·I
PlayontheGoldenHarp:
TheMomentofDeathasDescribedin
SongsfromtheSacredHarpTradition
CoverArtCarvingfromatomb
inaBenedictineConvent
inJaca(Huresca),Spain
……•
SubmittedaspartofrequirementslorcertifkationfOrthe
ChaliceofReposeProject,554WestBroadway,Missoula,
Montana59802(406)542-0001,ext.2810
2..~OO H>VO-lv…fi!… Ov:
Copyright©1994SandraLaForge,503eSk}RAiWalive,
Missoula,MT59803(406)251-8457
PlayontheGoldenHarp:
TheMomentofDeathasDescribedin
SongsfromtheSacredHarpTradition
-,
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, .
….,,-‘
SandyLaForge
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TableofContents
Introduction ………………………..1
DeathasaStageofLife. .7
TheSongs . 14
OtherSongsAboutDeath 42
Conclusion 58
.Appendix.. 72
Bibliography 89
I,
Acknowledgements
.il
IwouldliketothankThereseSchroeder-ShekerforintroducingmetotheSacred
Harprepertoire.Withouthertherecouldbenofieldofmusicthanatologyora
trainingprogram.Ideeplyappreciatewhatshehasbroughttomylifeasastudent,
andknowthatshewillbeaffectingsomanycountlessothers,bothasstudentsand
themanypersonswhowilldiedifferentlybecauseofherwork.
IthankthethousandsofSacredHarpsingersandthesingingteacherswhohavekept
thistraditionalivebecauseoftheirloveofthesacredmusic.
Thisworkwouldalsonotbewrittenwithoutthesupportandunderstandingof
HarryG.LaForge,Jr.Hemakesthingspossible.
-,
I
INTRODUCTION
.1
Music thanatologists lovinglyservethephysicalandspiritualneedsofthedyingwith
prescriptive anddynamicmusicusingtheharpandvoice.Themusicthanatologistis
intensely trained inthefieldsofmedicineandspiritualityaswellasallaspectsofmusic.
Sheorheplayscertainkindsofmusicincertainkindsofwayswhich aretailoredfor
thedyingperson’suniquesituation.Theresultsofusingrhythminthepiecessungand
played forthedyingpersonarecloselyobserved,asrhythmbindsustoourbodies. The
dyingpersonisleavingthebodyandcanbeassistedinthisbytheuseofmusicwithout
rhythm.Gregorianchantisalargerepertoireofmusicwithouttimeandwasspecifically
usedbytheCluniacmonksofthe11thcenturytohelpalleviatephysicalandspiritual
paininthedyingperson.Thedocumentsdescribingtheprocessesandpracticesused
withthechanthaverecentlybeentranslated’andarestudiedbythemusicthanatologist
intrainingasahistoricalfoundationandmodelofthework.
,.i
Musicthanatologyisanewfieldofworkinmodernpalliativemedicine,butitisnot
newatall.Aslongaspeoplehavedied,therehavebeenlovedonesandstrangers
present atdeathstryingtoalleviatepain,bringcomfort,andingeneraleasethe
transitiontowhat comes after.Themetaphorofbirthfits,withonlythepositions
changing.Insteadofpersonsreceivinganewsoulintotheworld,themusic
thanatologistandanycompassionatepersonspresentarethereasthesoulmovesoutof
theworld,givingitthebestpreparationforthejourneythattheyknowhow.The
founder ofmusic thanatology,ThereseSchroeder-Sheker,callsmusicthanatology
“musical-sacramental-midwifery” whenspeakingofitasacontemplativepracticewith
aclinical application.
I
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)
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Wehavethedocuments ofthemonksconcerningspecificpracticesoftheuseofmusic
withthedying. ThemodemhospicemovementisnowwellestablishedinEnglandand
theU.S., providingphysicalandspiritualcare.Musicthanatologistsareindemand
aroundtheworldaspeoplerespondinaheartwaytothework. Butasastudentand
interninthetwo-year trainingprogramforcertification,Iwonderaboutthegrassroots
andunorganizedresponsestothedyingperson.Whataboutthegapsinthehistoryof
thisfield?Whyweretraditionslost?Whathappensinhomeswheredeathvisits?What
comesnaturallytothepersonswhocareforthedyingrelative?Hasmusic thanatology
existed inaninformal sensethroughthecenturiesbutnoonehasdocumentedit?And
thedyingpersonhim/herself-whataretheyreallygoingthrough?Whatcantheyteach
1
•J
Frederick S.Paxton. AMedievalLatinDeathRitual:TheMonasticCustomariesofBernardand
UlrichofCluny.1993.
1
~..~;
;
usaboutourownlivingandforthcomingdeaths?Havethedyingleftrecordsthatwe
don’trecognize?Whatliesundiscoveredoutthereinhistoricaldocumentsthatnoone
hasthoughttolookforyet?Whatgemsarehiddeninourfracturedoraltraditions,
diaries,andthestoriesfromprevious generations?
f::”‘.:J
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.f’l
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ThispaperwillexploresomeofthesequestionsbyexaminingtheSacredHarpmusical
tradition. ThistraditionisuniquelyAmerican,havingstartedintheNorthbutfinding
ahomeintheSouth.Theanswerswillbroadenthehistoricalbaseofmusicthanatology
andmayallowpractitionerstowidentheirrepertoire.Thetraditioncontainsmany
songsaboutdeath. Wasthereaninformaltraditionofsingingtothedyingperson?
Whatdothesesongstellusabouttheexperienceofdeath?Aretheyhappy,sad,
bittersweet?Songsaboutdyingsometimeinthefuturemaybedifferentthansongs
writtenfromtheperspectiveofthepersononhisorherdeathbed.Aretheresongsthat
reflectadifferenceinthewaymenversuswomendied?Childrenversusadults?The
SacredHarpsongsexistedoutsideofaformalreligiousdoctrine.Theymaybemore
reliableinbeingamirrorforthethoughtsandconcernsofthetimesasnoformal
authoritymadedecisionsconcerningtheiruse.Dosongsfromthehymnalsofthetime
givedifferentmessagesaboutdyinganddeaththantheSacredHarpsongs?Arethe
SacredHarpsongsuniqueincertainaspects?Besidesthesongsthemselves,perhaps
.diariesofthetimeswillhelptofillinhistoricalgaps.
TheauthorsoftherecentbookFinalGifts’larehospicenurseswhohaveworkedwith
hundredsofdyingpersons.CallananandKelleydescribeaphenomenatheycall
nearingdeathawareness.Thisisaspecialknowledgeofdeathandsometimescontrol
overbythedyingperson. Thepersonmaydescribewhatdeathwillbelike,including
glimpsesofanotherworldandwhoiswaitingforthemthere.Thepersonmaydescribe
whatsheorheneedstobringaboutapeacefuldeath. Thedyingpersonoftenspeaks
inmetaphoricalandsymbolicways. ArethereanySacredHarpsongsthatcouldbe
descriptionsofthenearingdeathawareness?Domen’sdescriptionsdifferfrom
women’s?Asoneofthepurposesofmusicthanatologyistohelpbringaboutapeaceful
death,theremaybecluesinstudyingthenearingdeathawarenessexperiences.
I
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IfsongsintheSacredHarptraditionwererepeatedlysungatthedeathbed,thenmusic
thanatologistswillwanttoexaminethem.Whatarethemusicalqualitiesofthesongs?
Thesongsareobviouslyallrhythmic,butisthereapredominanceofonetimesignature
overanother?Dotheycarryqualitiesthatleadtounbinding,ordothewords
themselvesactmoreasapsychopomp?TheSacredHarpsongsarenotjustacollection
butareflectionofanecumenicalspiritualpathandthestagesthatthepilgrimpasses
through.TheanthropologicalmethodsofvanGennepandVictorTurnerconcerned
withritesofpassagecanbedirectlyapplied.Dothesongsexpressthethreestages?
Turnersawthesecondstage,liminality,asasacredconditioninandoutoftime.Isthis
•.J
2MaggieCallananandPatriciaKelly. 1993.
2
stageemphasizedmorethantheothers?Whataboutsecularsongsofthesametime
period?Dotheygivedifferentmessagesaboutdeath?Dotheyexpressthethreestages
oftheritesofpassageoremphasizetheminadifferentwaythantheSacredHarp
songs?
1
IamdrawntotheSacredHarptraditionasIgrewupintheSouth,butIdidnotknow
thatitexisted.Iwasintroducedtotherepertoirefromdoingbibliographicresearchfor
ThereseSchroeder-Shekerandhearingheracapellawomen’sgroupperformthesongs.
Iamstruckbythepurityofthetradition.BesidesthepositionIamtakinginexploring
therepertoireasastudentmusicthanatologist,Iampersonallyenrichedbybeing
emersedinmyowntraditionofbeingaSoutherner andgrowingupasaSouthern
Baptist.IreclaimmyownrootsasIfindsongsnamedaftertownsandcountiesthatI
knewandhadrelativeslivingin.Iknowhowthesingerslivedbecausemy
grandparentswerefarmersintheSouth.Iknowwhatitwastolivewithoutelectricity
orindoorplumbingbecausetheylivedattimeslikethat. DuringvisitsIparticipatedin
DecorationDay,theSundayinMaywhenthegravesatthelocalcherishedchurchwere
cleaned.IlovedthewatermelonfeastswehadwhentheyripenedinJuly.Ihated
hoeingthebeanfieldsinJuneinthehotsun. SoIstudythemusical traditionwitha
realfondnessandunderstandingofthetimesandpressures.
I
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ThetermSacredHarpreferstothreeaspects.First,itisthenameofabookthatwas
publishedin1844.AftertheBible,itwasthebookmostcommonlyfoundinthe
Southernhomeofthelate1800s. Second,itreferstothemusicnotationknownasshape-
notes. Themusicinthebookandearlierbookswasprintedinastyleofnotation,
developedintheearly1800s,thatallowedthesinger tosightreadwithoutthe
knowledgeofkeysandnotation. IntheSacredHarpbooksasystemof4noteheads
withdifferentshapeswasused.(Laterbooksusedasystemof7differentshapes.)
Third,SacredHarpreferstothegenreofsingingthatusestheshape-note systemand
thathaslastedformorethan200yearsintheSouth. “Singings”and”conventions”are
stillheldtodayinareasofTennessee,Alabama,Georgia, Florida,Texas,andMississippi.’
(Theyareknownas”OldHarp”singingsinTennessee.)Itisreligiouswithoutaspecific
denomination.Itisatradition. .
