1806) T. Curtis, Divine Amusement: A Selection 2 Dobell's Col. (1806) A new Selection ofseven hundred hymns 3 Dublin Col. source unknown I Eng. Bapt. Col. source unknown 6 Epis. Col. (1827) Hymns ofthe Protestant Episcopal Church 11 Exeter Col. (1829) E. Freeman, A Selection ofHymns 2 Hawke's Col. source unknown 1 Howe's Col. (1805) S. Howe, Divine Hymns on the sufferings 1 Huntingdon's Col. (1780) A Select Collection ofHymns 1 Hymns ofZion (1832) B. M. Hill, Hymns ofZion 2 Luth. Collection source unknown 2 Madan's Col. (1760) M. Madan, A Collection ofPsalms 3 Martineau's Col. (1840) Hymns for the Christian Church 1 Merrick's Col. (1795) J. Merrick, Improved Psalmody 1 Mother's Col. (1834) Thomas Hastings, Mother's Collection 3 Noel's Col. (1821) S. M. Noel, Selection ofHymns, Psalms 4 Old Eng. Col. source unknown 1 Percy Chapel Col. (1813) J. H. Stewart, A Selection ofPsalms 4 Pope's Col. (1760) M. Pope, A Collection ofPsalms and Hymns 1 Pratt's Col. (1857) Josiah Pratt 22 Presb. Hymns (1787) Barlow's Watts 10 Psalmist (1843) S. F. Smith and B. Stow, The Psalmist 6 Ref Dutch Col. source unknown 1 ReliefHymns (1794) Sacred Songs and Hymns on various passages 18 Rippon's Col. (1787) J. Rippon, Selection ofHymns from the best authors 24 Sacred Lyrics (1820) James Edmeston, Sacred Lyrics 4 Sacred Songs (1794) J. Stewart, Sacred Songs and Hymns 5 Salisbury Col. (1778) B. Williams, A Collection ofHymns 2 Sel. Hymns (1836) Linsley and Davis, Select Hymns 3 Shepherd's Col. source unknown 1 Songs in the Night source unknown 7 Spirit ofthe Psalms (1829) H. Auber, Spirit ofthe Psalms 9 Spiro Songs (1832) Hastings & Mason, Spiritual Songs 2 Tate & Brady (1696) A New Version ofthe Psalms 11 Union Col. (1827) J. Curtis, The Union Collection ofHymns 1 Union Hymns (1835) American Sunday-School Union, Union Hymns 2 Union Minstrel (1834) Thomas Hastings, Union Minstrel 1 Urwick's Col. (1829) W. Urwick, A Collection ofHymns 3 Village Hymns (1824) A. Nettleton, Village Hymns for social worship 5 Winchell's Set (1819) J. Winchell, An Arrangement ofthe Psalms 5 APPENDIX 3 POPULAR SOUTHERN HYMNS RESTORED IN THE BAPTIST PSALMODY (1850) Hy. Fint Line of Hymn Text Author Southern Hymnals 621 A few more days on earth to spend Anonymous BklDv/Hm 1165 Almighty Maker of my frame A. Steele BklDs/Me 456 Approach, my soul, the mercy* J. Newton BkfBdlDs/Dv IHp !Me/Va 988 Before Thy throne, eternal King B. Francis BdlDS/Va 511 Beset with snares on every hand Doddridge BkfMe/Va 459 Beside the gospel pool J. Newton BldDs!Me 818 Blessed are the sons of God Humphreys BkfBdlDs/Me 171 Come, every pious heart S. Stennett BkfBdlMelVa 341 Come, humble sinner, in whose"· E. Jones BklBdlDsIDv/Hm / Hp 461 Come, my soul, thy suit prepare J. Newton BklDslVa 785 God of my life, look gently down I. Watts BdlDs/Va 812 Happy the man who finds the grace Rippon's Col. BdlDS/Va 1258 How great, how terrible that God S. Davies BklDs/Me 811 How happy is the pilgrim's lot* J. Wesley BklHm /Hp !MelVa 97 Hungry. and faint, and poor J. Newton BklDs/Me 186 I know that my Redeemer lives S. Medley BdlDs/Me 1285 Jerusalem, my happy home" * Anonymous BklBdlDslDvlHm /Me/Va 199 Jesus, I sing thy matchless grace Doddridge BklBdlDs!Me 212 Jesus, immutably the same! A. Toplady BklBdlDs!Me 469 Jesus, thy blood and righteousness J. Cenmck BklBdlVa 1174 Life is the time to serve the Lord I. Watts Ds/HpiVa 1252 Lo! he comes, with clouds T. Oliver BkfMe/Va 448 Lord, at thy feet we sinners lie S. Browne BklDs/Va 634 Lord, if thou thy grace impart Madan's Col. BklDS/Va 909 Lord, in humble, sweet submission R. T. Daniel BklBdlDslVa 506 My God, my life, my love I. Watts BklDS/Va 480 My Saviour, let me hear thy voice Doddridge BklBdlMe 433 My sorrows, like a flood I. Watts BklBdlDs 669 Now let our souls, on wings T. Gibbons BklDs/Va 501 o ten me no more of this world's J. Gambold BklBdI Hm IVa 192 193 229 On earth the song begins J. Swain BklDslVa 179 Our Lord is risen from the dead C. Wesley BklBdlDs 256 Prepare me, gracious God! A. Toplady BklDs/Me 908 See how the willing converts trace S. Stennett BkfBdlVa 586 Sweet the moments, rich in blessing R. Robinson BkfBdfDvIVa 500 Tell me no more of earthly toys Harrison BkfBdlDs 924 That doleful night before his death J. Hart BdlDsiVa 1139 The day is past and gone'" * Anonymous BdlDslHm IHp /Me/Va 778 Thy way, 0 God, is in the sea J. Fawcett Bl,/MeNa 504 Vain, delusive world, adieu* C. Wesley DslDvIHmfMelVa 521 When any tum from Zion's way J. Newton BklDsiVa 100 Where two or three, with sweet* S. Stennett BkfBdlDs!MelVa 1051 Ye hearts with youthful vigor warm Doddridge BkfBdlDslVa 164 Yonder--amazing sight! --I see S. Stennett BkfBdfDs In the Supplement U847l to The Psalmist by R. Fyller and J. B. Jeter 428 Afflictions. though they seem It J. Newton BdlDslDv IHm IIIp IVa 574 Amazing grace, how sweet" * J. Newton BklBdfDslDv IHm IHp /MelVa 1287 And let this feeble body fail It C. Wesley BkfBdfDslDv IHm IHp !MelVa 407 As on the cross the Saviour hung* S. Stennett BdlDslHm IHp fMelVa 484 Awake, my soul, injoyfullays'"* S. Medley BklDslDv !MelVa 773 Begone, unbeliefl my Saviour* J. Newton BklDslDv fMelVa 618 Brethren, while we sojourn here* J.Swain BklBdf Dv fMelVa 627 Children of the heavenly King'" * J. Cennick BkfBdlDslDv /MelVa 490 Do not I love thee, 0 my Lord?* Doddridge BklBdfDslHm IHp fMelVa 246 Earth has engrossed my love I. Watts BklDslMelVa 377 Eternity is just at hand A. Steele BklDslMe 491 Hark, my soul! it is the Lord * * W.Cowper BklBdfDslDv IHm IHp /MelVa 867 How charming is the place S. Stennett BklDsiVa 828 How fmn a foundation'" * [Kirkham] BklBdfDslDv IHmlHp /MelVa 625 How happy are they C. Wesley BklDvlVa 619 How happys every child of grace* C. Wesley BdfDslDvlHp IVa 583 How sweet the name of Jesus· J. Newton BklDslHm IHp IVa 716 How tedious and tasteless"'· J. Newton DslHm IHp /MelVa 416 Jesus, mine all, to heaven in gone * J. Cennick BdlHmlHp 442 Jesus, thou art the sinner's friend* Anonymous BkfBdfDsIHm IHp /MelVa 466 Lord! shed a beam. of heavenly day Doddridge BklHplVa 139 Mortals, awake, with angels join* S. Medley BklBdlDsfMelVa 872 Saviour, visit thy plantation J. Newton BklBdlMelVa 1254 The chariot! the chariot! Ch. Lyre BklHmlHplVa 162 Tis my happiness below W. Cowper BklDsfMe 817 Tis religion that can give M. Masters BklMelVa 194 487 To God, my Saviour and my King S. Stennett BklBdlVa 689 What various hindrances we meet W. Cowper BklBdlVa 324 Ye dying sons ofmen$ J. Boden BklBdlDslDvIVa Totals 73 Regional Favorites omitted from The Psalmist (1843) 28 Southern Favorites added in the Supplement (1847) 24 Southern Standards found in 6 Southern Baptist hymnals published prior to 1850 10 The symbol * designates hymns that were identified in Irvin. H. Murrell's research 24 The symbol $ designates hymns that were identified in Nathan H. Platt's research Hymnal A!!breviations Bk Buck, Baptist Hymnal 2nded. 1844 (1842) Bd Burdett, Baptist Harmony 3rded. 1842 (1834) Ds Dossey. Choice Original ed. 1830 Dv Broaddus, Dover Selection Original ed. 1828 Hm Walker. Southern Harmony 2nded. 1845 (1835) Hp White, The Sacred Harp 2nded. 1847 (1844) Me Mercer, Cluster 5thed. 1875 (1810) Va Broaddus, Virginia Selection Newed. 1840 (1836) APPENDIX 4 PREFACES TO BAPTIST CHORALS (1859) INTRODUCTION 1 The object of this volume is not to come into competition with the hymn books now in circulation, but to render them more useful, by supplying tunes adapted expressly to some of the choicest hymns; while, for convenience sake, the words are printed on the same page, so that every embarrassment may be removed likely to hinder those who are slightly skilled in musical science. The simple design of this work is, to promote, as far as possible, CONGREGATIONAL SINGING in the use of the ordinary hymn books. Hence hymns have been selected, almost exclusively, which are to be found in both the [sic] Baptist Psalmody and the [sic] Psalmist, the two books most extensively used in the Baptist churches of the United States. The importance of general congregational singing has been frequently urged, yet it is not sufficiently acknowledged; and, even where it is acknowledged, no adequate measures are adopted to secure it. lt seems to be common to imagine that the singing of God's praise in public worship is a matter of indifference; that it is valuable principally as a sort of agreeable relaxation from the tediousness of other services, and that no particular obligation rests on any to join in it. It is, therefore, not unusual for the whole business of worshipping God in song to be committed to a few, sometimes to a hired company, whose voices are trained in the theatre all the week, to perform, with about as much devotion, in the church on Sunday. Another mistake not unfrequent [sic] is, that the quality of sacred music is regarded as a mere matter of taste or convenience. Singing, it is thought, is singing, whether well, or indifferently, or badly done; and the duty of singing is discharged by any performance, however faulty and disagreeable, even though it may fail entirely of accomplishing the real object. By some, sacred music is regarded as an elegant luxury, a religious superfluity; by others as an affair of taste only, and not of devotion, intended primarily to please the auditors rather than to praise God. In some places it is cultivated for pride and show, and earthly vanity is invoked to aid and adorn the heavenly service; in others it is left to drag along, uncared for [sic] by the body of the church, the duty and burden IBasil Manly Jr., Introduction to Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns, ed. Basil Manly Jr. and A. Brooks Everett (Richmond: T. J. Starke & Co., 1892.), ii-iii. 195 196 of the few, rather than the privilege and delight of the many. Now, not to dwell upon the fact that the Bible distinctly commands singing both under the old and under the new dispensation; and that the Church of Christ in all ages has practiced singing as a regular part of the worship of Go~ it ought to be sufficient to consider that song is the natural ebullition of strong religious feeling. From the devotional compositions of Christians in all periods a much more accurate sketch may be derived of the doctrines really impressed on the mind. and translated into the life, than from the regular creeds or confessions of faith. The efficiency of good singing in promoting Christian emotion is still more important than its adaptedness [sic] to express it. We possess, in the English language, a body of sacred poetry, which, for richness, variety, beauty of style, clearness of thought and warmth of devotion, is unsurpassed by that of any nation on earth. A large portion of this is lyric, and suited to be sung. The proper effect of these compositions can not be obtained by their being read in books, nor by their being recited, however impressively; for the simple reason that reading is not singing, that the art of oratory can not do the work of music, that the recitation of beautiful sentences, by one man to the multitude, can not produce the same results, as if all the multitude should join in musical repetition of them. Good singing is a powerful auxiliary to preaching. When burning words and living thoughts have come from the sacred desk, and impressed themselves upon the mind, how is the effect heightened if, with melody pliantly adapting itselfto all the turns and graces of sentiment, kindred thoughts float upon the charmed air, and memory takes up the echo of the sounds and of the ideas, to cherish them with fond admiration! Music can minister to amusement; it can be subservient to friendship; it is the chosen language of love. Music is summoned to excite the warrior to battle, to gladden the dissolute, to wreath its charms around the wine cup, and even to lure, by its enchantments, the unsuspicious into vice. Music--one of the richest natural gifts of God to a world where discord, and confusion, and tears have so much place--has been perverted from its beneficial intent. She has been forced to grind for the Philistines; let us liberate her, and employ her best services in inviting men to holiness. "The first and proper place of music, on this side of heaven, is in the house of God." If churches everywhere would cease to regard sacred music either with indifference or as a matter of mere taste; if they would commence with the young, training their ears while they are sensitive, and their voices while they are flexible; if families would unite at least one a day in a brief, spirited hymn, as well as in other domestic devotions; if, instead of the choirs being burdened with doing the singing, they should simply be honored with leading the singing; and if the voices of all God's people should join heartily and understandingly, with grace not only in the notes but in the heart, the effect would certainly surprise us all. My wish for those who use this book may be couched in the language of the apostle: "Let the word of Christ dwell in you richly in all wisdom, teaching and admonishing one another in psalms, and hymns, and spiritual songs; singing, with grace in your hearts, to the Lord." RICHMOND, VA., October, 1859. B. MANL Y, Jr. 197 MUSIC EDITOR'S PREFACE 2 In adapting music to hymns selected for this work, great care has been taken to associate, as far as circumstances would admit, tunes and hymns that indicate consonant emotions and breathe one spirit. The majority of instances where this principle has been departed from win be found among the very old tunes and hymns, some of which have been so long associated that it was thought best not to separate them. We trust, however. no serious defect will be found in this department of our work. In the selection of OLD MUSIC. we have drawn largely from the original fountains of sacred psalmody, and gathered in many venerated compositions of other times. Some of these have been transmitted to us from our fathers and forefathers. For centuries past they have been the voice of the people, their consolation and their strength. They were the armor of the Church at the time of the Reformation, and with all these reminiscences, and with all this power, they will pass on to posterity, perhaps for centuries to come. To exclude all of this class of well-known tunes from a work "designated to promote general congregational singing" WOUld, indeed, be highly censurable. We have confined our selections from them, however. to such as are most universally popular with congregations and choirs, on account of their chaste simplicity and truly devotional character, not making use of any of a light and secular nature, merely because they were old. There is as obvious a distinction of style between sacred and secular music as there is between sacred and secular poetry; and we have endeavored to keep this distinction constantly in view in the preparation of this work. We have carefully examined all the popular works that have been published in this country, and selected from each the choicest, and none but the choicest, gems. Having heard much complaint of the lack of good short metres in other books. we have taken great care to supply the deficiency in this; and we confidently believe that it contains a greater number of really good tunes in this metre than any other book every published in this country. In all the peculiar metres, too, there are as good and interesting tunes as can be found among the regular metres in any other work. Among the NEW MUSIC are many beautiful compositions by southern musicians of distinction; and, as one of the most valuable contributors to this department of the work, we would especially mention Professor R. M. Mcintosh, to whom we are under many obligations for the numerous compositions with which he has furnished us. We would also express our thanks to Professor W. Caspari, and to Edward H. Sexton and J. D. Hunt, Esquires, for their valuable contributions. To carry out the plan of the work, that of having an old and new tune on each folio, we have been compelled to insert a good many of our own compositions, which. without expressing any opinion as to their merits, we trust will be found acceptable and useful. 