Concerning their variety it may be said that there are three classes of hymn treasures; namely, historical, literary, and devotional. All hymns worthy the name belong to one of these classes, some to more than one, and a few to all three.

Great hymns "are born, and not made." They, therefore, reflect the character of the age, and reveal the inner life of the person, that produced them. Through their agency we become acquainted with such makers of history as Gregory the Great, St. Bernard, Luther, and Wesley.

The particular conditions under which they were written give added meaning to many hymns. "Stand up, stand up for Jesus!"

was inspired by the dying words of Dudley Tyng: "Tell them to stand up for Jesus." He had been conducting a great revival in the city of Philadelphia, and these words were a message to the Young Men's Christian Association and the Ministers' Union. The hymn was read the next Sunday after his death at the close of a sermon on the same subject.

Hymns have often been sung under the most impressive circumstances. Think of an army

singing, as it marched to battle:

"In the midst of life we are in death!"

The following story is told of E. P. Scott, a missionary in India. He went inland to visit a

hostile tribe, and on his way was met by a company of savages, who displayed their spears. Although he expected instant death the missionary calmly took out his violin, closed his eyes, and began to sing:

"All hail the power of Jesus' name!”

A few minutes later he opened his eyes to find that his assailants had dropped their weapons and were in tears.

The literary treasures are comparatively few. The requirements of a good hymn are quite distinct from those of a literary poem. There are hymns, however, which take high rank both as hymns and poems. This is eminently true of Dr. Sears's Christmas hymns:

and

"It came upon the midnight clear;"

"Calm on the listening ear of night."

Oliver Wendell Holmes said of the latter that it was "one of the finest and most beautiful hymns ever written." Dr. Nutter says of the hymn by Thomas Olivers,

"The God of Abrah'm praise,"

"It is probably the finest ode in the English language." James Montgomerv's hymn beginning,

"Angels, from the realms of glory,"

has also been much admired. An authority speaks of it thus: "For comprehensiveness, appropriateness of expression, force, and elevation of sentiment, it may challenge comparison with any hymn that was ever written in any language or country."

After a performance of the oratorio "Messiah" before George II, of England, the king thanked the composer for the entertainment. Handel replied, "Sire, I have not endeavored to entertain you, but to make you better."

The chief object of a hymn is to lift the soul nearer to God, and to aid it in its worship. It should first inspire, and then give expression to adoration and praise. Many hymns do this. Who does not get a clearer vision of the "One altogether lovely" while singing—

"Majestic sweetness sits enthroned

Upon the Savior's brow;

His head with radiant glories crowned,
His lips with grace o'erflow."

Every one has felt the uplifting influence of the doxology. The hymn,

"O Thou, in whose presence my soul takes delight,"

is a devotional treasure which has been too little appreciated.

Very many nymns are prayers, and voice the longings and aspirations of the soul. "Love divine, all love excelling," and "Nearer, my God, to Thee!" are marked examples of this class.

Hymns give expression to the deepest feelings of the human heart, and that is the reason for their helpfulness. "The poet does not give vent to his own frame of mind, his individual feelings, but the Church itself, through his lips, confesses, believes, comforts, praises, and adores."

The sacred character of hymns and their hallowed associations entitle them to reverent use. They should not be sung thoughtlessly or insincerely. It was a precept of the early Church: "See that what thou singest with thy lip, thou believest also in thine heart; and what thou believest in thine heart, thou practicest also in thy life."

The worth of a hymn must be determined by two things; first, the extent of its influence over the human mind, and second, its power to survive.

The influence of song has been recognized in all ages. Five hundred years before Christ, the Chinese philosopher Confucius remarked, "Would'st thou know if a people be well governed, if their manners be good or bad, examine the music they practice."

Early in the Christian era, when the Church

divided over the subject of the nature of Christ's divinity, each faction used hymns to spread its peculiar doctrines.

Luther and Wesley both appreciated the value of hymns in promoting the cause of spiritual religion, and to-day evangelists avail themselves of the aid of a consecrated singer.

Concerning their longevity it may be said that great hymns are immortal. The Church of today is singing hymns which were written by the Fathers, and which will probably be sung to the end of time.

To bring to light some of these hidden treasures of hymnody and to show their worth is the purpose of this book. The author hopes that its perusal may lead to a more general and more intelligent use of the best hymns. She would pass on the advice which Schlipalius, a Dresden pastor, gave to his family: "Children, accustom yourselves to God's praise, for that will be our chief occupation throughout eternity; but we must begin here."