IchosetoexaminetheSacredHarpmusicforsongsaboutdeathforseveralmore
reasonsalso. First,itisalargebodyofrepertoire, morethan700songs.Second,the
phenomenaisrestrictedtoatimeandplace,thesouthernU.S.inatimeperiodof
roughly1800-1900. Duetothetimeandplace,themusicwasisolatedandnotaffected
muchbyoutsideinfluences.Third,itisanecumenicalgroup,notboundtoor
supportedbyanyonereligion,andpersonsparticipating aredoingsooutofloveforthe
sacredmusic. Participationisstrictlyvoluntary,yetitsatisfiessocial,recreational,and
3SeeCobb’sappendixandHorn’s introductiontoNewHarpofColumbiafordatesand
locations.
3
religiousneeds. Theseaspectsallleadtoa.bodyofmusicthatreflectsacertainpurity:….
anoutpouringofthecomposersandatrial-by-heartofeachsong.Musicandsongs,
likeideas,jumpfrompersontopersonand”catch”them.Asongispopularbecause
manypeoplewanttosingandhearitagainandagain.Whatlastsreflectssomething
deeper,somethingaccessedinthelistener,rangingfromasimplephysicalpleasureof
aphysicalsoundandrhythmtosomethingthatisdeeplyheldwhichmusicasa
languageexpressesasnothingelsedoes. Itisabasicassumptioninthispaperthateach
songthatsurvivedreflectsadeepmeaningtothesingers,assongsthatdroppedoutof
therepertoirewerenotlovedenoughtosurvive.Thus,thesongswereself-selected.
TheSacredHarptraditionisuniquelyAmerican,beginningintheearly1800swiththe
developmentofshapenotesasaneasierwaytoreadmusic.
…theSacredHarphasbeenandisaproudanddistinctiveAmerican
institution. Forvigoringroupparticipation,ofjoyinsongandcommunity
rapport,itwouldseemtohavenoparallelinAmericanlife…4
,I
Thesingercouldsightreadthemusicwithoutknowingthenamesofnotesorthekey.
Singingschoolteachersfoundthiseasierandfasterforstudents.Singingschoolsmoved
‘outoftheNorthtotheSouthandWest(whichatthattimewasPennsylvania). The
schoolsnotonlybroughtmusictothemasses,butservedasasocialoutlettoa
physicallyisolatedpeople. TheschoolsthrivedintheSouth.Theimpulseofthe
composersatthebeginningintheNorthwastoprovidenewsongstosing. Thesongs
thatwouldbeacceptabletothecommunityleaderswerereligioussongs,andthesewere
alreadyclosetotheheartofthecomposer.
,1
·j
Thetraditionisuniqueinthatthesingingsareecumenical.Thesongsaresungby
differentreligiousgroups.ThiswasunusualintheSouth.
‘.’:1
·.
(J
…whatEarl Thurman,longtimesecretaryoftheChattahoocheeMusical
Association[organizedin1852], saidaboutthatconventioncouldbesaidabout
anyotherSacredHarporganizationorgroupofsingers:”TheAssociationhas
neverconcerneditselfwithdogmas,doctrines,orarticlesoffaith.Participation
initsactivitiesisopentoall,regardlessofchurchaffiliation.” …Andifany
religiousbiasesarecarried.intothesinging,asThurmanhassaid,”feelingsof
prejudiceandintolerancemeltawayunderthespiritualwarmthofsongslikethe
immortal’Ballstown’:”
·)
GreatGod,attend,whileZionsings
ThejoythatfromThypresencesprings;
TospendonedaywithTheeonearth,
4BuellE.Cobb,Jr.TheSacredHarp:ATraditionandItsMusic.p.160.
4
—–,
i
, Exceedsathousanddaysofmirth.”
InnootherarenadidPresbyterians,MethodistsanddifferentkindsofBaptistsget
togethertoworship.TheProtestantgroupsintheSouthareknownforfightingover
singleverses intheBible,andsplittingofffromothergroupsovertheinterpretation.
Sohowisitthatdeeplyreligiouspersonswithdeeplyheldvaluesaboutthewaythings
aregettogether withtheir”enemies”andhaveawonderfultimesinging?TheSacred
Harptraditionstrikes somethingverydeep.Perhapsitisthepowerthatmusichas,
coupled withreligiousmeaning thatmakesthesongsgorightintotheheartofthe
singersandlisteners.Scholarshavenotedthatbythesecondverseofsomesongsthe
singers areintears.
…aftermanyyearsofobservationofSacredharppracticesinMississippi,
ledthelateJohnQuincyWolftorealize,asheputit,”thatSacredHarp
singingisanexpressionofthehighestandnoblestthoughtsandfeelings
ofwhichthesepeoplearecapable–of whattheybelieveandloveandare
intheirbestmoments.Thatperhapsmorethatanythingelseitisan
expressionoftheirtotalidealsandtotalsensibilities.”
‘Peopledon’tcometosingingstoworship.Theycometosing,andworshipinthe
process.Theymeet theirfriendsandmakenewones. Merthesingingtheyeat.
Peoplealwaysconnectoverfood. Thisisamajorsocialevent.
…Assome ofthesingersexpressit,iftheydidnotbelieveinthemoral
powerofthesinging–didnotfeelitseffectswhentheyaretogether–they
wouldnotdevotethemselvessocompletelytothistradition. Inaletterto
theAtlantaJournalandConstitutionMagazine,LonnieRodgers,aleading
singerfromRoopville,Georgia,summedupthechiefcharacteristicsofa
singingsessionas”loveandfellowship,religiousspiritand
thankfulness….Thesesongsmeanalottous;theyareourwayofgetting
closertoGod.,,7
“,:;;;:”.
…TheSacredharpsongsmaybetransplanted,butthetraditionitselfcan
notbe.Itisnotatlastthebodyofprintedsongsinthebookthat
constitutes theSacredharp,butratherthewholeritualizedtraditionthat
envelopes themusic,transformingitintoalivingenactmentofthepast.
Andthiscannotbesimulated.Norcanthetraditionstandapartfroman
SIbid.,p.20.
6Ibid., p.18-19.
7Ibid.,p.18.
5
appreciationofthereligiousnatureofthesongsandtheinspirationfrom
praisefoundtherein. Fortheall-daySacredharpsinginghasalwaysbeen,
.aswellassocialgatheringandmusicalactivity,aformofworshippeculiar
tothosewhoengageinit.
Thereisadelightinandafeelingforthismusicthatcannotbe
transferredeither.AsaSacredHarpsessionwhenthesinginghasreached
acertainlevel–whenthesingersrespondwhollytothemusic–itisalmost
asiftheyareonlyreceptacles,vesselsfromsomethingage-old whichlives
againthroughthem. Astheoldsongswellupthroughandaroundthem,
thesingerssubmittotheeffectsofthemusicwithakindofawe…8
]
]
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8Ibid.,p.154-155.
6
DEATHASASTAGEOFLIFE
InthispaperIwillexaminethesongsoftheSacredHarptraditionforinformationabout
dyingandthemomentofdeath.Iwilllookatthemessagesaboutdeathgivenbysongs
writtenfromadeathbedperspective.Iwillseewhatstagesoftheritesofpassagea~_~
included.Arethereexperiencesofthedyingpersonthatwemaydescribeasa”nearing
death”experience?Deathisacommonexperience,notedforitsunpredictability.
DuringthetimeintheSouththatthesongswerewritten,achildmaybefineinthe
eveninganddeadthenextmorning.Littleinthepeople’slivescouldbecontrolled.
DeathhasbeenapopularsubjectoftheSacredHarpsongs.Deathisinevitable,butit
isthevehicletoheaven,providedonehastheticketof”acceptingJesusastheirpersonal
savior.”ThesongsareaboutthedeathoftheChristian,whobydefinitiongetstogoto
heaven.
,ManySacredHarpsingingconventionstakeaperiodoftimetorecognizethosethat
havediedsincetheirlastmeetingorinthepastyear.Thisisknownasthe”memorial
lesson,”whichisgenerallythetimejustbeforethebasketlunch.Alistofpeoplewho
havediedisreadandeulogiesaremade.
Mrs.RuthDensonEdwards,”inhereighties,gavethelessonattheHollySprings
MemorialSinginginGeorgiain1972.Ithasbeenreconstructedbyalistener,and
poignantlyaddressesattitudestowardsdeath.~,
“WhenIwasalittlegirl,Ididn’tlikethememoriallesson. (Shespeaks
nowforseveraloftheyoungwhoareuncomfortablewiththispartofthe
service.)Ithoughtitwassad,andIwantedtogetoutofthechurch.But
mydaddysaidtome,’Babe,there’llcomeatimewhenyou’llthinkthat’s
thesweetestlessonofall.’Andthattimehascome.(Hervoicesoftensto
awhisper.)Thattimehascome.
I
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“Allofyouunderthesoundofmyvoice(hereyesspanthecrowd)…
willbetouchedbydeath,ifyouhaven’talready.Deathhastouchedme
manytimes.TheDeathAngelhasclaimedtwoofmybrothersandthree
ofmysisters.I’mthelastofmyfamilyoftheDenson-Burdettes,andBob
9Mrs.DensonEdwardswrotethe”IntroductionandHistoryoftheOriginalSacred
Harp”forthe1971DensonRevisionoftheOriginalSacredHarp.Shewasonthecommittee
responsiblefortheDensonRevisioneditionsandistheassistantSecretaryfortheSacred
HarpPublishingCompany.
7
~——-~-
there(pointingtohercousin)isthelastoftheDenson-Burdettesofhis
family(ofninechildren).
“Forallofus–forallplants,allanimals,forallformsoflife–there’sa
cycle…We’reonlyborntodie.Wegothroughfourstages.Afterwe’re
born,wegrow,webearfruit(shewavesherhands)…weage,andthenwe
die.
.J
“WhenIwasincollege,Ihadtowriteatermpaperinpsychology.And
~anyofyouwho’veeverhadtodothatknowthatit’shard(thelisteners
stir,facessmile).AndoneofthethingsIread…wasaboutthewaypeople
reacttodeath…Youknow,anyofyouwhohavelostsomebody…when
youtalkaboutit,you’lltalkallthewayaroundit,withouteversayingit.
Wesay,’whenhepassedaway’or’whenheleftus.’Wewon’tsaythe
noun’death’becausedeathisacondition.
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r71.<.
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"Buttheword'death'meansgoinghome.Deathisadoor…to…whatisit?