2A. Brooks Everett, Musical Editor's Preface to Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns, 00. Basil Manly Jr. and A. Brooks Everett (RiChmond: T. J. Starke & Co., 1892.), iv-v. 198 On the first page of each folio will be found, with but few exceptions, and those chiefly among the peculiar metres that are not much used, an OLD and well-known tune, and on the second page a NEW tune of the same metre, and similar in style and general character; so that either an old or a new tune can be sung to every hymn on each opening. This we claim as an original feature, and one that, we think, possesses important advantages. Having it in contemplation to prepare, as soon as practicable~ a small volume of anthems and set pieces, for the opening and close of service, and for special occasions in the Baptist Church, we have not inserted anything of the kind in this work, with the exception, we believe, of one short piece. With the sincere wish that the result of our humble efforts to advance congregational singing in the Baptist Churches may prove an acceptable and useful auxiliary in the worship of God, we submit it to the candid judgment of those for whom it is designed. RICHMOND, VA., October, 1859. A. BROOKS EVERETT APPENDIX 5 BAPTIST CHORALS (1859) FIRST LINE INDEX Hy. First Line of Hymn Text *BP "PS Author/Source" 44 A broken heart, my God, my King 453 468 I. Watts 107 A host of spirits round the throne 986 796 B. Beddome 225 According to thy gracious word 925 J. Montgomery 85 Afflicted saint, to Christ draw near 764 SU83 J. Fawcett 125 Again our earthly cares we leave 94 27 Pratt's Col. 278 A:h, how shall fallen man 312 464 Epis. Col. 165 All hail the power of Jesus' name 239 338 [Duncan] 68 All nature sings God's boundless love 287 O. Heginbotham 240 All yesterday is gone 364 443 Pratt's CoL 368 Am I called? and can it be? 430 SU27 Presb. Hymns 198 Amazing grace! how sweet the sound! 574 SU66 J. Newton 291 And am I born to die? 1238 C. Wesley 302 And art thou, gracious Master, gone 510 Rei. Hymns 263 And can I yet delay 517 SU35 C. Wesley 116 And can my eyes, without a tear 436 463 O. Heginbotham 287 And canst thou, sinner, slight 363 442 A. B. Hyde 104 And did the holy and the just 154 210 A. Steele 229 And let this feeble body fail 1287 SU96 C. Wesley 284 And must this body die? 1229 1122 I. Watts 151 And will the Lord thus condescend 74 499 A. Steele 289 Another day is past 1138 1028 Curtis's Col. 223 Approach, my soul, the mercy-seat 456 519 J. Newton 331 Arise, my soul, arise 477 261 C. Wesley 113 As o'er the past my memory strays 426 460 T. F. Middleton 88 Asleep in Jesus! blessed sleep 1215 1109 M.Mackay 75 Assembled at thy great command 987 914 W. B. Collyer 93 At anchor laid, remote from home 284 A. Toplady 247 Awake, and sing the song 582 313 W.Hammond 11 Awake, my soul, in joyful lays 484 SU47 S. Medley 155 A wake, my soul; stretch every nerve 644 726 P. Doddridge 16 Awake, our souls; away, our fears 643 725 I. Watts 199 200 2 Be thou, 0 God, exalted high 124 70 I. Watts 1 Before Jehovah's awful throne 107 2 I. Watts 109 Begin, my tongue, some heavenly theme 28 100 1. Watts 283 Behold th' amazing sight 158 223 P. Doddridge 255 Behold the morning Sun 289 403 I. Watts 41 Behold the sin-atoning Lamb 398 256 J. Fawcett 252 Behold the throne of grace! 678 642 J. Newton 251 Behold what wondrous grace 615 191 I. Watts 193 Beneath our feet and o'er our head 1180 1081 R.Heber 4 Bless, 0 my soul, the living God 85 186 1. Watts 91 Bless, 0 my soul, the living God 85 186 I. Watts 260 Blest are the pure in heart 806 665 L. Mason 275 Blest are the sons of peace 590 694 1. Watts 170 Blest be the dear uniting love 1150 C. Wesley 297 Blest be the tie that binds 1148 1068 J. Fawcett 242 Blest Comforter divine 273 356 Pratt's Col. 159 Blest Jesus, while in mortal flesh 692 536 P. Doddridge 305 Blest~ who with generous pity glows 601 Pratt's Col. 328 Blow ye the trumpet, blow 325 407 C. Wesley 375 Brethren, while we sojourn here 618 SU62 J. Swain 39 Broad is the road that leads to death 351 686 I. Watts 245 Can sinners hope for heaven 387 Pratt's Col. 394 Cease, ye mourners, cease to languish 1212 1112 W. B. Collyer 370 Christ, whose glory fiUes the skies 221 278 C. Wesley 35 Come Christian brethren, e'er we part 1152 H.K. White 63 Come, dearest Lord, descend and dwell 91 26 1. Watts 66 Come, gracious Spirit, heavenly Dove 264 368 S.Browne 101 Come, happy souls, approach your God 89 268 1. Watts 97 Come hither, all ye weary souls 326 417 I. Watts 65 Come, Holy Spirit, calm my mind 250 358 Burder's Col. 256 Come, Holy Spirit, come 263 361 J. Hart 49 Come, Holy Spirit, Dove divine 906 807 A. Judson 207 Come, Holy Spirit, heavenly Dove 249 353 I. Watts 201 Come, humble sinner, in whose breast 341 433 E. Jones 178 Come in, thou blessed of the Lord 915 827 J. Montgomery 141 Come, let us join our cheerful songs 244 346 1. Watts 184 Come, let us join our friends above 984 791 C. Wesley 124 Come, let us lift our joyful eyes 88 102 1. Watts 376 Come,mysoul,thysilltprepare 461 J. Newton 350 Come, saith Jesus' sacred voice 327 413 A. Barbauld 405 Come. Thou Almighty King 130 120 DobeU's Col. 396 Come, Thou Fount of every blessing 578 610 R Robinson 201 390 Come, Thou long expected Jesus 193 Madan's Col. 248 Come, we that love the Lord 623 767 I. Watts 421 Come, ye disconsolate, where'er ye 348 635 T.Moore 403 Come, ye sinners, poor and wretched 323 416 J. Hart 108 Come, ye, that love the Saviour's name 580 330 A. Steele 175 Commit thou all thy griefs 823 SU7 J. Wesley 304 Dear Friend of friendless sinners, hear 454 R. Hill 265 Dear Saviour, we are thine 529 303 P. Doddridge 346 Depth of mercy! can there be 423 476 Luth. Col. 281 Did Christ o'er sinners weep 435 471 B.Beddome 121 Didst thou, dear Saviour, suffer shame 677 705 [Kirkham] 82 Dismiss us with thy blessing, Lord 1159 64 J. Hart 48 Do we not know that solemn word 905 805 I. Watts 169 Dread Sovereign, let my evening song 1136 1024 1. Watts 316 Exalt the Lord our God 23 89 1. Watts 144 Faith adds new charms to earthly bliss 413 507 1. Watts 258 Faith is a precious grace 410 505 B.Beddome 19 Far from my thoughts, vain world 918 849 1. Watts 224 Father, I stretch my hands to thee 467 508 C. Wesley 210 Father of mercies, send thy grace 609 742 P. Doddridge 139 Father, whate'er of earthly bliss 749 664 A. Steele 195 Finn as the earth thy gospel stands 831 561 1. Watts 5 From all who dwell below the skies 1016 926 I. Watts 46 From every stormy wind that blows 679 636 H. Stowell 379 From Greenland's icy mountains 1019 917 R.Heber 369 From the cross uplifted high 338 426 T. Haweis 156 Give me the wings of faith, to rise 645 727 I. Watts 408 Glory to God on high! 222 328 Sac. Lyrics 94 Glory to thee, my God, this night 1141 1031 T.Ken 74 Go preach my gospel, saith the Lord 947 852 1. Watts 371 Go to dark Gethsemane 157 707 J. Montgomery 103 God is a Spirit, just and wise 106 133 I. Watts 385 God is love; his mercy brightens 26 155 J. Bowring 110 God moves in a mysterious way 50 148 W. Cowper 424 God of Heav'n, to sinners loving NO Not Known 168 God of my life, my morning song 1127 1015 A. Steele 246 Grace! 'tis a charming sound! 80 520 P. Doddridge 348 Gracious Spirit! Love divine! 261 371 J. Stocker 26 Great God, indulge my humble claim 508 192 1. Watts 90 Great God, to thee my evening song 1137 1025 A. Steele 208 Great God, with wonder and with praise 286 393 Epis. Col. 152 Great King of glory and of grace 310 492 I. Watts 202 34 Happy the church, thou sacred place 970 931 I. Watts 199 Happy the heart where graces reign 562 749 1. Watts 179 Happy the souls to Jesus joined 985 793 C. Wesley 192 Hark! from the tombs a doleful sound 1178 1079 LWatts 349 Hark, my soul! it is the Lord 491 SU64 W.Cowper 398 Hark! ten thousand harps and voices 248 323 T. Kelly 400 Hark! the voice oflove and mercy 160 225 B. Francis 382 Hark! what mean those holy voices 142 201 J.Cawood 340 Haste, 0 sinner; now be wise 361 441 T. Scott 8 He lives! the great Redeemer lives! 184 296 A. Steele 171 Hear what the voice from heaven 1207 1104 I. Watts 374 Hearts of stone, relent, relent 379 477 C. Wesley 335 Heaven is the land where troubles cease 1265 SU98 Beethoven Col. 339 Heavenly Father, sovereign Lord 133 115 Salisbury Col. 56 Here, at thy cross, incarnate God 470 531 I. Watts 300 Here, Saviour, we would come 904 809 Eng. Bapt. Col. 389 Holy Ghost, dispel our sadness 276 365 Jay 354 Holy Ghost, with light divine 272 372 A. Reed 353 Holy Spirit, from on high 270 365 W. R. Bathurst 166 Hosanna, with a cheerful sound 1125 1019 L Watts 271 How beauteous are their feet 943 949 I. Watts 87 How blest the righteous when he dies! 1201 1103 A. Barbauld 13 How blest the sacred tie that binds 594 698 A. Barbauld 162 How can I sink with such a prop 815 620 I. Watts 290 How channing is the place 867 SU 103 S. Stennett 220 How condescending and how kind 929 840 L Watts 180 How did my heart rejoice to hear 857 3 I. Watts 419 How firm a foundation 828 SU69 [Kirkham] 161 How happy they who know the Lord 803 602 J.Newton 230 How happy's every child of grace 619 SU71 C. Wesley 279 How heavy is the night 316 516 I. Watts 61 How oft have sin and nature strove 32 563 I. Watts 135 How oft, alas! this wretched heart 729 690 A. Steele 315 How pleased and blest was I 858 12 1. Watts 153 How sad our state by nature is! 314 500 I. Watts 131 How sweet, how heavenly is the sight 591 697 J.Swain 259 How sweet the melting lay 696 639 Sac. Lyrics 209 How sweet the name of Jesus sounds 583 SU 13 J.Newton 71 How sweetly flowed the gospel sound 319 406 J. Bowring 414 How tedious and tasteless the hours 716 SU65 J. Newton 292 How tender is thy hand 757 600 Sac. Songs 183 I love the Lord; he heard my cries 576 754 I. Watts 203 250 I love the sons of grace 593 SU63 Anderson's Col. 306 I love the volume of thy word 302 394 I. Watts 273 I love thy kingdom, Lord 982 788 T.Dwight 123 I love to steal awhile away 691 637 P. H. Brown 25 I send the joys of earth away 496 539 I. Watts 177 Ifhuman kindness meets return 930 842 B. W. Noel 269 If on a quiet sea 738 513 Noel's Col. 307 I'll praise my Maker with my breath 568 91 I. Watts 164 I'm not ashamed to own my Lord 832 552 I. Watts 120 In duties and in sufferings~ too 674 702 B. Beddome 132 In one fraternal bond of love 597 790 J. Montgomery 372 In thy furrow, darksome grave 1237 J. East 261 Is this the kind return? 