…'Joy'(quotingtheIsaacWattstextnow),'Andyetwedreadtoenter
there.'Buttheideaofdeathdoesn'tbothermelikeitusedto…(andnow
speakingofSacredHarpsingers)Ifthereisaheaven-andthereis–we
knowthey'rethere.
I
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Thenamesofthedeceasedarementionedagain,withMrs.Edwards
commentingonthosesheknew.Mr.LeeWells,amuch-beloved,aged
singerfromAlabamaisrememberedespecially:"Hewasasmoothand
gracefulleader.Justbeforehedied,hesatupontheDavenetteandsang
threesongs–justassmoothandclearasheeversang.Hecouldn'ttalk,
buttheLordgavehimvoicetosing,andthenhedied."
Sheremarksagainthatdeathisa"goinghome,"andreinforcesherpoint:
Mr.Wells,neardeath,couldsing.Shecallsoutthesongshewilllead,
"FleetingDays."Underhersuredirection,theclasssingswithaneffect
thatisnotmournful,butmeasuredandstrong,withafullvolumeof
sound:
Ourlifeiseveronthewing,
Anddeathisevernigh;
Themomentwhenourlivesbegin
Weallbegintodie."
10Cobb,p.146-147.
8
Here'sevidencethatthesongsreflectthedeepmeaningsaboutdeath.There'snodoubt
thattheSacredHarpwordshavemovedintotheheartsofthesingers.Mrs.Edwards
talksaboutdeathbyquotingthewordsofg.song. Themetaphorsofthesongsbecome
themetaphorsofalife.
GeorgePullenJackson,aprofessorofGermanatVanderbiltUniversity,wasthefirst
scholartorecognizetheimportanceofthe-Sacred Harptradition.HedevotedhisIife
tothestudyofthemusicandtexts,writingmanybooksandarticles.Hisfirstbook,
SpiritualFolk-SongsofEarlyAmerica,waspublishedin1937.Heunravelledsourcesof
tunesanddocumentedthephenomenaofthisAmericantradition.
JacksondescribestheSacredHarpsongsascoveringasequenceofeventsinaspiritual
journey.
Thefirststepinthereligiousexperiencebeginswithexhortion. "Thepreachersand
saintsusetheirpowersofseduction,throughthevehicleofsong,towardtheconversion
ofsinfulyouth,back-sliders,andtheungodlyingeneral.':"Thesongsatthisstage
describehowothersareinthesameconditionandthesacrificethatChristmadeforthe
sinners:
Andtheangelsstandinviting
Towelcomesinnershorne."
He'spreparedtheeahome:
Sinner,canstthoubelieveit?
Andinvitestheetocome:
Sinner,wiltthoureceive?"
Today,ifyouwillhearhisvoice,
Nowisthetimetomakeyourchoice;
Oh!turn,sinner,turn,
MaytheLordhelpyouturn,
Oh!turn,sinner,turn,
Whywillyoudie."
11GeorgePullenJackson.WhiteSpiritualsintheSouthernHighlands.p.275.
12"Burk." OriginalSacredHarp.p.92.
13"HighlandsofHeaven."ibid.,p.175.
14"TS' T·"'b'd 160urn,Inner,urn.I1.,p. .
9
Othersongsdescribedtheconsequencesofnotbeingsaved.TheJudgementDayawaits
tosendtohellthosewhohadmadethewrongchoice:
Death,'tisamelancholyday,
TothosewhohavenoGod,
Whenthepoorsoulisforcedaway,
Toseekherlastabode.
Invaintoheavensheliftshereyes,
Forguilt,aheavychain
Stilldragsherdownwardfromtheskies,
Todarkness,fire,andpain."
Brethren,seepoorsinnersroundyou,
Tremblingonthebrinkofwoe;
Deathiscoming,hellismoving,
Canyoubeartoletthemgo?
Seeourfathers,seeoutmothers,
Andourchildrensinkingdown:"
ThesinnerwhotakestheleaptoJesusgoesthroughthenextstep,theconversion
experience:
"J
Inevershallforgettheday
WhenJesuswashedmysinsaway."
.oJ
IcametoJesusandIdrank
Ofthatlife-givingstream;
Mythirstwasquenched,mysoulrevived,
AndnowIliveinhim."
10
I
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ThenthesongsturntodescriptionsofthePilgrimjourneyingtothePromisedLand.
Therearesongsofthehappinessoftheredeemed.Buttherearetroubles,too,onthe
journey.Itisoftenafightagainsttheworld:
I
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YesoulswhoarebounduntoCanaan,
,I
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oj
15"Tribulation." TheSacredHarp. p.29.
16"HolyManna." OriginalSacredHarp.p.59.
17"Exhilaration." TheSocialHarp.p.85.
18"IWouldSeeJesus."OriginalSacredHarp.p.75.
10
Comejoininandhelpmetosing
ThepraisesofmylovingJesus,
Myprophet,mypriestandmyKing.19
Youmaytellthemfatherwhenyouseethem,
I'mapoormourningpilgrim-
I'mboundforCanaan'sland
IweepandImournandImoveslowlyon."
l
b
Come,allyemourningpilgrimsdear
Who'reboundforCanaan'sland;
Takecourageandfightvaliantly
Standfastwithswordinhand.
OurCaptain'sgonebeforeus,
OurFather'sonlyson;
Then,pilgrimsdear,praydonotfear,
Butletusfollowon."
l
ThecompanionshipofJesusmakesitworthit:
Jesushasbeenwithus
Andheisstillwithus
AndHe'spromisedtobewithustotheend,"
Thendeathcomes,thelonged-forfarewellfromearth:
-,
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I
1
Afewmoredaysofsorrow,
AndtheLordwillcallushome,
Towalkthegoldenstreetsofthenewjerusalem."
"CrossingJordan"isthethresholdbetweentheearthandheaven:
Withjoyoutstripthewind,
I'dcrosso'reJordan'sstormywaves,
-,
;
,
19"HelpMetoSing."ibid..p.376.
20"WeepingPilgrim."ibid.,p.417.
21"Pilgrim." ibid.,p.20l.
22"Promise."TheSocialHarp. p.73.
23"BrethrenPray.".bid.,p.80
11
Andleavetheworldbehind."
NowthepilgrimhasreachedThePromisedLand(CanaanorNewJerusalem). Thisis
perfection,everythingthatearthisnot:
,'j
I'llmarchtoCanaan'sland,
I'lllandonCanaan'sshore,
Wherepleasureneverends,
Andtroublescomenomore"
WhenIcanreadmytitleclear
Tomansionsintheskies,
I'llbidfarewelltoeveryfear,
Andwipemyweepingeyes."
InthisstudyIlookatthesongsofJackson'slaststagesofdeath,crossingJordan,and
reachingheaven.
Songsaboutthemomentofdeathofcoursearen'texactlythat,butsongsclosetothe
momentofdeath.TodefinethismomentmorecarefullyIusedtwocriteriaforchoosing
thesongstostudy.First,thesongiswritten(mostly)inthepresenttense. Songsabout
dyingthatareinthefuturetensecouldbealongingforthatmomentinsteadofa
descriptionofthatmoment. Second,thesongiswrittenfromthefirstpersonposition.
ThesongscomefromtheSacredHarpmusicbooksthatarereadilyavailabletodayin
printandinlibraries,havingbeenreprintedandreissued.Isurveyed1773songs,but
thesearenotallunique.Somesongsarereprintedindifferentbooks.Somesongshave
thesamenamebutareindifferentarrangements. Somesongsarethesamebuthave
differentnames. (Nocompletesurveyofallthesongshasbeenmade.) Iusedthe
versionthathasthemostverseslisted.
BesidesadescriptionoftheprocessofdyingIalsoexaminethesongsaboutdeathasa
riteofpassage.VanCennep"analyzedceremoniesinritesofpassagesindifferent
cultures.Hedescribedthreephasesoftherites. First,therewasaseparationfromthe
oldstructure.Then,thereoccurredatransitionstage-a threshold,knownasliminality.
Third,therewereritesofincorporationintoanewstructure.Sincetheriteofpassage
ofdeathisoneofthemostdramaticforasocialgroup,perhapsthesongsaddressthese
24"SweetRivers. TheSacredHarp.p.61.
25"Pilgrim'sFarewell."OriginalSacredHarp.p.185.
26"Ninety-Fifth." TheSacredHarp.p.36.
27ArnoldvanGennep.RitesofPassage.1960.
12
stages.Isonestageemphasizedoveranother?
Inthisstudyevidenceoftheseparationstagewillbethatofsayinggoodbyesandthe
physicalexperiencesofdeath.Lirninalitywillberecognizedastheperiodofthesoul
orspiritleavingthebodyandgettingtoheaven.Theincorporationstageisdefinedas
thesoulbecomingsettledintoheaven,leavingtheworldbehind.–
"Sawyer'sExit"fitsthecriteriainthatitapparently"waswrittenonRev.Sawyer's
deathbed.
l
"AllisWell,""TheGoldenHarp,""FarewellAnthem,""FarewellHymn,""Claremont,"
"ChristianSong,""Columbia,"and"Concord"aresongsaboutdying.Theyarewritten
inthefirstpersonpositionandinthepresenttense."TheDyingBoy,""TheDying
Californian,""Columbia,""Hick'sFarewell,"and"Sister'sFarewell"arefirstperson
positionanddirectedtowardstheirfamilytheyleavebehind.
l
"TheBlessedLamb"iswrittenfromthepositionofthesoulintheliminalphase.
~includeothersongsaboutdeathalsoasexamplesofattitudestowardsdeath.Idiscuss
somesongswrittenbyapersonwhohaslostalovedonethroughdeath.Iidentifythese
throughthebiographicalsketchesandtheuseofthetenseinthelyrics.Theseareuseful
inthattheydescribetheeventsofdeathfromanonlooker'spointofviewwhoisdeeply
involved.Theyareoftenfilledwithgriefandsadness,sometimeswithagreater
understandingofthebiggerpicture.
Ialsodiscussseveralsongsthatarewrittennotabouttheexperienceofdeath,butare
informationandteachingsaboutdeathgivingseveralviewpoints.
l
CopiesofthesongscanbefoundintheAppendix.
-"
~j
28SomeofthebiographicalsketchesprovidedbythenotesintheOriginalSacredHarp
containerrors,sowemustguardagainsttakingtheinformationascompletelyaccurate.