722 683 I. Watts 227 Jerusalem! my glorious home! 1284 1166 J. Montgomery 214 Jerusalem! my glorious home! 1284 1166 J.Montgomery 228 Jerusalem! my happy home 1285 None Given 53 Jesus! and shall it ever be 523 554 J.Grigg 387 Jesus, hail! enthroned in glory 242 345 J. Bakewell 189 Jesus, I love thy charming name 587 306 P. Doddridge 392 Jesus, I my cross have taken 516 530 R Grant 359 Jesus, lover of my soul 543 285 C. Wesley 86 Jesus, my Lord, I own thee God 136 B. Manly Jr. 6 Jesus shall reign where'er the sun 1004 854 I. Watts 146 Jesus, thou art the sinner's friend 442 SU34 None Given 397 Jesus, while our hearts are bleeding 1209 Mother's Hymn 329 Join all the glorious names 206 301 I. Watts 126 Joy to the world! the Lord is come 146 213 I. Watts 57 Just as I am, without one plea 472 C. Elliot 211 Kind are the words that Jesus speaks 553 503 I. Needham 28 Kindred in Christ, for his dear sake 916 828 J. Newton 412 Lamb of God, whose dying love 464 C. Wesley 69 Let everlasting glories crown 305 388 I. Watts 321 Let every creature join 119 92 A. Steele 60 Let me but hear my Saviour say 552 546 I. Watts 226 Let plenteous grace descend on those 912 824 Jas.Newton 383 Let thy grace, Lord, make me lowly 631 674 Pratt's Col. 407 Let us awake our joys 237 320 W. Kingsbury 213 Let Zion's watchmen all awake 944 955 P. Doddridge 285 Like sheep we went astray 163 231 I. Watts 308 Lo! on a narrow neck of land 1244 C. Wesley 215 Lo! what a glorious sight appears 1277 905 I. Watts 364 Lord of hosts, to thee we raise 959 932 J. Montgomery 204 298 Lord, I would come to thee 533 540 Campbell's Col. 38 Lord, let thy goodness lead our land 1108 1006 Pratt's Col. 358 Lord, my times are in thy hand 740 573 None Given 3 Lord, thou hast searched and seen me 7 136 I. Watts 337 Lord, we come before thee now 96 25 W.Hammond 202 Lord, we confess our numerous faults 405 266 1. Watts 112 Lord, when we bow before thy throne 686 21 J. D. Carlyle 42 Lord, with a grieved and aching heart 450 475 B.Beddome 393 Love divine, all loves excelling 664 653 C. Wesley 106 Majestic sweetness sits enthroned 215 257 S. Stennett 384 May the grace of Christ, our Saviour 1160 62 J.Newton 293 Mine eyes and my desire 721 682 1. Watts 203 Mistaken souls! that dream of heaven 415 514 I. Watts 338 Morning breaks upon the tomb 169 233 W. B. Collyer 105 Mortals, awake, with angels join 139 SU8 S. Medley 404 My country, 'tis of thee 1104 1000 S.F. Smith 52 My dear Redeemer and my Lord 675 704 1. Watts 406 My faith looks up to thee 541 783 RPalmer 280 My former hopes are fled 417 419 W.Cowper 76 My God, how endless is thy love! 1122 1011 I. Watts 147 My God, my portion, and my love 505 188 I. Watts 299 My God, my prayer attend 536 648 Pratt's Col. 32 My God, permit me not to be 670 630 I. Watts 157 My God, the spring of all my joys 624 681 I. Watts 27 My gracious Lord, I own thy right 519 556 P. Doddridge 254 My Maker and my King 565 689 A. Steele 276 My Saviour, fill my soul 653 662 Percy Chapel 158 My Saviour, my almighty Friend 581 324 I. Watts 182 My soul shall praise thee, 0 my God 569 SU 110 O. Heginbotham 295 My soul, be on thy guard 638 717 Heath 239 My soul. repeat his praise 70 183 I. Watts 30 My spirit looks to God alone 559 601 I. Watts 47 My spirit sinks with me, Lord 700 756 I. Watts 212 No change of time shall ever shock 554 170 Tate & Brady 172 No eye hath seen, nor ear hath heard 1272 1153 I. Watts 23 No more, my God, I boast no more 468 253 I. Watts 257 Not all the blood of beasts 394 254 I. Watts 62 Not to condemn the sons of men 87 212 1. Watts 277 Not with our mortal eyes 579 547 I. Watts 380 Now be the gospel banner 1017 T. Hastings 244 Now is the day of grace 358 436 Perennial 204 Now let our cheerful eyes survey 181 297 P. Doddridge 205 355 Now the shades of night are gone 1131 1013 Epis. Col. 70 Now to the Lord, who makes us know 221 321 I. Watts 253 o bless the Lord, my soul 572 96 I. Watts 262 0, blessed souls are they 481 495 1. Watts 243 o cease, my wandering soul 349 613 Epis. Col. 119 o could I find, from day to day 656 661 Ch. Psalmody 312 0, could we speak the matchless worth 218 304 S. Medley 134 o for a closer walk with God! 730 691 W.Cowper 326 o for a shout of joy 27 157 J. Young 140 o for a thousand tongues to sing 225 348 C. Wesley 114 o for that tenderness of heart 424 488 C. Wesley 148 o God. our help in ages past 2 760 I. Watts 79 0, happy saints, who dwell in light 1266 1180 J. Berridge 181 0, how divine, how sweet the joy 887 780 J. Needham 197 o Lord, and will thy pardoning love 890 800 J. Fellows 185 o Lord, I would delight in thee 551 538 J. Ryland 317 o Lord, our heavenly King 67 164 I. Watts 264 o Lord, thou art my Lord 518 537 B.Beddome 31 o Lord, thy heavenly grace impart 661 672 J. F. Oberlin 73 ° Lord, thy righteous law demands 396 J. East 222 ° Lord, thy tender mercy hears 449 482 A. Steele 217 o Lord, we in thy footsteps tread 899 823 Eng. Rapt. Col. 160 o Lord. when billows o'er me rise 697 504 Presb. Hymns 311 o Love divine, how sweet thou art 666 C. Wesley 417 0, praise ye the Lord! 115 Tate & Brady 272 0, sing to me of heaven 1295 Mrs. Dana 117 o sinner, bring not tears alone 1120 986 Breviary 136 o that I knew the secret place 726 646 None Given 22 o that my load of sin were gone! 463 33 C. Wesley 330 o Thou that hearest prayer 881 359 Campbell's Col. 310 o Thou that hear'st the prayer of faith 455 498 A. Toplady 43 o Thou that hear'st when sinners cry 452 467 I. Watts 29 o thou, my soul, forget no more 931 844 Krishna Pal 420 o Zion! affiicted with wave upon wave 978 Rippon's Col. 352 Object of my first desire 588 SU 16 A. Toplady 118 Oh for a heart to praise my God! 652 663 C. Wesley 327 On earth the song begins 229 1. Swain 174 On Jordan's stonny banks I stand 1276 1173 1. Watts 357 On that great, that awful day 1246 1131 T. von Celano 401 On the mountain top appearing 992 902 T. Kelly 268 Once more we meet to pray 724 480 None Given 167 One more, my soul, the rising day 1126 1009 I. Watts 206 10 Our God invites the wanderers home 345 B. Manly Jr. 37 Our Helper~ G~ we bless his name 1077 1046 P. Doddridge 15 Our Saviour bowed beneath the wave 892 804 A.Judson 303 Peace, troubled souL whose plaintive 329 419 Epis. Col. 363 People of the living God 913 695 J. Montgomery 231 Plunged in a gulf of dark despair 235 308 L Watts 388 Praise the Lord; ye heavens adore him 122 77 Dublin Col. 386 Praise to thee, thou great Creator 112 109 J. Fawcett 92 Praise ye the Lord; my heart shan join 76 95 I. Watts 122 Prayer is the soul's sincere desire 634 632 J. Montgomery 219 Prepare us, Lord, to view thy cross 934 841 Pratt's Col. 241 Raise your triumphant songs 236 269 L Watts 84 Rejoice, for Christ the Saviour reigns 885 B.Beddome 325 Rejoice the Lord is King 200 325 C. Wesley 130 Religion is the chief concern 372 765 J. Fawcett 111 Repent! the voice celestial cries 385 452 P. Doddridge 21 Return, my roving heart. return 725 490 P. Doddridge 381 Rise, my soul, and stretch thy wings 626 719 J. Cennick 367 Rock of Ages, cleft for me 208 282 A. Toplady 373 Safely through another week 854 47 J.Newton 128 Salvation! 0, the joyful sound! 320 277 I. Watts 270 Shall we go on in sin 663 670 I. Watts 20 Show pity, Lord; 0 Lord, forgive 443 484 I. Watts 149 Since all the varying scenes of time 55 190 J.Hervey 341 Sinner, what has earth to show 369 444 Urwick's Col. 342 Sinners, turn; why win ye die? 374 448 J. Wesley 17 So let our lips and lives express 676 705 I. Watts 356 Softly now the light of day 1142 1026 G. W.Doane 296 Soldiers of Christ, arise 642 723 C. Wesley 186 Soon as I heard my Father say 556 594 I. Watts 51 Soon may the last, glad song arise 1014 903 Ch. Psalmody 410 Sound, sound the truth abroad 1035 884 Urwick'g Col. 361 Sovereign Ruler of the skies 51 SU2 J. Ryland 274 Sow in the mom thy seed 648 740 J. Montgomery 14 Stand up, my soul, shake off thy fears 639 720 I. Watts 423 Star of Peace. to wanderers weary NO Not Known 163 Still on the Lord thy burden roll 819 560 Pratt's Col. 154 Strait is the way, the door is strait 352 688 I. Watts 150 Sweet is the memory of thy grace 71 187 I. Watts 18 Sweet is the work, my God, my King 865 50 I. Watts 83 Sweet is the work, my God, my King 865 50 I. Watts 391 Sweet the moments, rich in blessing 586 R.Robinson 207 137 Sweet was the time when first I felt 734 759 J. Newton 365 Swell the anthem, raise the song 1103 999 Sac. Lyrics 233 That awful day will surely come 1240 1142 I. Watts 234 The day approaches, 0 my soul 1242 1187 P. Doddridge 99 The day of wrath, that awful day 1248 Roscommon 98 The day of wrath, that dreadful day 1249 1130 W.Scott 206 The heaven of heavens cannot contain 11 167 W. Drennan 67 The heavens declare thy glory Lord 288 76 I. Watts 200 The King of heaven his table spreads 335 424 P. Doddridge 377 The leaves, around me falling 1098 1040 None Given 314 The Lord Jehovah reigns 41 145 1. Watts 319 The Lord Jehovah reigns 39 138 I. Watts 218 The Lord my heart has now prepared 901 Old Eng. Col. 301 The Lord my pasture shall prepare 58 197 J. Addison 238 The Lord my Shepherd is 55 195 I. Watts 320 The Lord my Shepherd is 54 196 J. Conder 102 The offerings to thy throne which rise 105 Rei. Hymns 221 The promise of my Father's love 935 838 I. Watts 318 The promises I sing 30 162 P. Doddridge 191 Thee we adore, Eternal Name 1169 1061 I. Watts 143 There is a fountain filled with blood 409 274 W. Cowper 78 There is a land mine eye hath seen 1264 1172 None Given 416 There is a land of calm delight 1262 None Given 216 There is a land of pure delight 1279 1146 I. Watts 415 There is an hour of peaceful rest 1261 1168 W. B. Tappan 360 They who on the Lord rely 826 622 Spirit ofthe Ps. 77 Thine earthly Sabbaths, Lord, we love 1260 55 P. Doddridge 422 Thou art gone to the grave 1208 1106 R. Heber 188 Thou dear Redeemer, dying Lamb 583 1. Cennick 59 Thou God of hope, to thee we bow 602 739 Ch. Psalmody 402 Thou hast said, exalted Jesus 894 817 J. E. Giles 294 Thou Lord of all above 439 483 B.Beddome 54 Thou only Sovereign of my heart 522 543 A. Steele 45 Thou only Sovereign of my heart 522 548 A. Steele 409 Thou, whose almighty word 1028 876 Pratt's Col. 50 Though now the nations sit beneath 1000 869 L. Bacon 187 Thro' aU the changing scenes of life 557 193 Tate & Brady 89 Thus far the Lord has led me on 1135 1023 I. Watts 12 Tis by the faith ofjoys to come 547 515 I. Watts 347 Tis religion that can give 817 SU 85 M. Masters 266 To God, the only wise 813 564 1. Watts 322 To Him who chose us first 133 121 1. Watts 208 127 To our Redeemer's glorious name 219 310 A. Steele 411 To the haven of thy breast 544 C. Wesley 345 To thy pastures fair and large 60 Ch. Psalmody 336 To thy temple we repair 92 28 J. Montgomery 115 Unshaken as the sacred hill 825 621 I. Watts 282 Unto thine altar, Lord 471 527 Rippon's Col. 366 Watchman, tell us of the night 991 893 J. Bowring 413 We speak of the realms of the blessed 1293 Bapf. Harp 323 W dcome, delightful mom! 843 44 T. Hayward 236 Welcome, sweet day of rest 839 40 1. Watts 9 What equal honors shall we bring 241 344 I. Watts 142 What glory gilds the sacred page 297 395 W.Cowper 72 What shall the dying sinner do 294 497 I. Watts 80 What sinners value I resign 1274 1165 I. Watts 190 When all thy mercies, 0 my God 564 693 J. Addison 232 When blooming youth is snatched away 1196 1091 A. Steele 267 When gloomy thoughts and fears 816 768 Luth. Col. 145 When God revealed his gracious name 486 782 1. Watts 173 When I can read my title clear 1275 1156 I. Watts 334 When I can trust my all with God 787 583 J. Conder 33 When I survey the wondrous cross 933 834 I. Watts 24 When marshalled on the nightly plain 485 959 H.K. White 378 When shall the voice of singing 1015 907 The Psalmist 55 When sins and fears, prevailing, rise 549 287 A. Steele 196 When the worn spirit wants repose 841 33 J. Edmeston 313 When Thou, my righteous Judge 1241 1143 Rippon's Col. 343 When thy mortal life is fled 391 455 S. F. Smith 399 When we pass through yonder river 1268 1161 T. Kelly 96 When we, our weary limbs to rest 977 Beethoven Col. 194 When, bending o'er the brink of life 1185 1074 W. B. Collyer 235 When, rising from the bed of death 1243 459 J. Addison 288 Where shall rest be found 371 1152 Not in Bapf. Ps. 309 Where two or three together meet 102 T.Ken 64 Where two or three, with sweet accord 100 S. Stennett 58 While I keep silence, and conceal 483 496 I. Watts 40 While life prolongs its precious light 362 451 T. Dwight 286 While my Redeemer's near 210 291 A. Steele 138 While thee I seek, protecting Power 737 17 H. M. Williams 362 While with ceaseless course, the sun 1087 1049 J. Newton 351 Who, 0 Lord, when life is o'er 494 1151 Spirit ofthe Ps. 176 Why do we mourn departing friends 1198 1092 I. Watts 395 Why lament the Christian dying? 1205 Presho Hymns 209 95 Why should we start, and fear to die? 1186 1072 I. Watts 81 Why will ye waste on trifling cares 366 437 P. Doddridge 205 With joy we meditate the grace 182 298 I. Watts 344 Would you win a soul to God? 393 956 W.Hammond 36 Ye Christian heralds, go, proclaim 1037 882 Winchell's Sel. 332 Ye dying sons of men 324 SU24 J. Boden 418 Ye servants of God, your Master 127 326 Winchell's Sel. 100 Ye that pass by, behold the man 166 C. Wesley 249 Ye trembling captives, hear 340 430 Pratt's Col. 324 Ye tribes of Adam, join 118 67 I. Watts 129 Ye wretched, hungry. starving poor 332 420 A. Steele 333 Yes, the Redeemer rose 176 236 P. Doddridge 133 Yes, there are joys that cannot die 603 1160 P. Doddridge 237 Your harps, ye trembling saints 827 708 A. Toplady 7 Zion, awake; thy strength renew 1024 896 Pratt's Col. *BP Hymn number in The Baptist Psalmody .. PS Hymn number in The Psalmist or, where SU precedes the number, in the Supplement to that book. lit Author/Source attributions have been standardized in one of three ways: 1) First initial(s) with the author's last name 2) Last name alone when an initial could not be ascertained 3) Name of the hymn collection as it was designated in The Baptist Psalmody by Basil Manly Jr., including his abbreviations of denominational collections APPENDIX 6 BAPTIST CHORALS (1859) TUNE INDEX No. Tune Name Meter ComposerlSource 119 AITHLONE C.P.M. None Given 134 ALBA 7s. New Thes. Mus. 6 ALDIE L.M. None Given 87 ALVORD S.M. Dr. A. B. Everett 155 AMERICA 6,4. None Given 143 AMSTERDAM 7, 6. Trochaic Foundery Col. 65 ARLINGTON C.M. Dr. Arne 107 ATHOL S.M. R. Harrison 118 AUSTONIA C.P.M. None Given 40 AVON C.M. Scotch Tune 105 AYLESBURY S.M. Dr. Green 46 AZMON C.M. Glaser 55 BALERMA C.M. Scottish 67 BARCLAY C.M. New Thes. Mus. [A. B. E.] 59 BASIL C.M. R. M. McIntosh 125 BEALL H.M. None Given 19 BELLINI L.M. None Given 104 BERNE S.M. None Given 164 BILLOW 8, 7, 4. New Thes. Mus. [A. B. E.] 117 BRIGHTON L.M.P. English Tune 10 BRYAN L.M. New Thes. Mus. [A. B. E.] 157 CALVARY 7,6. Irregular None Given 51 CAMBRIDGE C.M. Dr. Randall 133 CAROLINA 7s. E. H. Sexton 75 CHALKLEY C.M. None Given 96 CHATHAM S.M. J. D. Hunt 56 CHRISTMAS C.M. Theme from Handel 151 COLLINS 8, 7. Irregular None Given 162 COME, YEDISCONSOLATE 11, 10. S. Webbe 52 CONSTANCE eM. None Given 82 CONTRITION C.M. Dr. A. B. Everett 210 211 60 CORONATION C.M. O. Holden 61 COWAN C.M. New Thes. Mus. [L. C. E.] 90 CRANBROOK S.M.D. T. Clark 121 DALSTON S.P.M. A. Williams 80 DEDHAM C.M. Gardner 62 DEVIZES C.M. J. Tucker 91 DOVER S.M. English Tune 11 DUKE STREET L.M. J. Hatton 43 DUNDEE C.M. Scotch Tune 108 DYER S.M. New Thes. Mus. [L. C. E.] 85 EDIE C.M. None Given 5 EFFINGHAM L.M. None Given 144 ELAM 8,7. None Given 35 ELM L.M. Dr. A. B. Everett 149 ENEE 8,7.D. None Given 92 ESTHER S.M. Dr. A. B. Everett 38 EUPHRATESIHALL L.M. Dr. A. B. Everett 22 FOREST L.M. Chapin 156 GARRISON 6, 4. Irregular None Given 71 GARY C.M. New Thes. Mus. [A. B. E.] 109 GAVIN S.M. Old Southern Melody 106 GEORGIA S.M. R. M. McIntosh 103 GERAR S.M. None Given 95 GERMANY S.M. Theme from Handel 124 GLUCK