WhileJacksonandotherscholarssearcheddiligentlyforinformationandconfirmation,some
ofitisirretrievablylost.
13
THESONGS
·,
,
"I
Thepersonwhowrotethewordsto"AllisWell"29 isnotidentifiedineitherTheSacred
HarportheOriginalSacredHarp.Itbeginsinthepresenttensewiththeawarenessthat
somethingishappeningtothesinger'sbodythat"soonwillquenchthismortalflame. II
Deathisstealingup,sneakingup.Theritesofseparationbegin.Butthisisnotsad,the
singerisjoyful,repeatingoverandoverthat"alliswell." Deathsetsonefree.This
worldisfullofsorrowandpain,butJesusiswaitingandthesingercan'twaittosee
him.
:1
L-.J
'.·.·.·.1.
1
What'sthisthatsteals,thatstealsuponmyframe?
Isitdeath,isitdeath?
Thatsoonwillquench,willquenchthismortalflame?
Isitdeath,isitdeath?
IfthisbedeathIsoonshallbe
·1
I
Fromeverypainandsorrowfree.
IshalltheKingofglorysee,
Alliswell,alliswelL
1
·J
Inthesecondversethesingerremindseveryoneelsethathe/sheisaChristiangoingto
heaven.Nothingwillpreventhim/herfromseeingJesus.Inlinesevenweseewhat
willhappen:theperson/soulwillmoveupwardatdeath.Liminality,thesecondstage
intheritesofpassage,hasnotstartedtohappenyet. _
1
.".)"
i
..1
Weepnot,myfriends,myfriendsweepnotforme.
Alliswell,alliswelL
Mysinsforgiv'n,forgiv'nandIamfree,
Alliswell,alliswelL
There'snotacloudthatdotharise,
TohidemyJesusfrommyeyes.
Isoonshallmounttheupperskies,
Alliswell,alliswelL
!
,J Thethirdversegetsverydescriptive.First,therearesaints"onhigh,"whichwecan
taketomeanheaven,whoplayharpsandneedtotunethem.Soonthesingerwillhave
29TheOriginalSacredHarplistsJ.T.Whiteasthere-arranger.Hewasthenephewof
B.F.White,oneofthecompilersofTheSacredHarpof1844.TheSacredHarp.p.122. '.
14
thesamejoyfuldutiesofharpplaying(songcontinuingthefuturetense).Butrightnow,
deathisstillinprocess,butimmanent. Thenthesongshiftsbacktothepresenttense.
Thereareangels"fromglorycome"whoareintheroomandaroundthesinger'sbed.
Theirdutyistocarrythespirithome,whichisupwards.Theyareshiningwithabright
lightanddon'tactuntilthebodydies.Thepresenttensereflectsthattheliminalphase
hasstarted–theleavingofonelifeandmovingtothenextone. .-
~I
!
Tune,tuneyourharps,yourharpsyesaintsonhigh,
Alliswell,alliswelL
Itoowillstrikemyharpwithequaljoy.
Alliswell,alliswelL
Brightangelsarefromglorycome,
They'reroundmybed,they'reinmyroom.
Theywaittowaftmyspirithome,
Alliswell,alliswelL
Othereventsoccur. ThedyingpersonhearsJesuscallingher/himtoheaven.Whatever
wasdoneinlifetogetherewasworthit.Infact,let'sgetonwithit.She/hesays
goodbyetofriends.It'snotpossibletostoptheprocessorstayonearth.Thedying
personseesintoheavenandacrowniswaitingasareward. Theliminalityisspelled
outinthisverse.Thedyingpersonhasafootinbothworlds,bothsayinggoodbyeand
seeingheaven.
I
!
.J
Hark!Hark!myLord,myLordandMaster'svoice,
Callsaway,Calls-away!
Isoonshallsee-enjoymyhappychoice,
Whydelay,Whydelay!
Farewell,myfriends,myfriends,adieu,adieu.
Icannolongerstaywithyou.
Myglitteringcrownappearsinview.
Alliswell,alliswelL
-,'
!
•j
Thenthethresholdiscrossed.Thespirit(butstillasanindividual)joinsthesaints,the
"blood-wash'dthrong," whoaresinging.Thesongsarerapturous. Nowthespiritis
incorporatedintoheaven.Thespiritisfilledwithhappiness,peace,joy,andpraisesto
Jesus.Thegoalhasbeenreachedanditisgood.Gracemadeitallpossible..,
Hail!hail!allhail!yeblood-wash'dthrong,
Savedbygrace,Savedbygrace-
Icometojoin,tojoinyourrapturoussong,
Savedbygrace,Savedbygrace!
All,allispeaceandjoydivine,
Andheavenandglorynowaremine,
LoudhallelujahstotheLamb!
15
Alliswell,Alliswell.
Fromthissongweseethatatthemomentofdeath,angels(there'smorethanone)come
downtocarryone's spirit(ifone'ssinsareforgiven)toheaven. Obviouslyoneno
longerneedsthebody.Heavenisupward,filledwithsaintsplayingharpsand[esusis
there.Dyingmeansonecanfeeldeathmovethroughoutthebody,puttingoutthe
essencethatisfire.Oneseesandexperiencesangelsaroundoneselfwhoareresponsible
forguidingthespiritafteritleavesthebody.OnehearsJesuscalling.Oneseesinto
heaventoseethecrownandharp thatarewaiting. ThisisCallananandKelley's
nearingdeathexperience.Manysaintswaittherealsowhoplaytheharpandsing
wondroussongs. OnewillsoonbewithJesus. Therewardsmakeitallworthit.Itis
ahappyexperienceandonesfriendsshouldnotbesad.
]
'1
I
"AllisWell"30ishexatonic,hypolydian(ionian),andin4/4time. Withtherefrain,"all
iswell"repeatingoverandover,itseemsverypositiveandhappyaboutdeath.
,1
I
I
"Sawyer'sExit?"isaboutthemomentofdeath.Rev.S.B.Sawyerwroteitontheday
ofhisdeath,accordingtothenotesintheOriginalSacredHarp. Heaskedthatitbeset
tothepopulartuneof"OldRosentheBow."Thenotescontinue"…andoncompleting
thewordshisspirittookitseternalflightintoitsnewlife.Prof.Massengaleappliedthe
wordstothetune. ThesewordscomposedbythisChristianman,showstheglorious
andtriumphantdeathoftherighteous…WehadnofurtherdataaboutMr.Sawyerthan
theabove."Hereisasongthatislikelytoshowanearingdeathawareness.
Inverseonethetimeofdeathisbrightandsweet,foritmeansgoingtoheavenwhere
therearemansionsofglorywhereonecanbeathomeforever.Asin"AllisWell,"
heavenisupandonerisestoit.Itisfilledwithrichness.Someone(Jesus?)callsthe
spirittocomethere.Sawyeraddsthatonestaysinthemansionsforever.Thereisno
sadnessasliminalitybegins.
HowbrightisthedaywhentheChristian,
Receivesthesweetmessagetocome,
Torisetothemansionsofglory,
Andbethereforeverathome.
I
..1 InversetwoSawyerconfirmsthattheangels(morethanone)waitandwillguidethe
spirittoheaventhemomentithasleftthebody.Thereitwillbewelcomeandsafe.
Thisistheliminalphase.
Theangelsstandreadyandwaiting,
30Jackson. SpiritualFolk-SongsofEarlyAmerica.p.90.
31TheSacredHarp.p.338.
16
Themomentthespiritisgone,
Tocarryitupwardtoheaven,
Andwelcomeitsafelyathome.
Heavenisfilledwithsaintswhoaresinginghallelujahandshoutloudlyasthenew
spiritarrives,alsowelcomingit.Therites-of incorporationbegin. Thespirithasbeen-
atravelerwhoisnowhome.Nowthespiritisspokenaspluralandstaysthiswayfor
therestofthesong.Perhapsindividualitynolongerexists.
Thesaintsthathavegoneupbeforeus,
Allraiseanewshoutaswecome,
Andsinghallelujahthelouder,
Towelcomethetravelershome.
Inversefourwefindthatthewelcomealsocomesfromfriendsandcompanionswho
_J havegoneonbefore.They'veescapedfromeviltooandhavebeenwaitingfortheir
friendstocomehome.ZionisaSacredHarpmetaphorforheaven.Gatereferstothe
thresholdintoheaven.
Andthereareourfriendsandcompanions,
Escapedfromtheeviltocome.
AndcrowdingthegatesoffairZion,
Towaitourarrivalathome.
Butmostofall,Jesusisthere,sittingonathrone,holdingouthisheart"andhishands
towelcomehometheoneshediedfor.
Sonp Verses Sen. Lim. Inccr, Teach Time: Malor TYDe Minorc.1I Who SouiSpirit AnI’: Jesus GodSaints De1th Sin£ HCl,.ycn1 Other
AllisWen 5 1-2 3-4 5 m y y Jesus y y y y crcap.up y up ha.rp.,crown
Blessed Lamb 2- 1-22/4 23/4 3/-4 y hypolydhn y y
Christi.nSong 9 1-2 3 4-9 6/4 phyrigi1ll y n y y eyesclosing spiritflies
Claremont 9- 1-9- 6/4 hypodorhUl y y a.n:e1s y y y eyes,sparbdrowned, breath spiritfemale,seraphic
Colombi. 6 3112-51125112-6 6 1-3112 414 y y arms y y y up reward
Concord ,5 1-2 3-5 – 214 y P!’ne> n rnansjon,bright
Dyin~BoT 7 1-3 4-7 –
214y hex
T
.ngel. y y fcycr,pain;wca.k.bcad y crown
Dyin~Califomkn 15 1-14 15 – 414
T hex
T Jesus y y limbscold,fever
Psrcwcll-Anthem 8 1-5,8 6-7- 4/4 hypodori1ll y
T
deaeh y coldsilentgr1ye
FsrcwcllHymn 16 4-8112 81/2-
1-3,9-16 4/4 hex. y TJesus y checksr.de
GoldenHarp 8 214- 3/4-7 8 214 pene> yrJesus y T Y Y Y
praise
Hiclt’s Farewell 11 5-11 – –
1-”
6/4 hypodori1lly y y dust life:review
Sawyer’sExit 6-
1·2 3-5 6/4 y pene>
T sorneoc y y y r- y up throne, heart/h.nds extended
Sister’s-Parewell 8 1-4 5-8 414r penta n y y y crown, throne
CONCLUSION
14songsfitthecriteriaforbeingaboutthemomentofdeath.Table1liststheevents
describedinthesongs.
Severalthingsarestrikingaboutthetable.!The songsdocoverthestagesintheritesi~f
passageasdescribedbyvanGennep.100%ofthesongsdescribeatleastonestagJi
79%describeseparationrites.86%describetheliminalphase.43%describethe
incorporationrites.Liminalityisthemostcommonofthethreephasesoftheritesof
passage.Isuggestthatnearing. deathawarenessisanin-the-field descriptionofthe
liminalphase. Besidesseeingthenextworld,thenearingdeathawarenessoftengives
thedyingpersontheknowledgeofhowtohaveapeacefuldeath.Theboyin”THe
DyingBoy”specificallytold-hismotherwhatheneeded.
~9%ofthesongsmentionallthreestagesoftheritesofpassage. 7%onlymention
separation.43%coveronlyseparationandliminality.7%onlydescribetheliminal
phase.14%describebothliminalityandtheritesofincorporation. Itisinterestingthat
sofewsongsdescribetheliminalstagebyitself,yetliminalityisthemostdescribed
stagewhentheothertwoarementioned.
64%ofthetimetheliminalphasebeginswithacalltothesoulorspirit.36%ofthe
timethecallerisJesus. Angelsaresecondat14%. …
Jesusismentionedin71%ofthesongs. Godismentionedless,43%ofthetime.Angels
arementionedin50%ofthesongs.Thebiggestactivityinheavenissinging,notedin
36%ofthesongs.
29%alsoincludeteachingsandinstructionsaboutdeath.Mostofthesongsarevery
positiveaboutdeath.Thesingerslookforwardtoit.
‘
,
r
Onehalfofthesongsareinamajorkey. 43%ofthesongsarein4/4time.The
threesongsthatdonothaveaseparationritesectionarein3/4(1)andin6/4(2).
Perhapsthisisareflectionofthemovementofthesouloutofthebody.
Wecanconcludethatthesongsdotellusaboutthemomentofdeath.Thebodygets
cold,andwecanfeelthecoldnessmovingthroughit,armsandlegsfirst.Thesenses
fadeaway.Thebreathisdrawnaway.Theremaybepainandfever.Weareweak.
Yetthereisawareness.Wesaygoodbyetoourlovedonesandtellthemnottobesad.
Weassurethemwewillbetogetherinheaven,thisisnottheend.Deathputsoutour
58
.
.j
:-:-::1
j””::
”.:,.
‘…•:-.-}
”
j
I
,;
lO4Cobb.p.18.
71
APPENDIX
~i
I
~I
i
I
~1
I
~)
~l
I
l
~l
!
72
:J
1
••J
.1
12:3 AL.LISWELL. P.M.
1What’3thisthatsteals,thatstealsup-onmyIrameI
Thatsoonwillquench,willquenchIhismor-jal’.tlame.
it
it
Is
Is
death 1
death1
is
is
it
it
death!}
death1
thisbe death,If I
$IWeepnot,myfriend., myIriendswcel’ notfor
Mysitufor-giv’n,fur-giv’n,and I~
wellI'(
wcll!5
Alli.
Allu
Allis
Allu·
wellI
weill
me,
free.
There’. not
,,-..,
.,
a cloud that
“rOOFr[~E~mf._
a’;E&;-~ijii¥t-~
dotha-rue,Tohidemy Je·.l13· frommTeyes, Isoonshall mount theup-perskies,All13.wellI.AU.uwelll
•Hukl h.uklm’1Lord,m~u'”~!~dl~.~r:~;l~e,
I.oon .b.alIIco–enJoy m~appy c.bolc.c1
Varur.n, mymen”,adTe~.C!.4l~~b”, delay,
Jcannolonccr ataywithyoa.. .
:dyCUuerlnl’ CZOWll apputa InrleW’~
A!!IawOlJ, AllII•••.•UI
~lUllIboJIl &lIboJIl &lIb.1l1 yoblood •.••.••b·dWont•
Bayed byrra-ec. aa.vcd b1rn.c.e-
1c.om4toJoin.,10J~mro6:Yr:rb~;:!,:.nJ~~.d by•.nee1
All,aU'” peaee•.ndJoydlylnfl,
ADdhell.YenandItlocyDOW’ aramine.
LoudhLlldUJa.h1 toth4Lalnb1 .
.I.UII””’1, AllII,•.•llI
54
THEBLESSEDLAMB~ 88&78.
Slow. KeyofCMajor. “Make sweet Melody,zingmany:lonp. thatthoumaye.st berememberod.”-Isa.. 23:t~
“-fffi-&-!-~6~~~~~~t=:@lF=i~~~~~R~1
See’hehappy spl.r·1.. watt-Ing Onthebanks beyondthe.Iream; lSeotheywhisper:Harki Ihey callme, SJ…ter.pti_II,comoa’,way;
Sweet response” stillre-peat-lng Je-sus Jo..SU.5istheirtheme. S
See thehappy spir-Its wail-Ing
Sweet response3 stillre-peat-log
Onthebanksbeyond thostream:tSeetheywbteper:HOlIkJ theycallme,
.Je-3U.sJ0-.susl.stheirtheme. 5
Sis-rersplr-It,como a-way;
-.-~~~–.. ., — ~- .-.
•~’ 11– • -••.~ — —
:…:–‘-“–7~ ~ ~~-‘ :-~~=~~
La, Icome,earth can’tcontain me;HaJI, yorealm.s ofend-Jeer dayJ
Hall,hall.hall. hall, hail, The blessed Lamb,Glo· ry,glo. ry.glo cry10hi>name;
I~~~§~~~~~~~~~~g~~~~~ I
If ~ ~~~~. ~g’~
come, earth can’t containme:H·a.ll.yorealms ofend-less day!
Hall, hail,hall.hall.hall,Thoblessed Lamb; Glo· ry.glo-ry,glo-ry 10hI>namo,
Thlstuncwas!lr.stpubl13hedIntheSacredHarpbyB.F.WhlloInle69.Wehave beenunable to!lnditIna.nyotherbook belore ·that date.Nodoubt. hrow-
ever.Itwasprintedbeforethattime,a.ndpc.rhiiLP.s thoauthorwa.snotknownatthattimeorMajorWhite wouldhave riveniheauthor’: name,Ithassomepecullar
run,n?tInanynthertune. TheWOt~ areIDoklnr tothebeyond a.fterdeathto.Jesue onthebank: ofeternal deliverance,
73
~I
I
-‘-I
I
-‘-·1
j
240 CHRISTIAN SONG.
Mineeyesarcnowclosing torest,Mybo-dymustsoonberemoved, Nomoretobeenried or
__. Andmould’ring, lieburiedindust,
:Jil!.,
Son andalo~•.•
loved, Nomoretobeenviedorloved.
Ahlwhati~thisdrawing’ mybreath,Andsteal- :ngmy sen-sesa.-way1
CHRISTIAN SONG. Concluaed, 24
otellme,mysoul,isitdeath,Releasing mekindlyfromcia;’totellme, Nowmounting, mysoulshallde
otollme,.
~-if ‘_ …•.. 1 2
~;t1b~,&k=_
[1~lI§~, ~~-.;;~ti2=n:
scryTheregions o!pleasureandlove,Myspiritcriumphantshall 1Iy, AnddwellwithmySaviour a•bove.
.-
1
74
CLAREMONT. 7s&8. 245
Alexander Pope
“Ohdeath, whereisthysting? .OfgravewhereIsthyvictory? 1stCor.15-55.
Key ofAMinor.
Vital spark ofheavt-nly flameQuit,ch?qultthismor-tal frame; Trembling, hoping, ling’-ring, fty-ing,fly-Ingfly ing.
–~ -==~~3~~:–~~-=~ :-=~-~II::i=1j======~’:: =~- d~=:±=~~~=;;iJ
– .-&-, -6”–“‘-‘ _I_ ..;- –JL__,_, __,_,.–=1–:1- —. –6′–6’ ,X-,-..•-
-8-. –5-.–“- —— -5-.–“-. ‘5’”~——– –8 ….-5———— —–=-=–.-.-
sparkofheavt-nly flameQuit, oh?quitthlsmor-tal frame; Trembling. hoping. Iing·-ring. fly—ing.fly-Ing. fly Ing,
—- —….
‘–‘~~~~-F’-~:-~ -~=~;:F.~Jt,.r=E~ ==q===t~F~-*-O—J$t,t–~n-~J
:IP:’-J”,—,–:~=—li:- -t:—-~~: –l—~— —-~—— —– _.=:1:=._
Vital spark ofheav’vnly flame.Quit. oh!quitthismor-talframe: Tremb-i1ng. hope-lng. ling'”””.””””.””. ” ring. fly………..• “”.”.” …….•…… tr.g.
–“- ,..•….,..–1′.-,.., -~:t– ~— –.– —; –..
-::1.::___ _–~_’ 1__ f-2_~_ =’=–+-~:- _=,..-,— ——“– ‘. _____:’
-‘—‘ d’. __. .. … . e-,’_,-_ iol-~._ ..__ •~==-.–
~1
I,
.-_1
r r ,
.-1
I
.,
~
I
~l
J
“J
_.
-‘–1
I
I
CLAREMONT. Continued. 247
I. this bedeath? Tell me. mysoul, can this be death? .~e
~.=–====-I–:::::Ej, 1~~~-;;-~I ,-Eqr-:::Ef¥1 ~-.-=====:I
=~-t;-.—ffi==– –~–W-=—-~-=~-9′–.-~5 _. -=:=1
— .
this bedeath?Tel!me. my soul, can thisbedeath?Tellme, mysoul,can thisbe death?
–…===~”””i–~-=~ —~=-=-~~—-~
-. Ii_~ –_=—- I .’ •. -.)t
—— —_. • ~__ I-_ __3;£=I=-=;;;;:::….——-.-=+-
this be death? TheTel!me.mysonl. can this be death? Tellmemysoul,can
II~~~~–~-·–~~–===-~=r-r~· –:-~:-~-:——-r-~
~F~_~~ _.. _ ~~.’ ._…4.. – )t
~–I-_- +=.2_I .____ _ ..-…CI __.:x. .__
..-
worldre-cedes.Itdts myeyes. my carswithsounds se-raph-Icring,My””‘”. withap-pears, Heav’n 0-pens on
8-. -8—.1 -9–tI
re-cedes. Heav” n0-pens on mycarswithsoundsse-raph-.Iering. Myears witheyes,
–. ~ ….,. ~ -b-“”””-:”””
1~~-~-·~-l3-~~-!·~~:~=gt_·~:7-·_ff::=-~~~~;:rr==:==I~=%E==p-2El
248 CLAREMONT. .Continued.
~ ~l~W __ =EE-=:-~~ ~~=a=-n’:’:;”‘:”21
f.52P i’b·~=tE~~_ -‘~- ==1-_=:9i.t:j-:.
sounds se-raph -Ie ring……………………………. My canwithsoundse-rap -Ie ring. Lend.lendyour wingsI1
I~-E~~~-~~. ~.-~W-1 -=e=x.=~:c~·-~~:~–s=cr-F-~?