H.M. None Given 99 GOLDEN HILL S.M. Old Southern Melody 49 GORMAN C.M. New Thes. Mus. [L. C. E.] 116 GOVERNOR STREET L.M. 6 lines None Given 34 GRATITUDE L.M. Bost 147 GREENVILLE 8,7.0. J. J. Rousseau 115 GUION L.M.61ines None Given 2 HASTINGS L.M. None Given 128 HENDON 78. Rev. Dr. Malan 78 HENRY C.M. S.P.Pond 131 HORTON 78. Wartensee 48 HOWARD C.M. Mrs. Cuthbert 8 HERMANN L.M. None Given 122 HUNT S.M. R. M. McIntosh 25 IONIA L.M. Dr. A. B. Everett 94 JETER S.M. None Given 57 KEEN C.M. None Given 100 LANDRUM S.M. None Given 212 74 LANESBORO C.M. None Given 31 LATROBE L.M. New Thes. Mus. [L. C. E.] 135 LEBANON 78. None Given 123 LENOX H.M. None Given 14 LEWISTON L.M. New Thes. Mus. [L. C. E.] 86 LISBON S.M. D.Reed 120 LISTENIUS C.P.M. Alt. New Thes. [A. B. E.] 79 LOMAX C.M. New Thes. Mus. [L. C. E.] 161 LYONS 11s. None Given 27 MALAN L.M. From Rev. Dr. Malan 54 MANLY C.M. None Given 41 MARLOW C.M. None Given 140 MARTYN 7s.D. S. B. Marsh 68 MARTYRS C.M. Scotch Tune 16 MISSIONARY CHANT L.M. Dr. A. B. Everett 102 McCOY S.M. New Thes. Mus. [L. C. E.] 23 McGLASSON L.M. R. M. McIntosh 76 MEDFIELD C.M. W. Mather 84 MELOS C.M. Arr. Eolian Melody 39 MENDELSSOHN L.M. New Thes. Mus. 28 MENDON L.M. German Tune 142 MISSIONARY HYMN 7,6. Iambic R. M. McIntosh 112 MOUNT TABOR S.M. None Given 15 NAZARETH L.M. Webbe 64 NEEDHAM C.M. None Given 72 NORTHFIELD C.M. J. Ingalls 160 0, PRAISE YE THE LORD 10, 11. None Given 1 OLD HUNDRED L.M. William Franc 152 OLIPHANT 8, 7, 4. None Given 30 ORLAND L.M Dr. Arnold 50 ORTONVILLE C.M. T. Hastings 137 OXFORD 7s. 6 lines R. M. McIntosh 20 PARK STREET L.M. Venua 126 PEACEFUL HOME C.H.M. Dr. A. B. Everett 146 PECK 8, 7. None Given 63 PETERBOROUGH C.M. None Given 13 PILESGROVE L.M. N. Mitchell 129 PLEYEL'S HYMN 7s. Pleyel 32 PORTUGAL L.M. T. Thorley 132 PUMROY 75. None Given 158 REALMS OF THE BLEST 85. Rev. B. Manly, Jr. 141 REMISSION 7,6. Iambic Rev. B. Manly, Jr. 213 18 RETREAT L.M. T. Hastings 113 RICHMOND S.M.D. Dr. A. B. Everett 98 RIGDON S.M. None Given 154 ROANE 8, 7,4. None Given 136 "Rock of Ages" [sic] 7s.61ines T. Hastings 127 ROSE 7s. None Given 89 ROSE HILL S.M. None Given 138 ROSEFIELD 7s.6lines Rev. Dr. Malan 148 ROSSELLI 8,7.D. Alt. New Thes. [A. B. E.] 26 ROTHWELL L.M. None Given 130 RYLAND 7s. None Given 44 SANDERS CM. New Thes. Mus. [L. C. E.] 29 SASNETT L.M. R. M. McIntosh 163 SCOTLAND Irregular Dr. J. Clarke 42 SEXTON C.M. Theme from Handel 97 SHIRLAND S.M. Stanley 145 SICILY 8, 7. None Given 45 SILOAM C.M. 1. B. Woodbury 93 SILVER STREET S.M. 1. Smith 37 SIMPSON L.M. New Thes. Mus. [A. B. E.] 139 SPRING DELL 78. 6 lines None Given 111 SPRING GARDEN S.M. W. Caspari 150 ST. AMBROSE 8,7.D. New Thes. Mus. [B. H. E.] 101 ST. THOMAS S.M. A. Williams 66 STEPHENS C.M. Jones 24 STERLING L.M. None Given 12 STETTINIUS L.M. New Thes. Mus. [L. C. E.] 7 STONEFIELD L.M. Stanley 114 SWANANOA S.M. None Given 159 THE HEAVENLY HOME 8,6. None Given 3 TRURO L.M. Dr. Burney 36 UPTON L.M. None Given 110 VENUAIMcCRACKIN S.M. Alt. New Thes. Mus. 73 VERDI C.M. None Given 69 VERN C.M. None Given 33 VESPER HYMN L.M. New Thes. Mus. [A. B. E.] 47 WADSWORTH C.M. None Given 83 WAINWRIGHT C.M.D. None Given 70 WARWICK C.M. Stanley 88 WATCHMAN S.M. Leach 21 WATTS L.M. E. Henry Sexton 9 WELLS L.M. Holdrayd 214 77 WIGHTMAN C.M. N. E. Everett 17 WINDHAM L.M. Read 53 WOODLAND C.M. Gould 58 WOODSTOCK C.M. D. Dutton, Jr. 81 YANTLEY C.M. Alt New Thes. [A. B. E.] 153 ZION 8, 7, 4. T. Hastings 4 ZURICH L.M. Dr. A. B. Everett APPENDIX 7 PREFACE TO THE CHOICE (1892) PREFACE l For some years it has been apparent that the rage for novelties in singing, especially is our Sunday-schools, has been driving out of use the old, precious, standard hymns. They are not memorized as of old. They are scarcely sung at all. They are not even contained in the undenominational [sic] song-books which in many churches have usurped the place of our old hymn books. We cannot afford to lose these old hymns. They are full of the Gospel; they breathe the deepest emotions of pious hearts in the noblest strains of poetry; they have been tested and approved by successive generations of those that loved the Lord; they are the surviving fittest ones from thousands of inferior productions; they are hallowed by abundant usefulness and tenderest memories. But the young people of today are unfamiliar with them, and will seldom hear many of them, if the present tendency goes unchecked. It has been the desire of many that a cheap and handy volume should be prepared containing the hymns which by common consent are approved and indispensable, and presenting a sufficient variety to meet ordinary necessities in public worship and in private devotion, as at baptism, the Lord's Supper, funerals, family worship, revivals, and the like. Having compiled heretofore two hymn books, "The Baptist Psalmody," and "Baptist Chorals," and having had some share as an adviser in two others of our most popular books, my attention has been directed specially [sic 1to the subject of hymnology all my ministerial life. I think I know what our people need, and what they desire. To meet that need and that desire the present work is offered. It is cheap, and of convenient size for the pocket; it contains no trash, and no unreal sentiment or unsound doctrine; and while of course in so small a collection many good hymns and some general favorites must be omitted, not one is inserted which is not judged worthy of a special place among the choice hymns of the language.2 In arranging the music, I have endeavored to select the best of all the old, solid, standard tunes, which have been proved by experience, and often consecrated 'Basil Manly Jr., Preface to The Choice: A New Selection ofApproved Hymns for Baptist Churches with Music (Louisville: Baptist Book Concern, 1892), iii. 1b.e preceding material also appeared in Manly's Choice (1892). That which follows was added to the Preface for The Choice (1892). 215 216 by tenderest associations. Many of them, though old and classic, will have all the attraction of novelty to the present generation. Some modem tunes which are familiar and excellent would gladly have been used; but they are held under the laws of copyright, and could not be procured except at heavy expense, if at all. And this would have conflicted with the design of publishing a cheap book, within the reach of all. In a few cases, to meet an apparent necessity, the editor has inserted music of his own composition, for which he asks a lenient judgment. Many churches have needlessly contented themselves with a very small number of tunes. With a very little effort, the whole congregation could be induced to learn every tune in this book, and have an ample variety for all occasions. Frequently a favorite tune is customarily wedded to several different hymns. There may be disappointment at finding it set here to only one of them. and some less familiar tune put with the others. It was thought best to do this, however, rather, that to reprint the same tune several times. I wished to give as many really good tunes as the space would hold. No tune has been inserted which is not thought well worth learning. Acknowledgments are due to several friends, especially W. H. Doane, of Cincinnati, Mus. Doct., who has contributed, I think, more than anyone of our time and country to ennoble and enrich our sacred music. His advice and assistance have not only been cordially and gratuitously rendered, but have been most highly valued. Two great ends have been kept steadily in view. One is to promote universal congregational singing: "Let all the people praise God." The other is to do something towards the elevation and general culture of musical and poetic taste among the Baptist people whom I love. and to whom the best labors of my life have been given. May God bless this effort, and build up our churches in pure doctrine, and fervent piety, for Jesus' sake. Amen. Louisville, KY., January. 1892 BASIL MANLY APPENDIX 8 THE CHOICE (1892) FIRST LINE INDEX Hy. First Line of Hymn Text Author/Source· BP Be 226 Abide with me, fast falls the eventide H.F. Lyte 181 According to thy gracious word J. Montgomery 925 225 166 A debtor to mercy alone A. Toplady 834 4 Again our earthly cares we leave J. Newton 94 125 21 Alas, and did my Saviour bleed I. Watts 434 115 All hail the power of Jesus' name E. Perronet 239 165 85 Amazing grace! how sweet the sound J. Newton 574 198 141 Am I a soldier of the cross I. Watts 641 52 And can I yet delay C. Wesley 517 263 130 And let this feeble body fail C. Wesley 1287 229 238 And must this body die I. Watts 1229 284 81 Arise, my soul, arise C. Wesley 477 331 230 Asleep in Jesus, blessed sleep M.Mackay 1215 88 215 Awake, my soul~ and with the sun T.Ken 1123 132 Awake, my soul, in joyful lays S. Medley 484 11 142 Awake, my soul, stretch every nerve P. Doddridge 644 155 1 Before Jehovah's awful throne I. Watts 107 1 50 Behold a stranger at the door J.Grigg 343 19 Behold the sin-atoning Lamb J. Fawcett 398 41 211 Behold the throne of grace J. Newton 678 252 123 Blest be the tie that binds 1. Fawcett 1148 297 60 Blow ye the trumpet, blow C. Wesley 325 328 38 Bright was the guiding star that led H.Auber 299 133 Chlldren of the heavenly King J. Cennick 627 26 Christ, the Lord, is risen today C. Wesley 173 30 Come, every pious heart S. Stennett 171 210 Come, gracious Lord, descend I. Watts 172 Come, happy souls, adore the Lamb T. Baldwin 889 34 Come, Holy Spirit, come J. Hart 263 256 174 Come, Holy Spirit, Dove divine A.Judson 906 49 31 Come, Holy Spirit, heavenly Dove 1. Watts 249 207 217 218 54 Come, humble sinner, in whose breast E. Jones 341 201 188 Come in, thou blessed of the Lord 1. Montgomery 915 178 229 Come, let us anew C. Wesley 1081 114 Come, let us join our cheerful songs I. Watts 244 141 187 Come, let us join our friends above C. Wesley 984 184 205 Come, Lord, in mercy come again None Given 212 Come, my soul, thy suit prepare 1. Newton 461 376 15 Come, Thou Almighty King C. Wesley 130 405 90 Come, Thou Fount of every blessing R. Robinson 578 578 131 Come, we that love the Lord I. Watts 623 248 57 Come, ye sinners, poor and wretched J. Hart 323 403 95 Dear Saviour, we are Thine P. Doddridge 529 265 58 Delay not, delay not; 0 sinner T. Hastings 356 42 Depth of mercy! can there be C. Wesley 423 346 71 Did Christ o'er sinners weep B. Beddome 435 281 109 Do not I love Thee, 0 my Lord? P. Doddridge 490 254 Far from these narrow scenes of night A. Steele 1286 80 Father, I stretch my hands to Thee C. Wesley 467 224 147 Father, whate'er of earthly bliss A. Steele 749 139 165 Firm as the earth thy gospel stands I. Watts 831 195 213 For a season called to part J. Newton 1147 128 Forever with the Lord J. Montgomery 1292 3 From all that dwell below the skies I. Watts 1016 5 126 From every stormy wind that blows H. Stowell 679 46 200 From Greenland's icy mountains R. Heber 1019 379 105 Gently, Lord, 0 gently lead us None Given 783 185 Give me the wings of faith to rise I. Watts 645 156 192 Glorious things of thee are spoken J.Newton 969 220 Glory to Thee, my God, this night T.Ken 1141 94 72 God calling yet; shall I not heat G. Tersteegen 97 God is the refuge of his saints I. Watts 972 101 God moves in a mysterious way W.Cowper 50 110 218 God of my life, my moming song A. Steele 1127 168 84 Grace, 'tis a charming sound P. Doddridge 80 246 36 Gracious Spirit, love divine J. Stocker 261 348 10 Great God, how infinite art Thou! I. Watts 1 198 Great God, the nations of the earth T.Gibbons 1005 106 Guide me, 0 Thou great Jehovah W. Williams 537 186 Happy the souls to Jesus joined C. Wesley 985 179 112 Hark, my soul, it is the Lord W.Cowper 491 349 122 Hark, ten thousand harps and voices T. Kelly 248 398 113 Hark, the glad sound, the Saviour P. Doddridge 145 219 16 Hark, the herald angels sing C. Wesley 141 17 Hark., what mean those holy voices J. Cawood 142 382 56 Haste, 0 sinner, now be wise T. Scott 361 340 24 He dies, the Friend of sinners dies I. Watts 168 178 Here at thy table, Lord, we meet S. Stennett 936 175 Here, 0 ye faithful, see C. H. Spurgeon 41 Holy Bible, book divine J. Burton 37 Holy Ghost, with light divine A.Reed 272 354 7 Holy, holy, holy Lord B. Williams 191 How beauteous are their feet I. Watts 943 271 184 How did my heart rejoice to hear I. Watts 857 180 103 How firm a foundation, ye saints G. Keith 828 419 44 How helpless guilty nature lies A. Steele 255 40 How precious is the book divine J. Fawcett 298 43 How sad our state by nature is! I. Watts 314 153 180 How sweet and awful is the place I. Watts 937 124 How sweet, how heavenly, is the sight J. Swain 591 131 118 How sweet the name of Jesus sounds J. Newton 583 209 152 How tedious and tasteless the hours J. Newton 716 414 22 I gave my life for thee F. Havergal 79 I heard the voice of Jesus say H.Bonar 190 I love Thy Kingdom, Lord T.Dwight 982 273 110 I love to steal awhile away P. H. Brown 691 123 249 I'm but a stranger here T. R. Taylor 92 I'm not ashamed to own my Lord I. Watts 832 164 235 I would not live always W. A. MUhlenberg'" 1280 179 If human kindness meets return G. T. Noel 930 177 158 If on a quiet sea A. Toplady 738 269 176 In all my Lord's appointed ways J. Ryland 649 75 In evil long I took delight 1. Newton 475 65 In the cross of Christ I glory Sir J. Bowring 244 Jerusalem, my happy home Latin Hymn 1285 228 248 Jerusalem, the golden trans.J.M.Neale 98 Jesus, and shall it ever be Grigg & Francis 523 53 117 Jesus, I love Thy charming name P. Doddridge 587 189 89 Jesus, I my cross have taken H. F. Lyte 516 392 82 Jesus, lover of my soul C. Wesley 543 359 69 Jesus, my all, to heaven has gone 1. Cennick 476 196 Jesus shall reign where'er the sun 1. Watts 1004 6 86 Jesus, Thou art the sinner's friend R.Bumham 442 146 68 Jesus, Thy robe of righteousness 1. Wesley 120 Join all the glorious names I. Watts 206 329 220 18 Joy to the world, the Lord is come I. Watts 146 126 78 Just as I am, without one plea C. Elliott 472 57 12 Keep silence, all created things I. Watts 49 189 Kindred in Christ, for his dear sake J. Newton 916 28 252 Let me be with Thee where Thou art None Given 239 Lo! he comes, with clouds descending Wesley/Cennick 1252 27 Look, ye saints, the sight is glorious T. Kelly 238 214 Lord, dismiss us with Thy blessing W. Shirley 1157 61 Lord, I approach the mercy seat J. Newton 207 Lord, I hear showers of blessing E. Codner 177 Lord, in humble, sweet submission R. T. Daniel 909 157 Lord, it belongs not to my care R. Baxter 125 Lord, lead the way the Saviour went W. Croswell 163 Lord, my times are in thy hand None Given 740 358 9 Lord, thou hast searched and seen me I. Watts 7 3 209 Lord, we come before Thee now W.Hammond 96 337 35 Love divine, aU loves excelling C. Wesley 664 393 116 Majestic sweetness sits enthroned S. Stennett 215 106 88 Must Jesus bear the cross alone G. N. Allen 145 My dear Redeemer and my Lord I. Watts 675 52 104 My faith looks up to Thee R. Palmer 541 406 216 My God, how endless is thy love! I. Watts 1122 76 162 My God, my Father, while I stray C. Elliott 747 135 My God, the spring of all my joys I. Watts 624 157 93 My gracious Lord, I own thy right P. Doddridge 519 27 70 My hope is built on nothing less E.Mote 160 My Jesus, as thou wilt trans. Bostwick 140 My soul, be on thy guard G.Heath 638 295 13 My soul, repeat His praise I. Watts 70 239 150 Nearer, my God, to Thee S.F.Adams 67 No more, my God I boast no more I. Watts 468 23 76 Not all the blood of beasts I. Watts 394 257 33 Not all the outward forms on earth I. Watts 260 219 Now the shades of night are gone None Given 1131 355 77 o cease, my wandering soul W. A. Mtihlenburg* 349 243 121 o could we speak the matchless S. Medley 218 312 149 o for a closer walk with God! W.Cowper 730 134 148 o for a heart to praise my God C. Wesley 119 o for a thousand tongues to sing C. Wesley 225 140 232 o for the death of those J. Montgomery 1211 241 o God, my inmost soul convert C. Wesley 11 o God, our help in ages past I. Watts 2 148 221 94 o happy day that fixed my choice P. Doddridge 530 137 o how happy are they C. Wesley 107 o Lord, how happy should we be J. Anstice 250 o sing to me of heaven None Given 1295 272 182 o thou, my soul, forget no more Krishna Pal 931 29 208 o Thou that hearest prayer J. Burton 881 330 66 o Thou that hear'st the prayer of faith A. Toplady 455 310 47 o Thou that hear'st when sinners cry 1. Watts 452 43 51 o where shall rest be found J.Montgomery 371 202 O'er the gloomy hills of darkness W. Wllliams 1022 246 On Jordan's stormy banks I stand S.Stennett 1276 174 217 Once more~ my soul, the rising day L Watts 1126 167 46 Once more we meet to pray None Given 724 268 127 One sweetly solemn thought P. Carey 23 One there is above all others J. Newton 25 Our Lord is risen from the dead C. Wesley 179 173 Our Saviour bowed beneath the wave A. Judson 892 15 159 Our times are in thy hand W.F.Lloyd 193 People of the living God J. Montgomery 913 363 45 Plunged in a gulf of dark despair L Watts 235 231 2 Praise God from whom aU blessings T.Ken DOX 5 Praise the Lord, ye heavens adore J. Kempthome 122 388 73 Prayer is the soul's sincere desire J. Montgomery 684 122 62 Prostrate, dear Jesus, at thy feet S. Stennett 441 74 Repent! the voice celestial cries P. Doddridge 385 111 48 Re~ my wandering soul, return W. B. Collyer 203 Revive thy wor~ 0 Lord A. Midlane 64 Rock of Ages, cleft for me A. Toplady 208 367 171 Safely through another week J. Newton 854 373 136 Salvation, 0 the joyful sound I. Watts 320 128 225 Saviour, breathe an evening blessing J. Edmeston 1143 206 Saviour, visit thy plantation J. Newton 812 83 Show pity, Lord, 0 Lord, forgive I. Watts 443 20 154 Since all the varying scenes of time J. Hervey 56 149 55 Sinners, turn, why will ye die? C. Wesley 374 342 224 Softly now the light of day W.H.Doane 1142 356 139 Soldiers of Christ, arise C. Wesley 642 296 146 So let our lips and lives express I. Watts 17 197 Soon may the last glad song arise Mrs. Voke 1014 51 32 Spirit Divine, attend our prayer A. Reed 963 151 Spirit of holiness, descend S. F. Smith 138 Stand up, my soul, shake off thy fears I. Watts 639 14 222 143 Stand up, stand up for Jesus G. Duffield 221 Sun of my soul, Thou Saviour dear J. Keble 168 Sweet is the work. my God, my King 1. Watts 865 18 233 Teach me the measure of my days 1. Watts 1163 242 That awful day will surely come 1. Watts 1240 240 That day of wrath, that dreadful day SirW. Scott 98 223 The day is past and gone J. Leland 1139 29 The happy mom is come T. Haweis 177 28 The Lord is risen indeed T. Kelly 175 8 The Lord Jehovah reigns. His throne 1. Watts 41 314 96 The Lord my pasture shall prepare J. Addison 58 301 102 The Lord my Shepherd is 1. Watts 55 238 201 The morning light is breaking S. F. Smith 14 The pity of the Lord 1. Watts 73 53 The Spirit in our hearts H. U. Onderdonk 346 236 The time draws nigh when from ReliefHymns 1231 59 The voice of free grace cries R. Burdsall 350 63 There is a fountain filled with blood W.Cowper 409 143 247 There is a land mine eye hath seen G. Robins 1264 78 245 There is a land of pure delight 1. Watts 1279 216 129 There is an hour of peaceful rest W. B. Tappan 1261 415 167 Thine earthly Sabbaths. Lord P. Doddridge 1260 77 100 Through all the changing scenes Tate & Brady 557 187 237 Thro' sorrow's night, and danger's H.K. White 1235 222 Thus far the Lord hath led me on I. Watts 1135 89 161 Thy way, not mine, 0 Lord H.Bonar 227 Time is winging us away J. Burton 134 Tis religion that can give M. Masters 817 347 6 To thy temple we repair J. Montgomery 92 336 183 Twas on that dark, that doleful night 1. Watts 921 199 Watchmen, tell us of the night Sir J. Bowring 991 366 170 Welcome, delightful mom Hayward 848 323 169 Welcome, sweet day of rest 1. Watts 839 236 253 We speak of the realms of the blest E. Mills 1293 413 39 What glory gilds the sacred page W.Cowper 297 142 111 What shall I render to my God I. Watts 527 87 What sinners value I resign I. Watts 1274 80 108 When all thy mercies, 0 my God J. Addison 564 190 99 When I can read my title clear I. Watts 1275 173 20 When I survey the wondrous cross 1. Watts 933 33 156 When languor and disease invade A. Toplady 791 194 When shall we meet again A. A. Watts 1158 223 91 When this passing world is done R.McCheyne 243 When Thou, my righteous Judge Cnts. Huntingdon 1241 313 155 While Thee I seek, protecting power H. M. Williams 737 138 228 While with ceaseless course the sun J. Newton 1087 362 251 Who are these in bright array J. Montgomery 1270 204 Who can forbear to sing J. Swain 888 144 Work, for the night is coming S. Dyer 234 Why do we mourn departing friends 1. Watts 1198 176 153 Why should the children of a King 1. Watts 282 231 Why should we start, and fear to die I. Watts 1186 95 49 Why will ye waste on trifling cares P. Doddridge 366 81 195 Ye Christians heralds, go, proclaim B. H. Draper 1037 36 164 Your harps, ye trembling saints A. Toplady 827 237 Be Hymn number in Baptist Chorals BP Hymn number in The Baptist Psalmody III Author/Source attributions have been standardized in one of three ways: 1) First initial(s) with the author's last name 2) Last name alone when an initial could not be ascertained 3) Name of the hymn collection as it was designated in The Baptist Psalmody by Basil Manly Jr., including his abbreviations of denominational collections >I< Standard spelling is MUhlenberg; Manly Jr. used both Muhlenberg without an umlaut and Muehlenberg APPENDIX 9 THE CHOICE (1892) TUNE INDEX No. Tune Name Meter Composer/Source 9 ALFRETON L.M. BeastaU 26 AMADEUS 7s. Afr. from Mozart 189 AMES L.M. S. Neukomm 227 AMSTERDAM 7,6. J. Nares 18 ANTIOCH (Handel) C.M. Afr. 1. Mason 210 ANVERN L.M. Afr. 1. Mason 80 ARCADIA C.M. T. Hastings 121 ARIEL C.P.M. 1. Mason 4 ARLINGTON C.M. Dr.Arne 147 ARMENIA C.M. S.B.Pond 79 ATHENS C.M.D. F. Giardini 5 AUSTRIAN HYMN 8,7.D. F. J. Haydn 225 AUTUMN 8,7.D. Spanish Air 21 AVON C.M. H. Wilson 13 AYLESBURY S.M. J. Chetham 14 AYLESBURY S.M. J. Chetham 54 AZMON C.M. C. G. Glaser 188 BAILEY C.M. Afr. W. H. Doane 77 BALDWIN S.M. W. B. Bradbury 31 BALERMA C.M. R. Simpson 32 BALERMA C.M. R. Simpson 10 BARBY C.M. W. Tansur 17 BAVARIA 8,7.D. German Melody 76 BELMONT S.M. S. Webbe 33 BELMONT C.M. S. Webbe 228 BENEVENTO 7s.D. S. Webbe 183 BERA 1.M. J. E. Gould 150 BETHEL 6,4. Afr. from Boieldieu 247 BETTER LAND 1.M.D. Afr. from Knecht 251 BEULAH 7s.D. E.Ives 68 BLENDON 1.M. F. Giardini 224 225 172 BOWEN L.M. F. J. Haydn 51 BOYLSTON S.M. L. Mason 175 BRADEN S.M. W. B. Bradbury 101 BRADFORD C.M. G. F. Handel 100 BRADFORD C.M. G. F. Handel 155 BRATTLE STREET C.M.D. I. Pleyel 107 BREMEN C.P.M. T. Hastings 239 BREST 8, 7, 4. L. Mason 7 BROADUS 7s. S. B. Ball 99 BROWN C.M. W. B. Bradbury 70 BROWNELL L.M.6lines F.J. Hadyn 186 BYEFIELD C.M. T. Hastings 111 CAMBRIDGE C.M. J. Randall 177 CHARLESTON 8,7. Old Melody Mr. 148 CHESTER C.M. T. Hastings 234 CHINA C.M. T. Swan 142 CHRISTMAS C.M. G. F. Handel 118 CLARENDON C.M. 1. Tucker 185 COLCHESTER C.M. H. Purcell 193 COOKHAM 7s. Arr. W. H. Doane 115 CORONATION C.M. O. Holden 117 COWPER C.M. L. Mason 84 CRANBROOK S.M. T. Clark 248 CRUCIFIX 7,6. Greek Melody 209 DALLAS 7s. M. L. Cherubini 67 DARLEY L.M. W. H.Darley 120 DARWALL H.M. J. Darwall 152 DE FLEURY 8s.D. De Fleury 205 DEDHAM C.M. W. Gardiner 123 DENNIS S.M. H.G.NageH 217 DEVIZES C.M. Tucker 222 DONCASTER L.M. E.Miller 161 DOVER S.M. A. Williams Col. 86 DOWNS C.M. L. Mason 69 DUANE STREET L.M. G. Coles 72 DUKE STREET L.M. J. Hatton 12 DUNDEE C.M. J. Hart's Psalter 73 ELIZABETHTOWN C.M. G. Kingsley 89 ELLESDIE 8,7. Arr. from Mozart 216 ETHELBERG L.M. Arr. from Beethoven 61 EVAN C.M. W. H. F. Havergal 207 EVEN ME 8, 7, 3. F. A. Atkins 226 52 EVENING S.M. A. Chapin 226 EVENTIDE lOs. W. H. Monk 248 EWING 7,6. A.Ewing 58 EXPOSTULATION 11s. J. Hopldns 87 FEDERAL STREET L.M. H. K. Oliver 166 FELIX 8s. F. A. Atkins 191 FERGUSON S.M. G. Kingsley 214 FINNEY 8, 7, 4. W. B. Bradbury 103 FOUNDATION l1s. Old Melody 63 FOUNTAIN C.M. Arr. L. Mason 235 FREDERICK lIs. G. Kingsley 212 FULTON 7s. W. B. Bradbury 119 GEER C.M. H. W. Greatorex 108 GENEVA C.M. J. Cole 125 GENTLENESS C.M. O. Shaw 253 GEORGETOWN 8s. B. Manly 131 GERAR S.M. L. Mason 167 GERMANY L.M. L. Beethoven 3 GILEAD L.M. E.H.Mehul 190 GLORY S.M. R. Harrison 76 GOLDEN HILL S.M. Arr. L. Mason 95 GORTON S.M. L. Beethoven 58 GOSHEN l1s. Greek Melody 85 GRACE C.M. Arr. W. H. Doane 168 GRATITUDE L.M. T. Hastings 206 GREENVILLE 8, 7, 4. J. J. Rouseau 139 GREENWOOD S.M. J. E. Sweetzer 130 GRIGG C.M. J. Grigg 35 GUIDANCE 8,7.D. Arr. from Flowtow 8 HADDAM H.M. L. Mason 93 HAMBURG L.M. Gregorian Chant 137 HAPPINESS 6,9. Western Melody 94 HAPPY DAY L.M. E. F. Rimbault 249 HARRIS 6,4. B. Manly 122 HARWELL 8,7. L. Mason 28 HAYDN S.M. F. J. Haydn 181 HEATH C.M. L. Mason 218 HEBER C.M. G. Kingsley 145 HEBRON L.M. L. Mason 27 HELMSLEY 8, 7,4. H.Madan 6 HENDON 7s. C. H. Malan 236 HENRY C.M. S. B. Pond 221 16 HERALD ANGELS 1s.D. F. Mendelssohn 181 HERMANN C.M. N. Hermann 184 HERMON C.M. L.Mason 219 HOLLEY 1s. G.Hews 235 HOME l1s. None Given 36 HORTON 1s. Von Wartensee 165 HOWARD C.M. S. Howard 114 HUMMEL C.M. H. C. Zeuner 221 BURSLEY L.M. P. Ritter 124 IDDO C.M. H. G. Nageli 91 INDIANA 1s.61ines Donizetti 112 INTERROGATION 7s. Arr. W. H. Doane 51 INVITATION 8, 1, 4. 1. Ingalls 15 ITALIAN HYMN 6,4. Giardini 62 JERUSALEM C.M. F. Burgmuller 160 JEWETT 6s. D. C. M. von Weber 246 JORDAN C.MD. W. Billings 250 JOY S.M. B. Manly 240 JUDGMENT HYMN L.M. M. Luther 11 KENTIJCKY S.M. None Given 241 KINGWOOD C.P.M. Arr. from Humphreys 31 KOZELUCH 1s. Kozeluch 140 LABAN S.M. L.Mason 149 LAIGHT STREET C.M. T. Hastings 129 LANESBORO 8,6. W.Dixon 238 LEBANON S.M.D. 1. Zundel 203 LEIGHTON S.M. H. W. Greatorex 204 LEIGHTON S.M. H. W. Greatorex 60 LENOX H.M. L. Edson 164 LISBON S.M. D.Read 170 LISCHER H.M. F. Schneider 11 LITCHFIELD C.M. L. Mason 252 LOUVAN L.M. V. C. Taylor 132 LOVING-KINDNESS L.M. None Given 169 LUTHER S.M. T. Hastings 254 LYDIA C.M. None Given 88 MAITLAND C.M. A.Chapin 38 MANOAH C.M. F. J. Haydn 39 MARLOW C.M. L. Mason 82 MARTYN 1s.D. S. B. Marsh 43 MEAR C.M. A. Williams 176 MEDFIELD C.M. W.Mather 228 44 MELODY C.M. A Chapin 174 MENDON L.M. Arr. L. Mason 42 MERCY 7s. Arr. from Gottschalk: 66 MERIBAH C.P.M. L.Mason 45 MERTON C.M. H. K. Oliver 133 MESSIAH (HEROLD) 7s.D. Arr. Kingsley 138 MIGDOL L.M. L. Mason 115 MILES LANE C.M. W. Shrubsole 41 MILGROVE 7s. Milegrove 195 MISSIONARY CHANT L.M. H. C. Zeuner 200 MISSIONARY HYMN 7,6.D. L. Mason 233 MONSON C.M. Brown 92 MORAVIAN HYMN C.M.D. German 23 MT.VERNON 8, 7. L. Mason 178 NAOMI (NAGEL!) C.M. Arr. L. Mason 127 NEARER MY HOME 6s Irregular J. M. Evans 90 NETTLETON 8, 7. A. Nettleton 229 NEW YEAR'S HYMN 5, 12. S. Webbe 135 NORTHFIELD C.M. J. Ingalls 180 OAKSVILLE C.M. H. C. Zeuner 179 OAKSVILLE C.M. H. C. Zeuner 2 OLD HUNDRED L.M. L. Bourgeois 1 OLD HUNDRED L.M. Louis Bourgeois 106 OLIPHANT(BAILLOT) 8, 7~ 4. Arr. L. Mason 104 OLNET 6,4. L. Mason 159 OLMUTZ (Gregorian) S.M. Arr. L. Mason 53 OLNEY S.M. L. Mason 116 ORTONVILLE C.M. T. Hastings 197 PARK STREET L.M. F. M. Venua 109 PETERBOROUGH C.M. R Harrison 151 PHILLIPS C.M. 1. B. Woodbury 86 PISGAH C.M. Arr. W. H. Doane 83 PITY L.M. Arr. W. H. Doane 56 PLEYEL'S HYlVlN 78. I. Pleyel 55 PLEYEL'S HYMN 7s. I. Pleyel 173 PORTUGAL L.M. Thorley 103 PORTUGUESE HYMN 118. M. A. Portogallo 232 PURVES S.M. G. Kingsley 230 REST L.M. W. B. Bradbury 126 RETREAT L.M. T. Hastings 113 ROCHESTER C.M. English 19 ROCKINGHAM L.M. L. Mason 229 20 ROCKINGHAM L.M. L. Mason 234 ROMBERG C.M. T. Hastings 24 ROTHWELL L.M. W. Tansur 215 RUSSIAN HYMN L.M. A. T. Lwoff 171 SABBAm 78. 