I~ ~– fE9-‘—~~-=st::~L–.-8-~—–.-3
———
litr:;-C3Tjjt:d~l -~-~-=.-~j?~-IC-~~cl5-==r~==@
Iv4—- ~—— ——.– -~-=—— .- ~ __~
mountl1l1yI 1 mountl 1l1yI 0gravel whereIIsthy vie-to-ry? thyvie-to-ry?0 gravel where I. thy
~T 4 I–I—.,—-~–I -·F=r:~=1″”‘::..:===-~ ••••–‘–4E••–.~
~-.:..~–·i:1!=:!2–9~-=~·~::.:±:!=~_a==~~.~=~:-::-:-. _..=~=-” _-+-~
mcuntl flyI mountl 1flyI 0gravel where I10thy vie-to-ry?thyvie -to-ry?0 gravelwhere ts thy
-If-
….::k-_~ -.-~–fLlI-~r?’-,-.-.~-_-.–.~–.- : ~_ __ ~
IQ_—‘=–=+- -r– :1I I__ .–.-.- – – -~::::::{j
———— —.—-=:—-..-..__..C ._~=___~_:.._-Zl.__L~ .
t1
i
‘J
~…J
J
.I
J
CLAREMONT. Conduded.
-=:-=: -< ……–…..
~~~~!E~~"E, .~~Tt i!r~-'·-I·=9=r;a+f2~r~·"'·~1
—–_._ ~–Io ••••3:-=t=:–___;,t::fE2:. ~
249-
vie-to-ry?0death? whereIsthy .tlng?lend,lend yourwin~.?Imount I flyl………………………•••…•.. 1mcuntllf1ylI
—""""——–"—–
vie-to-ry?;by vie-to-ry?0death? where i_thysUng? lend,lend your Wings? ImountJ I lIyl..•.•.•.•…….•…….•••••…••. 1mountlI.fIyI I
:.. ..•….••..-k- . . ,,'.. "..-….. ..'.:.:"."
·—·~t=·r-~·-~-II-,.–~–~—-~– ~~.
.Il:::::t I I' – 1 — -~~
JZl____~~—-_ L ~-;;=Jo-L:;.-~::d—::i—= ~:
f~~-' ~~- +-~-~~.~=–·-.,E::-,.-··-~· —if:—.-~-~~~. —–'- -.•••r; ……-……;-~ –It ••••••. –+~ ••- •.1–
. _ .I_.=-…:..JI -4–1- ~_
– —- —– -_…-.-~-'–.- —— —. —
<DOlictll fly,IflyOhgravel where 1.'1thyvie-tory? Ohdeathlwhere 1.'1thyaUng?1mount! If1ylImount: IflylOh'gravel whereisthyvie-tory? Ondeath!.•••Ii.re1.'1.
'. .(thyaUng?:
I~~~~-j~~ @~:Q=OO~~§~~4t~~
1~~~~-·E~–~:=.c..,L~?-~ =;:-=Gi–~=:H
1~:~~3:2:ga t_=3:f!ti=J£ff7'!L__~_i3=_~fu{L~-t ~§3=u
mountll (ly,IflylOngravel where 10thyvie-tory? OhdeathIwhere Isihy.ting Imount IlIylImountlI1Iy!Ohgrave! where Isthyvie-tory? Ohdeathwhere t..thy,Ung?
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Columbia.
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,AndisthelovelyfhadowHe'd,ThelJiootning wcinde~ofher'ye-;ir~,S'iJ't~oq~nlhrin'dain~ng tll'e'JciadI'ShejulUy'~laims: o'u~pioustears;
~'.'"fa' .J~lDI~~~
. ,', .. ; .
§~~~~_g;~. ~3~=t~§~~1~~=R~
",~~.~~t::=t: I= .–==:f=_l'–J_3_~:::E::I=:=l-~~~
. '. ." '.. ". .
Ll
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Columbia." Continued.
£····l·
~.
:,co,:'
;Who~owt?heav'~ly[pirits.j~il)'d, .:•…. '..:'~'. .,::",'. ,0, .;
~~~,i:Am···';··~····~m~~~_·····.:·~~~!
~.~-,…~.;.'
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.~,",'. f"·':.~':'",.~.:..::..
1.Herearlyvfhort-li v'dexcellence, . .:;;:1riY,ilin,the.dear,<lepiutlngfaint,,',7,:4ql~ralfe.l~iIp.:and:r~j9Ice, fo~.m~.'.
.._Wtihmeekfubrnifllonwebernoan, '.';,FQtpid~Q,~r ~u.lhipp,~~ars, toflow.j::,: .,..So~<l,ppy"harpy.mm;:popI,.
Snatch'd inafatalmoment hence,." fqrbear,;':'~Y fncnqs,'J'qjlr:€ond complaint, So[copfrotoal.myfins.fetfrce,
Gone,fromourarms,~o)~[usgone. ..:,¥rQm~arthtoheav'nIgladlygoi ..Andhaflentothatblcftabodej
Tohei!?htenbyberfweft, remove," 1<1:gloriol,ls.cPhlpanY:l.bov·e," .-'. "With[wiftdeyremy'fieps'purfue, -.
Thegl'lcfbelow,andjoyabove.13.i1)ht' angels', andthaGod.oflove.. -Andtaketheprizeprepar'dforyoo.'
'51fe~~amIfcirtli~;gre~ti?~~~~,)<)./.'~'f::';~':Yh~ pray;~ i~[ea!'d;,thefoulIsfled,.
_'I'hegreatreward-I kno'n~minej'.:,:,'.'Andfees.herSaviourfacetofaceI'
'Come;amyfwectri:de,errjiogLord', iogde· light,A sunthatshallDeT•{Jrgodown,
d.Yewcudcrfulorbsthatastomsnmyeyes
Your gloriesrecedefrommyaight,
I0000,,”‘0.11coutcmplatemorebceutltu!SIdes,
Anu.tnllmorerespleodentlyurlght.
2l
4.Yemountnins nndvalleys,groves,riversandplaics,
Thouearthandthouocenri,adieu!
Morepermanentregions whererighteousnessreigns,
Presenttheirbrighthillatomyview.
6.Mylovedhabitation”.ndgardensadieu,
Nolongermyfootstepsyegreet,
A.mansion celestialstandsfullinmyTie.••.•
.AndparudisewelcomesmytOtl-
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THE,DYING BOY. C.M.D. Composed byH.S.Rees.
m80rY~-~~-~*-~~~–=~ ~!-~-~R -__=-.—r-:-_=e:S-t:=C~==t= –
.__ ~_:c:-_ _ _– -~ —-
– _. — —_._——_… —_._ ..
~2~~ ~~~E-~~~ ~~j::I>::::E”‘=S=~S=E€=~=t=~~E
=~:t~–.F’-=”‘=!-=-~ -r–~ – ==~~~E~~LL:-=====~-=-===~__E
1 I’m d]-.ieg, moth -er, dy,inK DOW, Please r&ito my ach…tog head,ITurn o’er pil…10″” ooce “.'” ga.in, And
And fan my haat_cd,burn-iog brOlf, Your hoy willloonb. dead-
[~~~~illF-~~~~~ ~
l—~-~~. ..—*~-a-~~_.c===~g~
•• “!x – – . —-10.;- •.- -k-k- – —-;– —
1@l;2~.–0~- -“‘-~-II :=c= _L __I—:c::.-,_-f—t=-8—II-4+- – —- ~~-+- — -10″ – -r.-+– .-1—
___ !…–_ ‘__ _ __”” .__ _,.. . -.L
THEDYING BOY. Conctuae«. 3~9
Xi. my fo-vered cheek, I’llsoon befree’d’ from all no’l’ I am 10 weak.the puiu, For
~T’-~1==~.~~–~_—1?– —#- -#- –. __ -~ – •
Nowlight thelamps, mymotherdear,
TheIUDhupsas’d &way;
I11000.mudgo,butdoDotfear,
rilliTO inendle ••day.
Aband of•.ngela bockonme,
Icnnnolooger Itly;
Harkl hOlfthey.ing, “Weweloomethe.:
Dearbrother, hutoaway.”
Theirfio,viDgrobes inbrightneu shine,
AcrOWD iaODeachhead]
Say,mother, willnotsuch bemine
Wbon IIlmwiththedead?
I’msinklDg rut,mymotherdear
IcanDOIcnger dwell;
YetI’llbewithyou,donotfear,
Butnow, ohnow, farewell!
Thehour bascome, endillneur,
Mysouliamounting higheri
Wba.t glorious .train.salutemyear
Fromheavon’. angelioeboir?
Thon doDoLweep, sweet mother,now,
‘Twillbreakthisbody frail,
ThOBeburning teATSfallo’ermybrow-
Eerewell, oh!Iaretheewell!
80
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4:10 THEDYING CALIFORNIAN. 8,’1. Ball~Drinkard.
f-l=M~,~ r_iUiFi
I 1.LA”upne”rer, brother, nouer, Form”limb. •.•.• growing cold; Andtb”pr•••nee•••mothDeuor,WhonthiuarmJaronadmoCold.
f:-~~~~
l~~~~~~~~iii;~
3.I”‘”go-iog,luroI” go-log,Bulmyhope 111God10luoog;
•..TIllm:;!a.therwhonYOIlgree’ him,
Tl>&lln daa.lh Ipray61i torhim,
·l’n].d11>&,Imight onI”meot him
InaworldthaI’•.froofrom&lll.
5.Tollm”molhor,- God&OIiJlher,
X”o.••.th.Lt.hiLigrowing· old,-
ThatberobUd1″0atagl..db&Te klued bor
WhoDhloUp’·grew puoendcold.
G.Lbull,brothor, ~tobeachwhbper,
·TIomywiI.I’llsp••.koCnowj
Toll,0tollh.r,howImiu.d bar,
.WhNl tho(,onrhnrllldm”brow.
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I&mwillillg, brother, kDcwiogThat H.dothDOthing wroD&’.
7.Tellhor.hemll.IId ••m”childrell,
LIke thokillIlullmpreued,
Holdtb.m AIwhon1•.•1Il),eldth.m,
Fold.dciol.I]tom]hreut..
10.’T”.”; forthemIcreasedtheocean,
Whal myhope. wereI’d.Doltell,
Bulthe”gr.ined allorph”,,’.portioll-
YelHedoetb.uthing. well.
8.GITe them earlytotheir ~!&kor,
PutllDg aUheru.;.lln God,
AndH•.neTer willCoraa.k.·her,
ForH.’••a.id’0IIIhUword.
11.LlIUIl, brother, olo.olyIlsten,
..Don’~forget a.lingle word,
Th”tIIIdeath myoyel didglbLen
Withthetea•.•hermemorystored,
g.OhImyehlldren,Henoll ble••them;
Tbe]wereallmyIiI.tom.;
Would1couldOno. morecu•••.thom,
BeCore I.inkbeneath ·th••8&.
12.T,1lth.mInever re•.ohed·lbeb”vell,
Wbere Ilougbt tbopreci01ll dDlt;
ButhATe g”ioed aportc..uedlIuyon
Whorethegoldwillneverru.t..
81
13.TollmyIblera, Iremember
Every kindendpuUng word,
Andm”heart bube.’;· kept under,
Bythethoughtsitsmemory IUrred.
H.Urgethemto10.llrO·AIl enu””.o
Forthey’llfilldabrother there;
Fa.ithIIIJesu. end”peDtanc.~
Willsecure forth.m”ib&re.
15.Hark IIbearm””SaviourIpea.kiDg,
‘Tia-Lkno~ hi.voi.e .011’011,.
When Iamgone,0don’tb.we,ping•
Brother,b.”rmyL>.tt••uwulll
260 FAREWELL ANTHEM.
KeyofAMinor. “But letmebidthem Farewell.” Luke 9:61.
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Myfriends, IamgO-lng along andte-dlcus Jour..ney, Never tore-turn, Ia:ngoing. Iamgoing a long and
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Myfriends. Iamgoing alongand te..dlous jour-ney, Never tore-turn. Iamgoing’ alongjourney, Never tore-turn, am
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longandtedloua journey Never toreturn. Iamgoing along journey. Never toreturn; Never toreturn.
I~~~-#~~§-§-~-·:j:~ ~’~ffi–~~~
— – 41
__ ._.,…,;~ ,,__IiX H
–. 8-8 .,.- -.-. 8- .-•.• -.—-“-li-,j 8—— —… .—- –
amgoing alongJourney. Never toreturn, Nev ..ortcre-turn. Never tore-turn, Never
to.•di-ous journey. Never toreturn. Iamg?lngalongjourney, Never toreturn. Nev-er to TO ••turn, Never tore-turn, Never torc..
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golngaloo~lcur-nev, Nevertore-turn, Iam~oln, along journey, NevertoTo-turn. Nev-er toro-turn, NevertoTo-turn,
Thoabove anthem isthelasttuneIntheis’eatucn ofthoSacred Harp byWhite&.King,publlshea In1~41, andhascccuoted thesameI,I&fl:t’,s iuaU~Ier~Vi~on~
.-.–_.- —-..__.–
FAREWELL ANTHEM.· ‘Continued. 261
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tore-turn, Never’.iever, never, never, Never to
•-1.’-
re-turn, Fareyo’:!:well,Fareyouwell. myfrjends, fareyouwell. myjrtends.
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TO .turn;. ‘FaIOyouwell,myfricnch.
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•-~ .•r-t-_~tN~=JtttllEJ~j]E=-1 I~U:n]2ZJ
• .~~–~~.—–~.- .•_ 8•8
•••-….. -.,•. -.~ ‘.lo’
frieneb AndGod~ant wemaymee] to-geth~er i;,thatworlda-bove. Where rou-ble “hallceaseandharmony .haJj· a•·b~u;;d.:
FaIeyouwel1~: my frl,:n~r AndCodgrantwemaymeet tc-getb-er Inthatwo~lda-bove, Where trou-ble shall cease andharmony shalla.•bound.
i!”‘:
“”‘:”””‘1
:
Fareyouwell, my
262 FAREWELL ANTHEM. Concluctea.
Hark!hark! mydear Irlends, {ordeath hath calledme,And Imustgo.andlledown Inthecold andsilent grave,Wherethemournerscease{rommourning
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andthepris’ner Issetfree: Wheretherichandthepeerarebothalike, Fareyouwell, fareyouweU, fareyouwell, fareyouwell, {areyouwell. myfriends,
–Xg=£QgP=~-~-~–TJ-SI I~g±TI-~-~~-=-~•…•–•..- -e •..__.-. .-.. 1- .-__ -.-. ->–::L::::i .
————- – —–.-.-.- —— – -~-..-.-.-
“Southern Harmony” byWlIIiamWallker,1835,page214.It1.aJ30IntheHarpofColumbia byM.LSwan, page219.InorderthatlLca.ubemoreeaslly3U11t
Inthisedition. 191I.WehaveeuttheHnesorwords o{thoverses Immediately under eachofthefourparts.bass.tenor, alio,trebJ~
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Farewell Hymn. 139
lf6~” -1.~~S==i§~
~~~’~~_~·~~ m§~~
Giveenr’ torneyelonso£’: -mCI1,Whynand yega:i.i~·g round mybed,.We” all mufl die,the’Lord kROWSwhen, 4nd
~=fEi~~@=~ …~ m-~.~;~ -~
~-d-~~~1i~L~~~ri~~~EI~§.
·11~-i ····~:?i:.-==OO~=E~mH~~=:t~’:~
·.·I~~~~~~~1iliff~~~i
.ii~amotlg ‘the’ lilem ‘.·dc:ld.;::·Tho’ now inhealth, you. allmay. die,’ .And .turnto;’,’·dull.e~ernalg.loryop’.: ,J
· “.!”,;
I.lThegreatC;eator:’~’ifep,~:~~~e.
Has,,11undoubted right toreign;,:,’ .’
Hemade andlentherunto you,.
..TiilheIhould callforheragain.,
Hehasaright LO’t.ikehisown,’
opraife him forhi.bl,~llcdloan,
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;:When Cro’mmyMaker’s huridIcame,
‘l1lC:feedsofJc~th wcreinmefawn; .
Which wil]Jillulvemyrrioj-tal frame’ .
Socia asthebloornof lifeisblowni.
Behold meonadying bed;’ ..
‘Forget menot,when I~mdead,,” .’
. . ‘. “.
3The feeds ofgra~e havefince beenIown..
Androotedwellwithinmy.foull)
‘Which bc~ng ripe’andfully grown,
HowJweet lyourhe moment. roll.”
Come, welcomedeath andfetmefiee1′
MySa;irju~’sface Ilong toiCe.:. :..,’
-toFarewell, myfather, kindanddear,
1williyouwell with allmyheart ;
Farewel},’TlYmother, fllQ’d andnear):’. t.
Fory’ouandImul]DlllrLlypart,”, ..x:
}fyjcfus calls, andrwill·go; …. ,.’,
And leave allearthl ythings below.’
5,lia~ewell, m~brothers’- younl?aodold,
Farewell, mylinlefiller~Ltoo ;.”
Mycheeks arepale,myhands arecold,
A;l(lrrnuflbidyoualladien.,
Mydaysarcfp’~nt,myrace is’run;”
P,cll)cmba mewhendeadand gone,
.,,’7Farewell, myueighbor~, kind anafr~e~.
,Thehappy houris!lafl’ning on, ..,-
When rouwillr:.lyconcerning me,.
ThatPolly Goold isdeadandgon~.
Thelikewill [001l befaid ofyou1.
·.TIle”Iayofvirtue then perfue.·· .
8.Adieu toallthings herebelow,
·.Mytreulureisabove theIkyi..
.::.¥ySaviour calls.i andIwil]go,’ .
.”,,”Andtake poflcflion byandby, ..-.’;…
·Dear jcfus, come, delay nornore,
·~1long. to:~COlCP’lh¥ peacefulIhore.
I)Now{heis..dead andcannot nir,”.
.Ber cheeks arelike.tilefading .roCc,: :
:..Which nrusnextwillfollow her,..
·.The Lord’Imightyonly knows:’
Butthisyouknow aswell asJ;.
Tb:uwearemort••ls,QOIn todie…
illlil,”
,. ‘1.
11’Remember this,yemourning friends”
Your lolsishereternul gain;.
WithherallfinandfCHOW t;IlUS,
·Tlimceafetomurmurorcomplain,
.tierweary foulisgone to.rell,’:
Where !inandfatan can’tmolcl] ..
”
~.”~
13Shewasablcfiing here below”
Alovely, kind, andpleafanrchild ;,
‘.H~. foul, now freefrom lin’and wo”e,
Willferve itsMaker umlefil’d.
·Her l1ecp;n~ dlllllb~ll ref]inpeace;’ .
-Tillfun’lintmoon their courfes cejf~
J+HowIwect andplqfant was~h,(ound” :,.’1″5Rejoice. yeinourn~.r~ herebelow, ..
That thi-i!l’d up9n hermortaltnnguc ,” ThatIheisgoneto·’r’brIds·.abov~ ;..
Now{heisgoriewhereTonabound,. Yet.mourn yout’.IQ[s”iil parting fp,
Andfongsofnobler praife arcfung;’. For'{h~is’~nhy ofyourlove. ‘.’
)Vhere peacel• andlove, andconcord reigns; Rfj~icewith grief, andmourn. withjoy;:'” .
AndChrif]theJLidgehis.thronemaintains.” W~llq[olenmthoughts.Y:Qur minds emploT.’
84
Iii”Who candefcribethejonof.heav’n,
Orcon.preheudthe Lordof’Ho(1sl
Mayhonour, might;andpraifebegiveIl v•’
ToFather,Son; andHoly GhoQ•
Allglory totheOne inThree,.” ‘•
indThreeinOneetcrnallr.
— —————————————————————————–
KeyofF.ldlnor
THEGOLDEN HARP. L.M.
“Yea.uponIh.harpwillIpralse thee.” 1:’s,13-4.
me.Chorus.
274
ByJ.P.Reese, 1869. P.C.