6 lines L. Mason 136 SALVATION (COLTON) C.M. Arr. H. A. Cottell 59 SCOTLAND 12s. T. Clark 97 SEASONS L.M. I. J. Pleyel 78 SESSIONS L.M. L. O. Emerson 163 SEYMOUR 7s. Arr. from Weber 46 SHAWMUT S.M. Arr. L. Mason 192 SICILIAN HYMN 8,7. Italian 143 SILCHER 7,6. Arr. from SUcher 153 SILOAM C.M. 1. B. Woodbury 211 SILVER STREET S.M. I. Smith 231 SOUmSTREET L.M. Arr. from Beethoven 224 SPANISH HYMN 7s.D. None Given 154 ST. ANNS (ANNE) C.M. W. Croft 156 ST. MARTINS C.M. W. Tansur 96 ST. PETERSBURGH L.M.6lines Bortniansky 34 ST. THOMAS S.M. A. Williams 102 STATE STREET S.M. 1. C. Woodman 75 STEPHENS C.M. W. Jones 89 STOCKWELL 8,7. D. E. Jones 25 STONEFIELD L.M. S.Stanley 162 SUBMISSION 8,6. B. Manly 81 SumERLAND H.M. W. B. Bradbury 74 SWANWICK C.M. J. Lucas 220 TALLIS' EVENING HYMN L.M. T. Tallis 141 TAPPAN C.M. G. Kingsley 213 TELEMANN'S CHANT 7s. H.C.Zeuner 158 THATCHER S.M. G. F. Handel 64 TOPLADY 7s.61ines T. Hastings 194 UNITY 6,5. L. Mason 98 UXBRIDGE L.M. L. Mason 198 VARINA C.M.D. 1. C. Rink 105 VESPER 8, 7, 4. Bortniansky 237 VIGILS C.M. S. Webbe 48 WARD L.M. L.Mason 49 WARD L.M. L.Mason 146 WARE L.M. G. Kingsley 245 WARWICK C.M. S.Stanley 230 199 WATCHMAN 7s.D. L. Mason 201 WEBB 7.6. G.J. Webb 223 WEBSTER S.M. Old Melody 182 WELTON L.M. An. C. H. Malan 134 WESLEY 7s.D. Mendelssohn Col. 243 WILLOUGHBY C.P.M. Crane 65 WILMOT 8,7. C. M. von Weber 196 WIMBORNE L.M. Greatorex Col. 47 WlNDHAM L.M. Daniel Read 242 WlNDSOR C.M. F.Kirbye 128 WOODBURY S.M.D. I. B. Woodbury 110 WOODLAND C.M. N.D.Gould 40 WOODSTOCK CM. Dutton 144 WORK 7,6, 5. B. Manly 157 YORK C.M. Scotch Psalter 208 ZEBULON H.M. L. Mason 30 ZELLA H.M. English 29 ZELLA H.M. English 50 ZEPHYR L.M. W. B. Bradbury 244 ZERAH C.M. L. Mason 22 ZINZENDORF 6s. B. Manly 202 ZION 8, 7, 4. T. Hastings APPENDIX 10 REPERTORY OF THE CHOICE (1892) RETAINED IN 20th CENTIJRY SOUTHERN BAPTIST HYMNALS Hymn Texts Fint Line of Text Author Baptist Hymnal Abide with me, fast falls the eventide H. F. Lyte 91,75,56,40 Alas. and did my Saviour bleed 1. Watts 91,75,56,40 All bail the power of Jesus' name E. Perronet 91,75,56,40 Amazing grace! how sweet the sound J.Newton 91,75,56,40 Am I a soldier of the cross 1. Watts 91,75,56,40 Asleep in Jesus, blessed sleep M.Mackay 40 Awake, my soul, in joyful lays S. Medley 56 Awake, my soul, stretch every nerve P. Doddridge 56,40 Blest be the tie that binds J. Fawcett 91, 75, 56,40 Blow ye the trumpet, blow C. Wesley 56 Christ, the Lord, is risen today C. Wesley 91,75,56,40 Come, Holy Spirit, Dove divine A. Judson 91, 75, 56 Come, Holy Spirit, heavenly Dove 1. Watts 75,56,40 Come, humble sinner, in whose breast E. Jones 40 Come, let us join our cheerful songs I. Watts 75 Come, Thou Almighty King C. Wesley 91,75,56,40 Come, Thou Fount of every blessing RRobinson 91,75,56,40 Come, we that love the Lord 1. Watts 91, 75, 56,40 Come, ye sinners, poor and wretched 1 Hart 91, 75, 56, 40 Depth of mercy! can there be C. Wesley 56,40 Father, I stretch my hands to Thee C. Wesley 56,40 Forever with the Lord J. Montgomery 91 From all that dwell below the skies 1. Watts 91 From every stormy wind that glows H. Stowell 56,40 From Greenland's icy mountains R. Heber 56,40 Give me the wings of faith to rise I. Watts 75 Glorious things of thee are spoken 1. Newton 91,56 God calling yet; shall I not hear G. Tersteegen 56 God moves in a mysterious way W.Cowper 91,75,56 Guide me, 0 Thou great Jehovah W. Williams 91,75,56,40 Hark, ten thousand harps and voices T.Kelly 56,40 Hark, the herald angels sing C. Wesley 91,75,56,40 231 232 Holy Bible, book divine A. Reed 91,75,56,40 Holy Ghost, with light divine J. Burton 56,40 How firm a foundation, ye saints G. Keith 91,75,56,40 How sweet the name of Jesus sounds J.Newton 91,56,40 How tedious and tasteless the hours J. Newton 56,40 I gave my life for thee F. R. Havergal 91,75,56,40 I heard the voice of Jesus say H.Bonar 91,56,40 I love Thy Kingdom, Lord T. Dwight 91,75,56,40 In the cross of Christ I glory Sir J. Bowring 91,75,56,40 Jerusalem, my happy home Latin Hymn 91,75 Jerusalem, the golden trans. Neale 91,56,40 Jesus, and shall it ever be GriggIFrancis 40 Jesus, I my cross have taken H. F. Lyte 91,56,40 Jesus, lover of my soul C. Wesley 91, 75, 56, 40 Jesus shall reign where' er the sun I. Watts 91,75,56,40 Joy to the world, the Lord is come I. Watts 91, 75, 56, 40 Just as I am, without one plea C. Elliott 91,75,56,40 Lo, he comes, with clouds descending Wesley/Cennick 91,75 Look, ye saints, the sight is glorious T. Kelly 91,75,56,40 Lord, dismiss us with Thy blessing [Shirley] 56 Lord, I hear of showers of blessing E. Codner 40 Love divine, all loves excelling C. Wesley 91,75,56,40 Majestic sweetness sits enthroned S. Stennett 91, 75, 56, 40 Must Jesus bear the cross alone [G. Allen] 91,75,56,40 My dear Redeemer and my Lord I. Watts 56 My faith looks up to Thee R. Palmer 91,75,56 My hope is built on nothing less E.Mote 91, 75, 56, 40 My Jesus, as thou wilt B. Schmolke 56,40 My soul, be on thy guard G. Heath 56,40 Nearer, my God, to Thee S. F. Adams 91,75,56,40 Not all the blood ofbeasts I. Watts 40 o could we speak the matchless worth S. Medley 56,40 o for a thousand tongues to sing C. Wesley 91,75,56,40 o God, our help in ages past 1. Watts 91,75,56,40 o happy day that fixed my choice P. Doddridge 91, 75, 56, 40 On Jordan's stormy banks I stand S. Stennett 91, 75, 56, 40 One sweetly solemn thought P. Carey 40 Our times are in thy hand W.F. Lloyd 40 Praise God from whom all blessings T.Ken 91,75,56,40 Praise the Lord, ye heavens adore Him [Kempthome] 91,75,56 Prayer is the soul's sincere desire J. Montgomery 75,56,40 Rock of ages, cleft for me A. Toplady 91, 75, 56, 40 Safely through another week J. Newton 56,40 Saviour, breathe and evening blessing J. Edmeston 56,40 Softly now the light of day W. H. Doane 56,40 Soldiers of Christ, arise C. Wesley 56 233 So let our lips and lives express 1. Watts 75 Stand up, stand up for Jesus G. Duffield 91, 75, 56,40 Sun of my soul, Thou Saviour dear J. Keble 56 The morning light is breaking S. F. Smith 56,40 There is a fountain filled with blood J. Cowper 91, 75. 56, 40 When I survey the wondrous cross I. Watts 91,15,56,40 Hymn Tunes Tune Name Meter Baptist Hymnal AMSTERDAM 1.6.7.6.7.7.7.6. 91,15,56 ANTIOCH 8.6.8.6.6.6.8. 91, 75, 56 ARLINGTON C.M. 91, 75, 56,40 AUSTRIAN HYMN 8.7.8.7.0 91,15,56 AVON C.M. 91, 75,56,40 AZMON C.M. 91,75,56,40 BALERMA C.M. 56,40 CHRISTMAS C.M. 56,40 CORONATION C.M. 91,15,56,40 DARWALL H.M. 91, 15, 56 DENNIS S.M. 91, 75, 56 DUKE STREET L.M. 91, 75, 56,40 DUNDEE C.M. 15,56 FOUNDATION 11.11.11.11. 91,75,56,40 GERMANY L.M. 91,75,56,40 GREENVILLE 8.7.8.1.4.4.7. 56 HAMBURG L.M. 91,75,56,40 HAPPy DAY L.M. 91, 75, 56 HARWELL 8.1.8.1.0. 91,56,40 ~NDON 1.7.7.1.1. 91,7556,40 HERALD ANGELS (MENDELSSOHN) 7.7.7.1.0. 91,15,56,40 HORTON 7.7.7.7. 56 IT ALlAN HYMN 6.6.4.6.6.6.4. 91,75,56,40 LENOX H.M. 56 MAITLAND C.M. 91, 75, 56, 40 MANOAH C.M. 91,56 MARTYN 1.1.1.1.0. 91,15,56,40 MENDON L.M. 91, 15 MILES LANE C.M. 91,75,56,40 NETTLETON 8.7.8.7.0. 91,15,56,40 OLD HUNDRED L.M. 91,15,5640 OLNET 6.6.4.6.6.6.4. 91,15,56,40 ORTONVILLE C.M. 91, 15, 5640 PISGAH C.M. 56,40 PLEYEL'S HYMN 7.1.7.1. 40 234 RETREAT L.M. 75.56,40 SEYMOUR 7.7.7.7. 91,56,40 ST. ANN'S [ANNE] C.M. 91,75,56,40 ST. THOMAS S.M. 91, 75, 56, 40 TALLIS' EVENING HYMN (CANON) L.M. 91,75 TOPLADY 7.7.7.7.7.7. 91,75,56,40 ZION 8.7.8.7.4.7. 56,40 HymnaJKey The Broadman Hymnal (1940) B. B. McKinney, ed. 40 Baptist Hymnal (1956) W. Hines Sims, ed. 56 Baptist Hymnal (1975) William J. Reynolds, ed. 75 Baptist Hymnal (1991) Wesley L. Forbis, ed. 91 APPENDIX 11 HYMN TEXTS OF BASIL MANLY JR. Hymns from The Baptist Psalmody (1850i "Before the pool a sufferer lay,,2 1. Before the pool a sufferer lay, With hope deferred from day to day; Beheld the waters often move, But others fIrst their virtues prove. 2. Helpless and weak was he: no friend Was there, the needful aid to lend; But One passed by, who heard his moan, And healed him by a word alone. 3. Bethesda's waters move no more No angel stirs them into power; The mightier One, who healing gave, Is still omnipotent to save. 4. To sin-sick souls he offers grace, ConfIned to neither time nor place; Where'er is offered heartfelt prayer, The fount of life is open there. IBasil Manly, D.D. and B. Manly Jr., eds., The Baptist Psalmody: A Selection ofHymns for the Worship ofGod (Charleston: Southern Baptist Publication Society, 1850). 2Manly Jr., "Before the pool a sufferer lay," Hy. 460, in The Baptist Psalmody, 297. 235 236 "God of the seas, whose ruling voice,,3 1. God of the seas, whose ruling voice Their mighty power restrains, And guides the courses of the winds 0'er all those rolling plains~- 2. 'Tis thine to calm the troubled breast, To quell the storm of cares, To guard the mind, when tempest-tossed By all its wrecking fears. 3. When floods of doubts, and billows dark Crowd in to overwhelm, Though sun nor star appear, I know My Father's at the helm. 4. He breathes the winds, he sends the waves Which round me rage or sleep; What I've committed to his hands, He will securely keep. "God with u.s, 0 glorious name!,,4 1. God with us, 0 glorious (oh, wondrous) name!s Manifest in flesh he came, Hiding in a form like mine All his attributes divine. 2. Equal with the Father, still He obeys his Father's will. Lays his rightful glories by, Comes as man, for man to die. 3. While as man on earth he dwelt, As a (true) God, his power was felt; At his voice diseases fled, Opening graves restored their dead. 3Manly Jr., "God ofthe seas whose ruling voice," Hy. 709, in The Baptist Psalmody, 440. 4Manly Jr., "God with us, 0 glorious name!" Hy. 138, in The Baptist Psalmody, 116. sWords in parentheses were substituted in the printing of "God with us, 0 wondrous name!" in The Baptist Praise Book: For Congregational Singing, cd. Richard Fuller et al. (New York: A. S. Barnes & Co., 1871),275. 237 4. As a man, he groans and dies, Prisoned in the tomb he lies; Soon he rises from the grave Man to die, but God to save. "Holy, holy, holy Lord,,6 1. Holy, holy, holy Lord, God of hosts, in heaven adored, Earth with awe has heard thy name, Men thy majesty proclaim. 2. Just and true are all thy ways, Great thy works above our praise; Humbled in the dust, we own, Thou art holy, thou alone. 3. In thy sight, the angel band Justly charged with foUy stand; Holiest deeds of creatures lie Meridess before thine eye. 4. How shall sinners worship thee, God of spotless purity? To thy grace all hope we owe: Thine own righteousness bestow. "In doubt's dim twilight here I stray,,7 1. In doubt's dim twilight here I stray, Upon me shines no cheering ray; My Saviour, drive away my fear, Abide with me, for night is near. 2. Though sin and Satan o'er my soul Would throw their hated strong control-- 0, help me in th'unequal fight, Abide with me through sin's dark night. ~anly Jr., "Holy, holy, holy Lord," Hy. 21, in The Baptist Psalmody, 52. 7Manly Jr., "In doubt's dim twilight here I stray," Hy_ 539, in The Baptist Psalmody, 343. 238 3. Dwell thou within my heart; 0 come Not as a stranger, but at home; Here reign supreme, it is thy right; Abide with me both day and night. 4. And when my day of toil is done, When weak and weary age comes on, Uphold me, Saviour, as I die; Abide with me, when night is nigh. 5. Soon shall a voice my slumbers wake, A glorious, endless morning break; When night and grief forever flee, May I in heaven abide with thee. "Jesus, my Lord, I own thee God"g 1. Jesus, my Lord, I own thee God, Earth sprang to being at thy nod; All things were made by thee, the Word, Who wast, with God, as God adored. 2. Before the world's finn base was laid, Thy glorious Godhead was displayed; And after worlds have ceased to be, Thy praise shall fill eternity. 3. Thou, gracious Lord, my soul would own, The power to save is thine alone; O'er me assert thy sovereign will, And be my God, my Saviour still. "Lord, I deserve thy deepest wnth,,9 1. Lord, I deserve thy deepest wrath, Ungrateful, faithless I have been; No terrors have my soul deterred, Nor goodness wooed me from my sin. 8Manly Jr., "Jesus, my Lord, I own thee God," Hy. 436, in The Baptist Psalmody, 115; reprinted in Baptist Chorals, ed. Basil Manly Jr. and A. Brooks Everett (Richmond: T. J. Starke & Co., 1859); 86. 9Manly Jr., "Lord, I deserve thy deepest wrath," Hy. 445, in The Baptist Psalmody, 289. 239 2. My heart is vile~ my mind depraved, My flesh rebels against thy will; I am polluted in thy sight, Yet, Lord, have mercy on me still! 3. Without defence [sic], to thee I look, To thee, the only Saviour, fly; Without a hope, without a friend, In deep distress to thee I cry. 4. Speak peace to me, my sins forgive, Dwell thou within my heart, 0 God, The guilt and power of sin remove, And fit me for thy blest abode. "Our God invites the wanderer home"l0 1. Our God invites the wanderer home, The Spirit and the Bride say, come; Let him that hears repeat the sound, And spread the joyful accents round. 2. Let him that is athirst draw near, And find a fountain flowing here; Let whosoever will. receive The freely-offered grace, and live. "There is a Ught which shines from heaven"Il 1. There is a light which shines from heaven On thee. but not alone for thee; Light of the world, for all 'tis given, And each may say 't was [sic] sent for me. 2. There is a fountain sweeter far Than aught earth's turbid springs can give; It makes the thirsting heart rejoice, The faint be strong, the dying live. IOManly Jr., "Our God invites the wanderers home," Hy. 345, in The Baptist Psalmody, 234; reprinted in Baptist Chorais, 10. llManly Jr., "There is a light which shines from heaven," Hy. 1023, in The Baptist Psalmody, 616. 240 3. Drink: of that fountain; rich it flows, Of life and joy a ceaseless spring; Drink: deep; nor hide it for thyself, But all men to the fountain bring. 4. Wide let the healing water spread, Tell distant nations where 'tis found- It comes from God, to him it leads, Its murmur is the gospel's sound. 5. Let the light shine, the waters flow, The blessed news to all men take, That dying they may rise to life, And in the bliss of heaven awake. "Come all who feel your sins a load,,12 1. Come all who feel your sins a load, Pour your complaints before your God; He is the Sinner's Friend indeed, He will not break the bruised reed. 2. A meek and lowly Saviour see, His love is vast, his grace is free; To him your guilt and burden take, The bruised reed he win not break.. 3. Wounded for love ofus was he, And bruised for our iniquity: To heal our souls, behold him bleed! He [sic] win not break., the bruised reed. 4. Come, weak and wounded, sick and sore. His strength receive, his grace adore; His promise firm can never shake, The bruised reed he'll never break.. 12Basil Manly Jr., "Come all who feel your sins a load," extant in letter to Smith & McDougal, 3 August 1871, Press Books, Manly Papers, The Southern Baptist Theological Seminary. Smith & McDougal was the firm responsible for stereotyping The Baptist Praise Book: For Congregational Singing (1871). Manly Jr., who served on the editorial committee for the hymnal, submitted his own hymn as a substitute for one he found inadequate. He wrote, "If you can find nothing better to substitute for it, here is one which you are at liberty to use ifyou wish.'" The committee chose not to employ Manly Jr.'s hymn. The letter was originally cited by Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," Baptist History and Heri/age27 (April 1992): 26. 241 From The Glad Refrain for Sunday Schoo/13 "Work, for the day is eoming,,14 1. Work, for the day is coming, Day in the word foretold, When, mid the scenes triumphant, Longed for by saints of old. He, who on earth, a stranger Traversed the paths of pain, Jesus the Prince, the Saviour, Comes evermore to reign. 2. Work, for the day is coming: Darkness will soon be gone; Then 0' er the night of weeping Day without end shall dawn; What now we sow in sadness, Then we shall reap in joy: Hope will be changed to gladness, Praise be our best employ. 3. Work, for the Lord is coming; Children of light we are; From Jesus' bright appearing Powers of darkness flee; Now moriUng1ight is breaking, Day dawns in every land; Night shades beset no longer, For Christ is now at hand. 13Robert Lowry and W. Howard Doane, 008., The Glad Refrain/or Sunday School: A New Collection o/Songs/or Worship (Chicago: Biglow & Main, 1886), 10. 14Manly Jr., "Work, for the day is coming," Hy. 6, in The Glad Refrain/or Sunday School, 10. 242 From The Baptist Hymnal (1975)15 "Soldiers of Christ, in truth arrayed,,16 1. Soldiers of Christ. in truth arrayed, A world in ruins needs your aid: A world by sin destroyed and dead; A world for which the Savior bled. 2. Forth to the realms of darkness go, Where. like a river's ceaseless flow, A tide of souls is drifting down. Blasted beneath th'Almighty's frown. 3. No human skill nor power can stay That flood upon its gloomy way; But God's own love devised the plan To save the ruined creature, man.17 4. His gospel to the lost proclaim, Good news for all in Jesus' name; Let light upon the darkness break That sinners from their death may wake. 5. Morning and evening sow the seed, God's grace the effort shall succeed. Seedtimes of tears have oft been found With sheaves ofjoy and plenty crowned. 6. We meet to part, but part to meet When earthly labors are complete, To join in yet more blest employ, In an eternal world ofjoy. 15William J. Reynolds, ed., The Baptist Hymnal (Nashville: Convention Press, 1915), 315; reprinted in The Baptist Hymnal, ed. Wesley L. Forbis (Nashville: Convention Press, 1991),574. l13asil Manly Jr. wrote "Soldiers of Christ in truth arrayed" for the first annual commencement of The Southern Baptist Theological Seminary. It has been sung at every graduation service since 1860. The text that appeared in the first commencement program was not attributed to Manly Jr. However, he sent a copy to his brother, Charles Manly, and wrote "By B. M., Jr." adjacent to the hymn text. This copy of the commencement program entitled, "First Annual Commencement, May 28,1860," is located in the Manly Papers, University of Alabama. See Richardson, "Basil Manly, Jr.," 24-25. 17Stanzas 2 and 3 have not been retained in recent Southern Baptist hymnals. APPENDIX 12 HYMN TUNES OF BASIL MANLY JR. REALMS OF TIlE BLESTl REALMS OF THE BLESTo 8s. RIW. B.MANLY,JB., D.D IBasil Manly Jr., REALMS OF THE BLEST in Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty-four Tunes. Adapted to about Four Hundred Choice Hymns. mus. ed. A. Brooks Everett (Richmond: T. J. Starke and Company, 1859), No. 158; reprinted and altered in Kind Words, ed. G. W. Linton and Howard M. Teasdale (Memphis: The Sunday School Board, Southern Baptist Convention, 1871). No. 21. 243 244 REMISSION2 RElIISSION. "Is & 6s. (Iambic.) RE'\". D. MA"hTLY • •1K., D.D. ---1-- 2Basil Manly Jr., REMISSION in Baptist Chorals, A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns. mus. ed. A. Brooks Everett (Richmond: T. J. Starke and Company, 1859), No. 141. 245 HARK! HERALD ANGELS 3 HARK 1 THE HERALD ANGELS. 29 B. Manly, jr., 0.0. .... :f ' 1. Hark! the hemld ~-gels sin~, "Glo-ry to the new-born King, Peace on earth, and mercy /'Bpi - 1- IF: t" f: ElF f Ell 4. Ban the holy, Hall tl).e 81m of ~~tandltte. RiSn w;ithll 3. '0. 13asil Manly Jr., HARK! HERALD ANOELS SINO in Kind Words, ed. G. W. Linton and Howard M. Teasdale (Memphis: The Sunday School Board, Southern Baptist Convention, uno. 29. 246 JESUS~ TENDER SAVIOUR 4 ,'ia i /_/1: i,liliilltilli li i'1~:§§ [ 1. Je - AS, ten - del' Saviour, Tholl hll.8t died for me; Ma.ke me ve - ry lho.nk - fui t2?S 9 F' C F elF· F-I J JJ JI rSf ·1 reF cI r' r'~ If d "" 0Atwus. ~ j iiiji n""mitiIIJllil1iUP III my heart to thee. Jesus,wbo bought. me, The Saviour, who sought me,Who shed for me freely His @\ r cr II f? ~1I1JijJ'11 cC C C C ,I cc c c eel "l.# '" "''''' ""~ "" -I d "" @iJ 1 a30 i ; 11/1 ~ ==ii i I i • till a33. 11 , I ~I Olnl precious blood, He will lead me for eT -: 81' and eT - el' Safe _ 1y home to God. ~ @Ii 11) J.t F ; CC CIe c c Cr I ~ C r 11 rsr- II ~. WheD the sad, SII4 story 3. Now I know thou Invest, 4. Soon I hope in glory Of thy grief I read, And doaL plead for me; At til,. aide to stand; M~ mil V'erylJf1try Make me very thankful Ibke me fit to meet thee ht my I5ms mdeed. In my prayers to thee. In that happy Ja.nd. Csoavl.-Jeaus, who bought, &c. Csoan.-Jel1us, wbo bought. &0. CHOlltlll.-JesUS, who bo:ugbt, ke. 4Sasil Manly Jr., JESUS, TENDER SAVIOUR in Kind Words, ed. G. W. Linton and Howard M. Teasdale (Memphis: The Sunday School Board, SouthemBaptist Convention, 1871).10. 247 ONL Y WAITING TILL SHADOWSs ONLY WmINe. B. lIAlfLy. Jr., D.D. 31 ~ t j: Iud I II , j ,11: I ~ ,I tgJ i 11: it U ,I i , i d;1 1. On ~ ly wait-iDg till the shadows Are a lit • tIe long-er grown; On - ly waiting till the gUmmer ht of earth has faded From the heart once full of day; i§llJ ,Ii = U,Ii:il"il, d dBill' ~d Id dl Till the stars ofheav'n are breaking Thro' the twilight soft and gray. Here we are wattln.g, only waitiDg Till our time for restsooll come, Working,watching, h~ mg, wa.ltlng. Till OIl!' Father calls us h~m!'o SSasil Manly Jr., Untitled Tune to "Only waiting till the shadows," in Kind Words, ed. G. W. Linton and Howard M. Teasdale (Memphis: The Sunday School Board. Soothem Baptist Convention. 1871).31. 248 THE LAND WHERE JESUS DWELLSo THE LAND WHERE JESUS DWELLS. 15 ... ~ ~ ~ ~ b "_I!!a~d R~k ~j} M-lfJ: j£~lijl.h!l: i.p i:il~: --~ ( (... I. We a.re go - ing home, and we rn.ay be a.lmost there; We a.re go - ~ home to the 2. Our trou - bles ~ end, a.nd we know we need not fear, For all will be well in tbe I~tC'& IE roc fLO k CIF r r rid. Co; IE' r-c Ir· Jll ,'&j Ii ~ Uil JUi:lli • i 3'!lld: i'-li i P il tJ I , land wbere Je - SWI dwells. Come and join our mareh to the land, to the la.ud where Je - sus ) land wbereJe - SUlI dwens. Come and join, &c. . o \ @~ J J J J I IT II r , I t r t C·, I Jot JI L r r tJ '". I!Io I I for WI In the land where J6 - sus dwells. JJ J JI r r J J I r: ·11. 3. Let us take up our cross without a. murm'ring word, /5. Wc wiIlllOOn bid farewell to sin and sorrow too, For it helps us on to the land where Jesus dwells. For we're now on the way to the land where JeIlUS CaOl111s.-Come and join. &e. dwells. CHoRlfs.-Come and join, &c. There's 110 bright crown in be&ven for aU who love 6. 0 Lord, bear me safe, neath's icy current through, thA Lori/, For 'UII aJl tha.t divides from the la.nd where Jesus ReseJ'V'ed safe above in the land where Jesl18 dwells. dwells. OaoRlfs.-Come a.ndjoin, &e. CHORus.-Come andjoin, &e. ~il Manly Jr., TIIE LAND WHERE JESUS DWELLS in Kind Words, ed. G. W. Linton and Howard M. Teasdale (Memphis: The Sunday School Board, Southern Baptist Convention. 1811), 15; Paul A. Richardson discovered an undated and unsigned manuscript in Manly's hand of the text above. It is among the Manly Papers ofthe South Carolina Baptist Historical Society. The manuscript featured several different phrases and was headed "The Land Where Jesus Dwens." Richardson suggests that this evidence points to Manly Jr. as the author. See Paul A. Richardson, "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody," in Singing Baptists, ed. Harry Eskew et al (Nashville: Church Street: 1994), 110 n.53. 249 GEORGETOWN7 HEAVEN. GEORGETOWN. 8s. jhe realms of the ble,;,t, That coun - trv so bright and so {"l'r- I -:~...... I' I ", i~!~~~~*~~~~~~~1~~-~'~--~r-' - t$=i==~;;~.---- -4 1=r=t'-.- -3W-.~.~-.=) .. _J And oft are its glo-ries con" fessed,-- 9t"O .... t)f1t SS. ELIZABETH MILLS. I 1 \Ve speak of the realms of the. hlest, I . Thut, conn try so bright and so fair; And oft are its glories confessed, But what must it be to he there! 2 We 81)eak of its freedom: from sin, ]?rom f!!)rrow) tmnptation f.\,ud care, 7Basil Manly Jr., GEORGETOWN in The Choice: A New Selection ofApproved Hymns for Baptist Churches with Music, ed. Basil Manly (Louisville: Baptist Book Concern, 1892), 253. 250 HEAVEN. HARRIS. 6s & 48. L fm but :t stran·ger here: Heal'n is mT home 1 l~ar!h i, a fJr&·ert drear; . llear"11 is lily h(jlll~! 6S,4S. T. R. TAYLOR. 2 though the tempest rage I Heaven is mv home I is my piIgt'image; iR mv lwnif! 1 1 Time g cold and wintry blast will he overpa~t; reJilch home at last; is my horne! 8Basil Manly Jr., HARRIS in The Choice: A New Selection ofApproved Hymns/or Baptist Churches with Music, ed. Basil Manly (Louisville: Baptist Book Concern, 1892),249; in his review of The Choice, John A. Broadus commended Manly Jr.'s tunes. HARRIS was one of two tunes he praised in particular. See John A. Broadus, "PresidentJolm A. Broadus on Dr. Manly's Last Work," Religious Herald (February 25, 1892): ]. 251 M. a III ealJ('d to die; !longs of bo - 1y ec - sta. - sy, To waft. I .i)~O AoIUI.. S. M. 10. sing to me of heaven Burstiorth \;Vhen'l am called to die; Let. heaven Sing songs of'1101), ecstasy, 3 'lnen,to To waft my soul on high. Let One <\y}~el1 cold nIHl sluggish drop.s Let music ,Roli off my Jllal'ble brow, . A"ndgreet~e . 180 9Basil Manly Jr., JOY in The Choice: A New Selection ofApproved Hymns jor Baptist Churches with Music, ed. BasH Manly (LouisviUe: Baptist BOok Concern, 1892),250. 252 SUBMISSION 10 SUBMISSiON, Bs & 6s. '~ '-~'7-~]I - ~---L--.*~'-::r=4~ _!~~lU~~'.~U:~.~"V~ L --[1'--~~-~-F'- ---0-,' -; "'+ ,~~:, ;i~-~~:::-~-=F -~ , '--' if;§t- -,:::1--,.-- ,- --;:::'.7::"~=~-~~~- =-_"f::" --il':::~!---:-_!:.:::i!irl"-·--·"'-I 1~ 11 ~ 11" '9----41' - W!:, __ -- ,_ -~ -:t-- -~ i!I!--/fI-- 1-;7------'-qi-'~ 61-.--- '::;;:- .--.(11-- 1/1--111 61. 111--'-"::::"'-.3" ! 11m! to sa). "TI11 wilL my God, be d,me." "l'by \1ill, Dl)' God. be d()ue," 'lTh)' "ill, my God, be i hNlrt to say, "Tby will, tIIy Gt\~. be done," , .fL A. -IL ./L 4-- ~t: L • I I t. !: '* ~?~+H-.=i-~~~ ggW; 162 8s,6s, MlSSC"El'L10TT'1 ' '",., 2 Though d3;rk lUY path, and sad my lot, 4 Sh?ul~ pining J'5ickl1e$$WaE~~':~;~"~Y:/ ". Let me be still, 1wd murmur not, I My hfem premat~m;>,de(ltty:,<"';:,-,j ", And hreatl~e the prayer i:livinely taught, I In li,f~ or d.eath~tiil~ehm(;'}(t)~~llt~rij,~,' "Thy WIll, my God, ,be done." I "Ihy Wln~l}lyhod,~e;:dW~~~-~0<. ' 3 If thou shouldst call Iue tOl'esign ,5 Renew myw~ll froIut:ltt~~~~;'~~~~~\; What In~)8t Iprize,-.. · itpe1e: :was milH',- IB~end !t with thilJefa~l(tfa~~.~1r~~~ ..•. r only ywl(! thee \\~hat lsthme: " i 'W hate er ~own~ak~81t 11~rtr~~j;~~~~i~ , H Thy WIn, my God, he dope.' !" Thy 'wIll, my Ctod,be.(lfJlle,,? IOSasH Manly Jr., SUBMISSION in The Choice: A New Selection ofApproved Hymns for Baptist Churches with Music, ed. Basil Manly (Louisville: Baptist Book Concern, 1892), 162. 253 JlBasit Manly Jr., WORK in The Choice: A New Selection a/Approved Hymns/or Baptist Churches with Music, ed. Basil Manly (Louisville: Baptist Book Concern. 1892), 144; in addition to the tune entitled HARRIS, John A. Broadus commended WORK as an especially worthy tune. See note 8 on HARRIS above. 254 ZINZENDORF 12 SUFFERfNGS AND DEATH 01,' ZINZENDORF. 65. 6 lines, I my life fnr t&e~, My pre·dous blood I }bed. That thou !lyd (l!lkk'~ned .I{IL .#!L .fL *' ..fL *' j i~ I . ..a.. .fL.d ~~~. ~,--!IiIIg'~fm~"0&fl=~1j$trr1~'~~ :1r~i==+=J:~~=m~- I.ire for throe, What bast thou giv'n for me? s ."- ~ ....4. .,fL'.,fL1iI ..... 4L fJ~ ~ . 6s. 1>1 ISS 1', fl., HAVERG.l\J" life for 'thee, 3 I. suff~red .nfi\~~N',r 12Basil Manly Jr., ZINZENDORF in The Choice: A New Selection ofApproved Hymns for Baptist Churches with Music, ed. BasH Manly (Louisville: Baptist Book Concern, 1892), 22. BIBLIOGRAPHY Articles in. Books Crookshank, Esther R. '''The Minister and His Hymn-book': John A. Broadus as Hymnologist." In We Praise Thee with Our Minds, ed. Michael J. Raley and Deborah Loftis. Forthcoming, 2004. Eskew, Harry. "Southern Baptist Contributions to Hymnody." In Singing Baptists, ed. Harry Eskew, David W. Music and Paul A. Richardson. Nashville: Convention Press, 1994. ___' "Use and Influence of Hymnals in Southern Baptist Churches up to 1915." In Singing Baptists, ed. Harry Eskew, David W. Music and Paul A. Richardson. Nashville: Convention Press, 1994. Grice, Homer L. "Southern Baptist Publication Society (Charlesto~ S. c., 1847-63)." In Encyclopedia ofSouthern Baptists, ed. Norman Wade Cox. Nashville: Broadman Press, 1958. Reynolds, William J. "Baptist Hymnody in America." In Handbook to the Baptist Hymnal. ed. Gere V. Adams. Nashville: Convention Press, 1992. Richardson, Paul A. "Basil Manly, Jr.: Southern Baptist Pioneer in Hymnody." In Singing Baptists, ed. Harry Eskew, David W. Music and Paul A. Richardson. Nashville: Convention Press, 1994. ___. "The Resources: American Baptist Hymnals." In Handbook to the Baptist Hymnal, ed. Gere V. Adams. Nashville: Convention Press, 1992. Books Adams, Jerry V., ed. Handbook to the Baptist Hymnal. Nashville: Convention Press, 1992. Bailey, Albert E. The Gospel in Hymns. New York: Charles Scribner'S Sons, 1950. Barnes, Lemuel, Mary Clark Barnes, and Edward M. Stephenson. Pioneers ofLight: American Baptist Publication Society 1824-1924. Philadelphia: American Baptist Publication Society, 1924. 