1~~~~~~m¥O”~~-·~-·~
Fare-well valn world. I’m go·Ing homeToplayontheGoldenHarp. t
MySa_vlour.mllesand bidsme com. Toplay ontheGolden Harp, ,!Toplay onthoGolden Harp.Toplay. ontheGol-den Harp•
.~~.,-~J;~A:’:: ~ffi~:r.z-~-m–~.==r;;$”I2f-2~~_::” _..
lKf1rt…:.!-‘~~ __.±1._~::::~~:L,_ .-=~-:.:___~-..-~
CHo.-I wanl 10 b. whereJ.-sus Is,’Toplay onthe Golden Harp.
~~!;@:::::~±:::::-it1Ba~~~~~m~d1=~~’~rt~=~hrt2:~=O=U
II~+–::’::-“–‘ -II:::L~±’—‘” __~_~’ ~~– _-=:E.:~p:f==:±!=I)
2. Sw••1an-g.bbeck- onmea_’way To’play ontheGoldenHarp.tToplayontheColden Harp.Topia)’ ontheGoldenH:lrpo
To sing Godspraise~rEfg’~ ~ntheGoldenHaJp.!
~~~~~-:;t~~ ~.,==-~~~~C ~~~~-ffi .,g!
Pro/. J.P.Reesew••••bornInJasperCounty.Ga,; In1828. diedInCowelaCou~~~ atOakHillCemetery, Newnan. Ga. ‘
r”‘:,j~
HICKS’.!<'AREWELL. C.M Wm lVal.k~. 19
e~
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~~ . -.— …'-'- 1~-'lI
@3–==-:r= . .:~
The timet.••,i(Ul roUin!: onWhen Imuirtfaintanddie; Mybo-~y Dtheduatreturn, Anu erefor•~IlcnIle,
1—'
"
'~2Letpersecutionrut;c"Il'ound,
'~"AnJAnlichriot'ppur;
i~Iysilent~uatbeneathlb.,round;
T'rbero'. nodlsturbecce" there.
aTlJO' t.eALs endcuWa I'veoiWl wont,
,Andv-cider'dindupair,
':Tncallpor.inne”, 10repcnt,
:.~ndoeckLh.Sayiourdear.
“‘I,brolber preachers, boldly’peU:,
Auc1at.&rul onZion’swell,
‘I”nviv.th.aIrong, confirmtheTcU,
An<,
Anddwell uponthycbl1rllU. Andofttimcoseenmecomo;
8MJ'laying wife,mroolOmIriecd, BulnowImuol,dop<Ut nom'thee,
Thoohjoetofmylove, Andn••ormorereturn.
.TheIfme'. beenawoct. I'vespentwiLhyou. 11rotICIJ1Il8Tcr comotothee.;
My'a"'eelandhum).,.. dcee, Lett.hi.oDolmeveyourheart,
gMylovinll ",if0,don't (ria,. forme, ForrOilwill,oortlyececeDme,
Nchher la..mont nermowu; Whcrowe,bllnevervazt..
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CANON. Four inOne. 7's.
'@£r- I·trW~~,;- Etffi~~
Welcome, welcome, o'ry guColl, Wolcom.Dourmw fcul: }I"';oIaouron.Iycheer, FillbothsoulandraTUh'uOIr; &crccJ Nin., teachu.sthomooJ.
h+~-~· ~3E
~~~[r r~~1 r-.~:+=tt
Sweeltat DODo 10 Deexplored. 8onI]•.•••11thetr.mblin( ail, Toeomplete our concert fair•
•TIwIOnfwuco""P"""Jbyth.Rev,B.Hicka, CaBapli.t minirter ofSouth ClJoIin••)andIOnt 10hlowife,.hil.b.W4IconnnNin,'l'enn_ b)•'-, nf••hid!
••&lcT"fn",1. rt('(;"cr0c4
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MARTIN. 78.
Chas, Wesley.17.j(). "Ahidingplacefromthewlnd."-lsa. 32:2. S.B.Marsh. 1836.
KeyofFMajor. AltobyS.M.Den~Q1J, 1911.
:-=-~~a;;,::ECf:E~;::~~-=ll~–~p Ofi~~ r4b'=';'i:f~
II-':–j-~- -t:-_.~=L–
1’1[e-sus, Lov-er ofmy soul,Leimo10Thybos-om fly” tHid. me, 0my Sa=vlour hide,Tillthestcrrnoflife Ispast:
Whilethonear-erwa-tersroll,Whilethelem·pest01111Is hlghlI
;D:.;.~~”:.f.:..~’:…:.~_~~£-:.::’.’:..n_E.:’~d~e,: ~_r~:~~~~~l a~11I~t~~;:—-~~=~-‘ –~–I-I~=:::::n
p_J:’ I’~=..::1 I -tdI ……; I, I ~ –. -‘ I ~±1
,=4::::s=~~:~–.L-<it=~__;_.__~.._~~..:::.::sLr:t:':":::!". -::'Si!.-::'~:::__==-__:~.::t=_:–__==_____,_
3’jWillIhounot’rn-gardmyc~H? WillIhounot ac-cepl my pray’,? t
Lol IIalnt,Isink,I fan Lol onThee Icastmy care.IReachmeoutThy gra-clous hand, WhileIofThyslrength re-celve,
D.C_-Hop,lng a·galn.1 hop. Istand, Dy-Ing, andbe-hold 1 Ilvel
~#=t5=cf~~ -~31-=r–f–#=-~¥1-~:3:~~~=H1~~~~
:=_f_4:~ :L•…._~~ ~_~===tl±::__ __-,.-_T_~::=E::_~__~_=:IJ
Chas. Wesleywroteover6,000hymns, andagr.atporllonofhi.hymn. aroused wherever aProtestant church Isfound. “Jesus, Lover of’My Soul,” Isen-
titled 10thoposition cfnurnber oneInal!hymnody, andthoenure Church withabsclure unanimity assigned toItthoflnlplace, while, InDr.Benson’. “Rock of’
Al:es,” IILsthoonlyhymn hepuisbefore ••Jesus,LoverofMySoul.”
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338 SAWYERS EXIT. 9.8.
Rev.S.B.Sawyer. KeyofAmajor.”Preclcue Inthe.IghtofthoLordI.thodeath ofhissalnts.” 116Pa.IS. John Ma$.Sengale. 1859.
2.Thean-gelastandread-yandwalt-.ing. The mo-mentthesplr-ltI.gone. Tocar-ryitup-ward toheav-en, Andwel-come Itsafe-ly at
.Lj-~—~~——‘-~–‘b-~. —k-k-~’-j[~———~–Em—~.l’:- -‘:IZ; .-,- -fi.-.=t::- -L:!2-t”—;- .-+—0, -;. ,it’ .- -. t=:
Ili~it:·_-~:I:= __._::!~’_~ ~–:: :=:=t:._:=~__-‘_:=~__ r~-l…-.i–~ _1__ _~._. ‘
3.Theaaintsthathavegone upbe-foreus,Allraise anew shcut aswecome. Andsinghal-Ie -lu-jah thelou-der, Towel-come thetrav-el-ers
~J.f
~±b:2:;:———-~~-!C-c—-~-,.-,.–·-ElS—p-~—~-‘-if-gr5Jl
lf~. –_~-. -b:-~:e=t–·-Ik-r”‘-r-· —_—-__i_~,= trE=t 1:
—— .’.-f–I-“”=E=E…:t.. —– ——.— – -__ ~ __.__ —–. —- —
home. And betherefor-ev-erathome. Andbetherefor-ev-erathome, TorisetothemansIons ofglo-ry. And betherefor-eV-erathome.
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home. And”(elcome Itsafe-ly athome. AndwelcomeItsafe-ly athome. Tocar-ry Itup-ward toheaven. Andwelcome itsate-Iyathome.
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home,Towelcomethetravellers home. Towelcome thetravellers home, Andsing hal-le-lu-Jah thelou-der, Towelcome thetray-el-ers home.
4.Andthereareoutfrlondoandcompanions. 5.AndthereI.thoblessed Redeemer, 6.Thenleiusgoonward reJoicing.
Escapedfrom theevlltocome. SomUdonhi.merciful throne. TtlljesuaInvttes u.tocome.
Andcrowding thegates offalrZion. Withheart. andhand.widely extended. ToshareInhi.glorlou. kingdom.
Towaltourarrival athome. Towelcome hisransom’d oneshome. Andrestinhisbosom a.thomo.
Thoseword.were composedbyRev. S.B.Sawyer onthedayofhisdeath.wlthrequest that thlatuneshould bepublished.
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Theairorthl:;tune13oneortheoldnational melodies ofArnertca, andInUsSeculor form itwascalled “OldResentheBow.” l·ttookItspresent name,”Sa-wci
yersExit,” fromRev. S.B.Sawyer. Theword.ofthetune were composedbyhimonthedayofhisdeath. with arequest thattheybeapplied tothemelody”,:
published. andonccenpletlng theword. htasplrlttookItseternal flightIntoItsnewIIf..Prof. Massengale applied thewords tothetune. These words composed bythIS
chrlsllanman. show. theglorious andtriumphantdeathottherighteous. Soenumerous sketch •.•ofJohnMassagale Inotherpartsofthisvolume. W.haveno
further dataabout Mr.Sawyerthantheabove.
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SISTER’S FAREWELL. 55
“Suffer tnne children, andforbid themnot,tocomeuntome;(ororsuchl:sthokingdom ofheaven. Forintheresweectten they.
.1..J.McLendon, 1905. Key01FMajor. angel. 0’1CodInheaven.”-Mal. 19:14;22:30.
areasthe
A.J.McLeodon. 191
j Swan,M.L.DorothyHorn,ed.TheNewHarpofColumbia. Knoxville:Universityof
. TennesseePress. 1978.
TheHymnbok.Richmond:PresbyterianChurchintheUnitedStates. 1955.
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Turner,Victor. Dramas,FieldsandMetaphors: SymbolicAction inHumanSociety.
Ithaca,NY:CornellUniversity Press.1974.
VanGennep, A.TheRitesofPassage. Chicago: UniversityofChicagoPress. 1960.
Walker,William.TheSouthernHarmonyandMusical Companion.Lexington, KY:
UniversityPressofKentucky.1987.
White,B.F.andE.J.King.TheSacredHarp.Nashville: BroadmanPress.1968.
Wigginton,Eliot,ed.Foxfire2.GardenCity,NewYork:AnchorBooks.1973.
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J. Wyeth,John.Wyeth’sRepositoryofSacredMusic. NewYork: DaCapoPress.1974.
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