255 256 Benedict, David. A General History ofthe Baptist Denomination in America, 1. Boston: Lincoln & Edmands. 1813. Benson, Louis F. The English Hymn: Its Development and Use in Worship. Philadelphia: The Presbyterian Board of Publication, 1915. Broadus, John A. On the Preparation and Delivery ofSermons. Revised (1898) by Edwin Charles Dargan. Nashville: Sunday School Board of the Southern Baptist Convention, 1926. ___". Syllabus as to Hymnology, 2nd ed. Louisville: The Southern Baptist Theological Seminary, n. p., January 1892. Browne, J. Newton. History ofthe American Baptist Publication Society from Its Origin In 1824, to Its Thirty-Second Anniversary in 1856. Philadelphia: American Publication Society, 1856. Burrage, Henry S. Baptist Hymn Writers and Their Hymns. Portland, ME: Brown Thurston & Company, 1888. Eskew, Harry, and Hugh T. McElrath. Sing with Understanding. Nashville: Church Street, 1995. Eskew, Harry, David W. Music, and Paul A. Richardson. Singing Baptists: Studies in Baptist Hymnody in America. Nashville: Church Street Press, 1994. Julian, John, ed. Dictionary ofHymnology: Origin and History ofChristian Hymns and Hymnwriters ofAll Ages and Nations. London: J. Murray, 1907. Reprint, Grand Rapids: Kregel, 1985. 2 vols. Manly, Louise. The Manly Family: An Account ofthe Descendants ofCaptain Basil Manly ofthe Revolution and Related Families. Greenville, SC: [Keys Printing Co.],1930. Mueller, William A. A History ofthe Southern Baptist Theological Seminary. Nashville: Broadman Press, 1959. Reynolds, William J., and Milburn Price. A Survey ofChristian Hymnody, 4th ed. Revised and enlarged by David W. Music and Milburn Price. Carol Stream, IL: Hope Publishing, 1993. Sanjek, Russell D. American Popular Music and Its Business: The First 400 Years. New York and Oxford: Oxford University Press, 1988. 2 vols. Smith, Timothy L. Revivalism and Social Reform in Mid-Nineteenth Century America. NashvillelNew York: Abingdon Press, 1957. 257 Wold, Milo, Gary Martin, James Miller, and Edmund Cykler. An Outline afWestern Music, 8th ed. Indianapolis: Brown & Benchmark, 1994. Dissertations and Theses Cates, Jessee Howard. "American Baptist Hymnody from 1640 to 1850." M.S.M. thesis, The Southern Baptist Theological Seminary, 1948. Cox, Joseph Powhatan. "A Study of the Life and Work of Basil Manly. Jr." Th.D. thesis, The Southern Baptist Theological Seminary, 1954. Cross, Virginia Ann. "The Development of Sunday School Hymnody in the United States, 1816-1869." D.MA. diss., New Orleans Baptist Theological Seminary, 1985. Gregory, David Louis. "Psalmody in the Mid-Nineteenth Century Southern Baptist Tradition." M.C.M. thesis, The Southern Baptist Theological Seminary, 1987. ___. "Southern Baptist Hymnals (1956, 1975, 1991) as Sourcebooks for Worship." D.M.A. diss., Southern Baptist Theological Seminary, 1995. Hampsher, Harry Frank. "American Baptist Hymnody since 1850." M.S.M. thesis, The Southern Baptist Theological Seminary, 1951. McDuffie, Dennis V. "The Baptist Hymnal 1883: A Centennial Study." M.C.M. thesis, The Southern Baptist Theological Seminary, 1983. Measels, Donald Clark. "A Catalog of Source Readings in Southern Baptist Church Music: 1828-1890/' 2 vols. D.M.A. diss., The Southern Baptist Theological Seminary, 1986. Murrell, Irvin H., Jr. "An Examination of Southern Ante-Bellum Baptist Hymnals and Tunebooks as Indicators of the Congregational Hymn and Tune Repertories of the Period with an Analysis of Representative Tunes." D.M.A. diss., New Orleans Baptist Theological Seminary, 1984. Rose, Richard Wayne. "The Psalmist: A Significant Hymnal for Baptists in America during the Nineteenth Century." D.M.A diss., Southwestern Baptist Theological Seminary. 1991. Rothenbusch, Esther Heidi. "The Role of Gospel Hymns 1 to 6 (1875-94) in American Revivalism." Ph.D. diss., University of Michigan, 1991. 258 Hymnals Ball, EU, compo The Manualfor the Sacred Choir: A Selection ofTunes and Hymns from The Most Approved Authors Adapted to Public Worship, to Revivals, to Prayer Meetings, and to Family Worship. Richmond: Harold & Murray, 1849. Burrows, Lansing, ed. The Baptist Hymn and Praise Book. Nashville: Southern Baptist Sunday School Board, 1904. Elford, C. J., ed. The Confederate Sunday School Hymnal. Greenville, SC: Sunday School Board, Southern Baptist Convention, 1863. Everett, A. B., and L. C. Everett, eds. The New Thesaurus Musicus or, United States Collection ofChurch Music: constituting the most complete variety ofnew psalm and hymn tunes, sentences, anthems, chants, &c., for the use ofthe choir and the singing school, ever offered to the American people. Comprising also all the popular old choir and congregational tunes in general use. Richmond, VA: by the Authors, 1859. Fuller, Richard, E. M. Levy, S. D. Phelps, H. C. Fish, Thomas Armitage, E. T. Winkler, W. W. Everts, Oeo. C. Lorimer, and Basil Manly Jr., eds. The Baptist Praise Book: For Congregational Singing. New York: A. S. Barnes & Co., 1871. Holme, John Standford, and Robert R. Raymond, eds. The Baptist Hymn and Tune Book: Being '"The Plymouth Collection. " New York: Sheldon, Blakeman and Company, 1858. Leonard, Silas W., and A. D. Fillmore, eds. The Christian Psalmist. Louisville: S. W. Leonard, 1847. Linton, O. W. and Howard M. Teasdale, eds. Kind Words. Memphis: Sunday School Board, Southern Baptist Convention, 1871. Lowry, Robert, and W. Howard Doane, eds. The Glad Refrainfor the Sunday School: A New Collection ofSongs for Worship. New York: Biglow and Main, 1887. Manly, Basil, Jr. Manly's Choice: A Selection ofApproved Hymns for Baptist Churches. Louisville: Baptist Book Concern, 1891. ___. The Choice: A Selection ofApproved Hymns for Baptist Churches with Music. Louisville: Baptist Book Concern, 1892. Manly, Basil, Jr., and A. Brooks Everett, eds. Baptist Chorals: A Tune and Hymn Book Designed to Promote General Congregational Singing; Containing One Hundred and Sixty-four Tunes, Adapted to about Four Hundred Choice Hymns. Richmond, VA: T. J. Starke and Company, 1859. 259 Manly, B., and Basil Manly Jr., eds. The Baptist Psalmody: A Selection o/Hymnsfor the Worship ofGod Charleston: Southern Baptist Publication Society, 1850. Mason, Lowell. The Sabbath Hymn and Tune Bookfor the Service ofSong in the Worship ofthe Lord [Baptist ed.]. Edited by F. Wayland. New York: Sheldon & Co., 1859. Rowland, A. J., and William H. Doane, eels. The Baptist Hymnalfor Use in the Church and Home. Philadelphia: American Baptist Publication Society, 1883. Stow, Baron, and Samuel F. Smith, eds. The Psalmist: A New Collection ofHymns for the Use ofthe Baptist Churches. Boston: Gould, Kendall, and Lincoln; Philadelphia: American Baptist Publication and Sabbath School Society, 1843. ~ __" The Psalmist: A New Collection ofHymns for the Use ofthe Baptist Churches, with a Supplement by Richard Fuller and J. B. Jeter. Boston: Gould, Kendall, and Lincoln; Philadelphia: American Baptist Publication Society, 1847. Winkler, E. T, ed. "The Casket;" Sacred Melodiesfor Public and Social Worship: Containing Many Choice Melodies from Eminent American and European Composers, besides a Large Amount ofNew Music, also Selectionsfrom the Works ofHandel, Haydn, Mozart, Beethoven, Rossini and other Celebrated Masters. Edited by G. O. Robinson and I. B. Woodbury. Charleston: Southern Baptist Publication Society, 1855. ~ __. The Sacred Lute: A Collection ofPopular Hymns, with Choruses and Forms for Special Occasions. Charleston: Southern Baptist Publication Society, 1855. The Baptist Harp: A New Collection ofHymns for the Closet, the Family, and Social Worship, and Revivals. Philadelphia: American Baptist Publication Society, 1849. The Little Sunday School Book. Greenville, SC: Sunday School Board, Southern Baptist Convention, 1863. Letters and Manuscripts Broadus, John A. "John A. Broadus materials consisting of his diary, 1845·1846: preparation and delivery of sermons; and a collection of addresses, essays and lectures [including his Syllabus as to Hymnology], 1851~1895." Southern Baptist Theological Seminary, Louisville, KY. Microform. Burrage, Henry S. Letter to John A. Broadus, 25 October 1886. John A. Broadus Papers, The Southern Baptist Theological Seminary, Louisville, KY. 260 Doane, William H. Letter to Basil Manly Jr., 2 December 1891. Manly Papers: 1842-1891, The Southern Baptist Theological Seminary, Louisville, KY. Microfonn. Manly, Basil, Jr, "Fragments of Thoughts, No. 19." Manly Papers, South Carolina Baptist Historical Society, Greenville, SC, [no d.]. ___' Letter to Basil Manly Sr., 9 May 1845. Manly Papers, Southern Baptist Historical Library and Archives, Nashville, TN. ___.. Letter to A. M. Poindexter, 21 January 1850. Manly Papers, South Carolina Baptist Historical Society, Greenville, Sc. ___. Letter to Basil Manly Sr. and Sarah Manly, 10 April 1857. Manly Papers, Southern Baptist Historical Library and Archives, Nashville, TN. ___' Letter to Basil Manly Sr., 4 January 1859. Manly Papers, South Carolina Baptist Historical Society, Greenville, SC. ___. Letter to Smith & McDougal, 3 August 1871. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___' Letter to W. E. Schenck, 26 December 1877. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to William Howard Doane, 25 April 1878. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to William H. Doane, 5 April 1884. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to B. V. Waugh, 15 August 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to Dr. Broadus, 17 August 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to Louise Manly, 29 August 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to Sarah Manly, 20 September 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY, ___. Letter to F. A. Atkins, 1 October 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. 261 ___. Letter to Sarah Manly, 10 October 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to William H. Doane, 16 October 1891. Press Books, Manly Papers, The Southern Baptist Thoological Seminary, Louisville, KY. ___. Letter to Franklin Type Company, 21 October 1891. Press Books, Manly Papers, The Southern Baptist Theological Seminary, Louisville, KY. ___. Letter to Sarah Manly, 29 October 1891. Press Books, Manly Papers, The Southern Baptist Thoological Seminary, Louisville, KY. ___. "Suggestions as to the New Hy. Book," Press Books (1883), Manly Papers, The Southern Baptist Theological Seminary, LQuisville, KY. Manly, Basil, Sr. Letter to J. L. Reynolds, 15 November 1849. Christian Index and South-Western Baptist (May 6, 1869): 1. Manly, Basil, Sr. Letter to Basil Manly Jr., 22 November 1844. Manly Papers, University of Alabama, Tuscaloosa, AL. Poindexter, A. M. Letter to Basil Manly, Jr., 17 December 1849. ManlyPapers, South Carolina Baptist Historical Society, Greenville, SC. Periodicals Broadus, John A. "[Funeral] Address of Dr. John A. Broadus." The Seminary Magazine 5 (March 1892): 314-17. ___. "President John A. Broadus on Dr. Manly's Last Work." Religious Herald (February 25, 1892): 1. '·Dr. Manly," (Advertisement for The Choice 1891). Western Recorder 66:1 (September 3, 1891): 4. Eskew, Harry. "Music in the Baptist Tradition." Review and Expositor 69 (1972): 161-75. ___' "Southern Baptist Contributions to Hymnody." Baptist History and Heritage 19 (January 1984): 27-35. ___" "Use and Influence of Hymnals in Southern Baptist Churches Up to 1915." Baptist History and Heritage 21 (July 1986): 21-30. 262 Foster, Ioshua H. "Dr. Manly as a Young Man." Seminary Magazine 5 (March 1892): 316-17. Hatcher, W. E. "Impressions of Dr. Manly." Seminary Magazine 5 (March 1892): 327-28. Lindsey, Jonathan A. "Basil Manly: Nineteenth Century Protean Man." Baptist History and Heritage 8 (July 1983): 130-43. Manly. B., and B. Manly Jr. "A New Hymn Book." The Alabama Baptist (October 31, 1849): 2. McElrath, Hugh T. "Church Music at Southern." Review and Expositor 82 (Winter 1985): 101-10. ___' "Turning Points in the Story of Baptist Church Music," Baptist History and Heritage 19 (January 1984): 4-16. Murrell~ Irvin H., Jr. "Southern ante-bellum Baptist Hymnody." Baptist History and Heritage 27 (April 1992): 12-18. Music, David W. "Baptist Hymnals as Shapers of Worship." Baptist History and Heritage 31 (July 1996): 7-17. ___. "Congregational Song Practices in Southern Baptist Churches: A Historical Overview." Southern Baptist Church Music Journal 9 (1992): 10-20. ___' "Our Heritage of Baptist Hymnody in America." Baptist History and Heritage 11 (October 1976): 204-17. Richardson, Paul A. "Baptist Contributions to Hymnody and Hymnology." Review and Expositor 87 (Winter 1990): 59-74. . ___. "Basil Manly, Ir.: Southern Baptist Pioneer in Hymnody." Baptist History and Heritage 27 (April 1992): 19-30. Robertson, A. T. "Rev. Basily Manly, Jr" D. D., LL. D." Seminary Magazine 5 (March 1892): 297-99. VITA Nathan Harold Platt PERSONAL Born: January 11, 1969, Erwin, Tennessee Parents: Daer and Judith Platt Married: Janie Leanne Jessee, May 29, 1993 Son: Johnathan Isaac, May 22, 2002 EDUCATIONAL B. A., Berea College, Berea, Kentucky, 1991 M. M., University of Northern Colorado, Greeley, Colorado, 1994 MINISTERIAL Minister of Music, First Christian Church, Berea, Kentucky, 1991-92 Minister of Music, First United Presbyterian Church, Greeley, Colorado, 1992.. 96 Christian Performing Artist, Pen and Praise Ministries, Louisville, Kentucky, 1994- Minister of Music, Jeffersontown Baptist Church, Jeffersontown, Kentucky, 1996- ACADEMIC Voice Instructor, University ofNorthern Colorado, 1992-94 Guest Artist, University of Northern Colorado, Opera Theater, 1994-96 Graduate Assistant in Choral Music, The Southern Baptist Theological Se~, 1998-2000 Graduate Assistant in Worship, The Southern Baptist Theological Seminary, 1999-2001 Voice Instructor, The Southern Baptist Theological Seminary, 1999- Guest Lecturer in Worship, The Southern Baptist Theological Seminary, 2000- Visiting Professor of Church Music, Nigerian Baptist Theological Seminary, Ogbomoso, Nigeria, 2001 Director of Church Music Drama, The Southern Baptist Theological Se~,2002-2oo3 Musical Director of Aletheia - Boyce Singers, Boyce College, 2002·